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Archive for the ‘They Might Be Giants’ Category

SOUNDTRACK: THEY MIGHT BE GIANTS-“Robot Parade” (2002).

They Might be Giants first children’s album, No! featured a ton of great songs.  TMBG were practically writing for kids anyhow, so they just removed some of their songs of love and death and replaced them with songs of pre-teen angst.  The title song “No!” is a wonderful look at life as a child.  But there is something so wonderfully absurd (but possibly not for kids) about “Robot Parade.”

It starts out with a funky distorted keyboard.  Which gives way to a slinky keyboard melody.

The lyrics are so simple and so joyful (despite the robotic singing style):  “In a future time/Children will work together/To build a giant cyborg.  Robot Parade, Robot Parade…robots obey what the children say”  To me this song exemplifies the childish fantasies that TMBG can present.  And even though the song is less than 90 seconds long and it doesn’t do a whole lot (listening to it again now, I was sure there was more to it), it has left a wonderful impression on me. 

And I’m sure that my children, who love putting pots on their heads and saying “I am a Robot” will one day be singing, “Robots obey what the children say.”

[READ: December 2011] Monkey with a Tool Belt and the Noisy Problem

I picked up this book on a whim when I saw the title at the library.  I mean, who wouldn’t love a monkey with a tool belt?  The art is weirdly wonderful, but it’s the story itself that was so intriguing.

First off, the monkey, the one with the tool belt, has the best name in all of children’s picture bookdom: Chico Bon Bon.  How great is that?  So great I must say it again.  Chico Bon Bon.

The real selling point (literally selling point, because I bought this for my kids for Christmas) is that there’s an elephant in the book named Clark (if you haven’t been paying attention, my son’s name is Clark.  And you NEVER see his name in anything).  So how cool to have it as a character in a book series?  And Clark’s initial appearance is awesome!

But so, if you don’t know anyone named Clark (or Chico Bon Bon) why should you read it? (more…)

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SOUNDTRACK: THEY MIGHT BE GIANTS-“Science is Real” (2009).

Indeed, I do love They Might Be Giants.  I love how their Here Comes series went from letters to numbers to science.  When you hear news of science being questioned from all sorts of places, it’s nice to have some super catchy songs to reinforce science fact.

“Science is real. From the Big Bang to DNA.”  It’s a great way to open an entire album full of interesting scientific knowledge (from the band who covered “The Sun is a Mass of Incandescent Gas,” which gets updated here into a more accurate lyrical song).  My kids love this album, and it makes me proud when they sing along to the great catchy, short songs contained within.  I especially love that the lyrics don’t eschew fun for truth:

I like the stories
About angels, unicorns and elves
Now I like those stories
As much as anybody else
But when I’m seeking knowledge
Either simple or abstract
The facts are with science.

This is a rocking guitar song, fun for the whole family.  Sing it with me…  “Science is real!”

[READ: December 4, 2011] Babymouse: Mad Scientist

I’m almost caught up to the Babymouse series!  This one even came out this year!!  There’s only the Christmas one left–wonder if I’ll be able to get it from the library in time.

This book also introduces a new character, Squish.  I actually found out about Squish before Babymouse, because I received a prepub of the first Squish book.  And now I get to see Squish’s origin story.

This was a really enjoyable book.  After reading the two music-themes ones, I was wondering if the Holms could keep up the interest for 14 books, but they really brought it back with this one.

After some funny jokes about science experiments (and the state of her room) we get a good fantasy sequence set aboard the USS Cupcake (with an unexpectedy funny Star Trek joke from the homeroom teacher).

And now they have a new science teacher (after the experiment went awry with their previous science teacher).  Mr Shelldon is obsessed, and I mean obsessed with molds.  He wants the class to enter the science fair (and encourages them to do research on molds!) (more…)

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SOUNDTRACK: THEY MIGHT BE GIANTS-“John Lee Supertaster” (2002).

I love They Might Be Giants.  And I love their kids’ records.  This was their first one, No!.  It’s got that awesome craziness of TMBG but lyrically, it’s more “educational.”  Unlike the Here Comes series, No! is not overtly educational (I mean, check out the nonsense that is “Violin”), but the themes are all smart.

“John Lee Supertaster” is about a supertaster.   Supertasters are people whose tastes buds are crazily sensitive and so everything tastes even more powerful than what most people taste (that can be good and bad).

The song opens with an introduction that tells about Supertasters and about a real life supertsatser who John Flansburg met.

The song is a cool, funky song, with funk bass and a great guitar solo.  It’s a short song (two minutes including all of the introductions) but it’s a very cool one.  It’s catchy (I dare you not to sing along) and informative.

I also just learned that it’s all true.  According to the TMBG wiki: “The real John Lee is a man from the band Muckafurgason, whose album was produced by John Flansburgh.”

(And it rocks, too).

[READ: December 10, 2011] Babymouse: Rock Star

This Babymouse book came before Babymouse: The Musical and it’s possible that the Holms used up all of their great music ideas in this plot.  I enjoyed it quite a bit (maybe it’s because I like rock more than musicals?).

The story opens with a fantasy of Babymouse as a rock star with everyone chanting her name…until it is revealed that the chanting is actually coming from her brother Squeak.  When Babymouse gets to school, we learn that she plays flute in the school band.

She is in the second to last seat (because the screech from her flute cracks the polar ice caps and causes elephants to stampede).

After a cool Pied Piper dream sequence, Babymouse learns that Penny, a poodle who was embarrassed earlier by Felicia Furrypaws on the bus, will happily teach Babymouse how to play better (especially if it embarrasses Felicia).  The next several pages show Babymouse in her full-on fantasy mode as a music video star (which includes a Tori Amouse cover version of her hit song–nice touch).

Penny teaches Babymouse to relax.  She has practices it enough so she knows the music, she just has to feel the music (good advice).  Suddenly the hills are alive with the sound of music.

Babymouse appears in the next school band performance and she has a small victory for herself (which is always nice to see in a Babymouse book).

This was an enjoyable continuation of the series.

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SOUNDTRACK: CUPPA JOE-Busy Work EP (1993).

This EP was one of the first releases on the Dromedary label.  It contains 3 songs.  Whenever I think of cuppa joe, I think of them being a somewhat lightweight band; charming and fun, but lightweight.

And I think most of this is due to the lead singer’s voice.  It’s quite delicate and veers towards, but never quite reaches whiny territory.  Comparisons to They Might Be Giants are not unfounded.

But the thing is that, musically, the band plays a wonderfully diverse selection of styles, some of which emphasize the singer’s delicate voice, and others which play in a wonderful contrast to it.

Take their brilliant first song on the EP, “Bottlerocket”.  The chords are masterful and intriguing as the song opens, moving towards a fast, propulsive verse and an insanely catchy chorus (with backing vocal harmonies!).  It’s a tremendous song, and cuppa joe could easily rest on their laurels after creating such a masterpiece.

The other two songs on the EP are more of that delicate style that I think of as distinctly cuppa joe.  “French Toast” is a very quiet little ditty about, yes french toast.  It’s catchy and seems to be an ideal b-side, sounding almost like a demo.

The third track, “Surface Area” starts out almost as an homage to R.E.M. “I am Superman” with the jangly guitars and all, but the jazzy bassline totally changes the tone of the song.  Overall it splits the difference of the other two, being a fully realized song that gets a surprise lift from loud and raucous guitars about halfway through.

It’s a really great representation of this cool indie band.  And it will be available for download in a few days right here.

[READ: February 17, 2010] 2 Poems

These are the first two Bolaño pieces that I found while looking around online.  These poems are very likely published elsewhere.  However, since I’m not a big reader of poetry, I don’t think I’ll be reading his poetry collections in full.

Both poems were translated by Laura Healy. While it’s impossible to know if she did a good job of translation (since I can’t do it myself), all I can comment on is the quality of the English words. And in both cases, she chooses very exhilarating words to convey these images. (more…)

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SOUNDTRACK: Future Soundtrack for America (2004).

This CD came with the McSweeney’s Future Dictionary for America.  It was released on Barsuk Records (home of Death Cab for Cutie and other great bands) and it was compiled by Spike Jonze and one of the Johns from They Might Be Giants.

This is a solid compilation of indie rock tracks.  At the time of the release most of the songs were rare or hard to find (since then I’ve seen a number of these tracks elsewhere).

TMBG obviously include a piece (a rendition of the old political song “Tippicanoe and Tyler Too”).  Other featured artists include: OK Go, David Byrne, Jimmy Eat World (covering Guided by Voices), Mike Doughty (with a song called Move On, that I have to wonder if it was written for this compilation as proceeds went to MoveOn.org), Ben Kweller (great song title: “Jerry Falwell Destroyed the Earth”), Blink 182 (with the only song I know by them, “I Miss You” that reminds me When in Rome’s The Promise“), the much missed Sleater-Kinney, a remix by R.E.M., a great track from Nada Surf, a live piano version of “Yoshimi Battles the Pink Robots” from The Flaming Lips, a staggering song by Laura Cantrell (who I only know from her work with TMBG, this song is a cover of a John Prine song), Tom Waits’ amazingly powerful and very emotional “Day After Tomorrow,” and a rocking piece from Elliott Smith.

Proceeds for the disc went to MoveOn.org in an attempt to raise money to defeat Bush in the 2004 election. We know how that turned out.  But, as that is not relevant anymore, if you like your indie music good, this is a wholly worthy collection.

[READ: December 17, 2009] Maintenance Volume 1

Now this is a comic that I can get into.  And I’m already delighted to see that there are two more volumes out.

The premise of the comic is that the two guys on the cover, Doug and Manny, work as maintenance men for TerroMax, Inc., the world’s biggest and best evil science think tank!  Their work is sometimes scary, often disgusting and always interesting.

There are three stories in this volume.  In the first one, the guys encounter a ManShark.  In the second, they are sent back in time to the cavemen era (where they learn that a scientist has already visited them) and in the third, a minor character from the first story comes back to play a large role in an alien invasion. (more…)

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SOUNDTRACKMcSweeney’s #6 comes with a CD.

Most of the music on the CD is performed by They Might Be Giants (a rather perfect fit for McSweeney’s).  Some other musicians who appear are: M. Doughty, Philip Glass, Michael Meredith. Roger Greenawalt & S.E. Willis

Instructions included with book:

#3. The compact disc contains music.  There are 44 discrete pieces of music –“Tracks”–on this compact disc.  Each Track corresponds to a picture, series of pictures, or story–a Piece–in this journal.  When you are reading or looking at a certain Piece, we ask that you cue your compact disc to the corresponding Track on the disc.  The appropriate track number will appear prominently, usually under the title of each Piece.  Note: The track number will no appear on subsequent pages of the Piece.

#6. Please note that you may listen to Tracks without reading their Pieces and you may read Pieces without listening to their corresponding Tracks.  But this is not recommended.  You fucking bastard.

[READ: December 8, 2009] McSweeney’s #6

I’m finally getting back to reading some older McSweeney’s issues.  This was the final issue that I received from my initial subscription.  I distinctly remember being excited by the CD and maybe reading some of the book, but clearly never finishing it.

So yes, this issue comes with a CD.  The intro note explains that each Piece in the book has an accompanying  Track on the CD, and, you are to only listen to the Track that accompanies the Piece you are reading…never read a piece while listening to the wrong track.  Ever!  It explains that each Track has been created to be as long as it would take you to read each Piece.  But there are obviously many exceptions. The first story for instance is well over ten pages but the song is about 5 seconds long.  And, the Arthur Bradford Track is 8 minutes long when anyone could read the Piece much more quickly.

The bulk of the songs are by They Might Be Giants.  Anyone who knows TMBG knows you can’t summarize their work, and this book exercise is ideal for them: there are several pieces that are just a few second long.  But they also write some nice longer pieces as well.  And, of course, they are perfectly suited for mood music that works well with the writing.  Some of the songs have words which is a bit distracting while trying to read, but that’s okay.  I did try my best to follow the prescription about only listening to the appropriate song, but I admit to getting off pace from time to time.  (more…)

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17Many many years ago, I discovered Might magazine.  It was a funny, silly magazine that spoofed everything (but had a serious backbone, too).  (You can order back issues here).  And so, I subscribed around issue 13.  When the magazine folded (with issue 16–and you can read a little bit about that in the intro to Shiny Adidas Track Suits) it somehow morphed into McSweeney‘s, and much of the creative team behind Might went with them.

The early volumes (1-5 are reviewed in these pages, and the rest will come one of these days) are a more literary enterprise than Might was.  There’s still a lot of the same humor (and a lot of silliness), but there are also lengthy non-fiction pieces.  The big difference is that McSweeney’s was bound as a softcover book rather than as a magazine. And, I guess technically it is called Timothy McSweeney’s Quarterly Concern as opposed to Timothy McSweeney’s Internet Tendency. (more…)

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createdSOUNDTRACK: ONE RING ZERO-As Smart as We Are (2004).

orzI had this CD sitting around my house for about 4 years.  I had received it as a promo disc from Soft Skull Press (along with several other books on CD) and I just never put it on.  Then one day I was going through all these promos to see if any were books I wanted to listen to.  It was then that I actually read the disc label and saw that it was a band with lyrics written by some of my favorite authors.

I liked the disc so much I wound up buying it because the packaging is truly cool.  It’s a little booklet and it features an interview with the band and some really cool insights into how the songs came about, how they got the writers to submit lyrics, and the cool fact that One Ring Zero became McSweeney’s house band, accompanying writers during their weekly readings.

One Ring Zero is comprised of two guys (and guests).  And for this disc they split the tracks in half and one of them wrote melodies for 8 songs and the other guy wrote melodies for the other 8.  I’m not sure that I could tell the song writers apart by their styles, though.

But sure, the lyrics are probably great, but what does the band sound like?  Well, in the introduction, they are described as specializing “in the sort of 19th century, gypsy-klezmer, circus-flea-cartoon music you mainly hear in your dreams.” And, yep, that is a good summary of things.  The band uses water pipes, claviola, slide whistle and a theremin (among other homemade instruments).

And so, as with other McSweeney’s things, I’m going to list all of the lyricists with their titles.  But lyrically it’s an interesting concoction.  The authors were asked to write lyrics, but not necessarily songs.  So some pieces don’t have choruses.  Some pieces are just silly, and some pieces work quite nicely.  But most of them are really poems (and I can’t really review poems).  They’re fun to read, and it is fun to see what these authors made of this assignment.

PAUL AUSTER-“Natty Man Blues”
A rollicking opening that lopes around with the nonsensical lyrics, “There ain’t no sin in Cincinnati.” This one feels like a twisted Western.

DANIEL HANDLER-“Radio”
A supremely catchy (and rather vulgar) song that gets stuck in my head for days.  “Fucking good, fucking good, fucking good…”

DARIN STRAUSS-“We Both Have a Feeling That You Still Want Me”
A Dark and somewhat disturbing song that is also quite fun.

RICK MOODY-“Kiss Me, You Brat”
A delicate twinkly piece sung byguest vocalist Allysa Lamb *the first female vocalist to appear) .  Once the chorus breaks in, it has an almost carnivalesque tone to it.  This is the only song whose lyrics were written after the music.

LAWRENCE KRAUSER-“Deposition Disposition”
A twisted song that works as a call and response with delightful theremin sounds.  It has a very noir feel.

CLAY McLEOD CHAPMAN-“Half and Half”
This is a sort of comic torchy ballad.  Lyrically, it’ a bout being a hermaphrodite (and it’s dirty too).  Vocals by Hanna Cheek.

DAVE EGGERS-“The Ghost of Rita Gonzalo”
This has a sort of Beach Boys-y folky sound (albeit totally underproduced).  But that theremin is certainly back.

MARGARET ATWOOD-“Frankenstein Monster Song”
This song begins simply with some keyboard notes but it breaks into a very creepy middle section.  It’s fun to think of Margaret Atwood working on this piece.

AARON NAPARSTEK-“Honku”
This song’s only about 20 seconds long.  It is one of a series of haikus about cars, hence honku.

DENIS JOHNSON-“Blessing”
The most folk-sounding of all the tracks (acoustic guitar & tambourine).  It reminds me of Negativland, somehow.  It is also either religious or blasphemous.  I can’t quite be sure which.

NEIL GAIMAN-“On the Wall”
A tender piano ballad.  The chorus gets more sinister, although it retains that simple ballad feel throughout.  It’s probably the least catchy of all the songs.  But lyrically it’s quite sharp.

AMY FUSSELMAN-“All About House Plants”
An absurdist accordion-driven march.  This is probably the most TMBG-like of the bunch (especially when the background vocals kick in).

MYLA GOLDBERG-“Golem”
This song opens (appropriately) with a very Jewish-sounding vibe (especially the clarinet).  But once that intro is over, the song turns into a sinister, spare piece.

A.M. HOMES-“Snow”
This song opens as a sort of indie guitar rock song.  It slowly builds, but just as it reached a full sound, it quickly ends.  The song’s lyrics totally about twenty words.

BEN GREENMAN-“Nothing Else is Happening”
This song has more of that sinister carnivalesque feel to it (especially when the spooky background vocals and the accordion kick in).  The epilogue of a sample from a carnival ride doesn’t hurt either.

JONATHAN AMES-“The Story of the Hairy Call”
This song has a great lo-fi guitar sound (accented with what sounds like who knows what: an electronic thumb piano?).  It rages with a crazily catchy chorus, especially given the raging absurdity of the lyrics.

JONATHAN LETHEM-“Water”
This track is especially interesting. The two writers each wrote melodies for these lyrics.  So, rather than picking one, they simply merged them. It sounds schizophrenic, but is really quite wonderful.  The two melodies sound nothing alike, yet the work together quite well.

[READ: Some time in 2004 & Summer 2009] Created in Darkness by Troubled Americans

This was the first collection of McSweeney’s humorous stories/pieces/lists whatever you call them.  Some of the pieces came from McSweeney’s issues, but most of them came from McSweeney’s Internet Tendency.

The humor spans a great deal of categories, there’s some literary, some absurd, some nonsensical and, most amusingly, lists.  The back of the book has an entire selection of lists, but there are also some scattered throughout the book as well (I don’t know what criteria was used to allow some lists to be in the “main” part).

As with the other McSweeney’s collections, I’m only writing a line or two about each piece.  For the lists, I’m including a representative sample (not necessarily the best one, though!)

Overall, I enjoyed the book quite a lot (which is why I re-read it this year).  There are puns, there are twisted takes on pop culture, there are literary amusements (Ezra Pound features prominently, which seems odd).  It spans the spectrum of humor.  You may not like every piece, but there’s bound to be many things that make you laugh. (more…)

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dont lookSOUNDTRACK: RALPH’S WORLD-Peggy’s Pie Parlor (2003).

peggyWhen my son Clark was born, Sarah and I made a conscious effort to find music for him (really for us) that wasn’t, well, Raffi.  Not that there’s anything wrong with Raffi per se, but well, he’s kind of annoying.

In the 4 years since he was born, there’s been an awful lot of cool bands making kids records.  And I’m all for that (sometimes it’s nice being in tune with zeitgeist).  Although it is nice to hear one of the guys who started the whole movement.  Ralph himself was a member of Bad Examples a fairly forgettable band, nowhere near as fun/clever as Ralph’s World.

This was the first Ralph’s World disc we bought.  And it’s still in pretty heavy rotation (although, now, really, the kids just listen to what we listen to…maybe when they’re a little older and actually understand Decemberists lyrics, we’ll be playing more Ralph).

Ralph’s songs rock, they’re amped up and excitable, like a toddler.  They’re simple, easy rock songs in a multitude of genres.  He also mixes his own originals with covers and even a public domain track (“Yon Yonson”).

And so overall you get a disc that sounds like a children’s disc from They Might Be Giants, before They actually made children’s discs.  (TMBG’s children’s discs aim a little younger).  Ralph’s songs are whimsical and catchy, in the way of TMBG’s adult songs, although the lyrics skew more towards about 6 or 7.

If you don’t have kids you probably won’t enjoy these discs, although really all is takes is a silly streak to enjoy them when the kids aren’t around.

[READ: July 24, 2009] Clarice Bean, Don’t Look Now

My son has just started watching Charlie and Lola, a delightful show based on the books by Lauren Child.  [And it has one of the single coolest theme songs of any show ever.  Seriously.  It’s fantastic.  Here, listen.]  When I mentioned that Clark was watching this, my friend Eugenie said, Oh, Lauren Child, of Clarice Bean!

I wasn’t familiar with Clarice Bean.  And then, as coincidence will have it, I was showing a patron some books in the Ch section, and there was a Clarice Bean book.  I grabbed it and only found out later that it is the last (or at least that latest) book in the Clarice series.  Well, it’s a kids book, I thought, I’m sure  I can join the series late and not miss anything.  And I was right.

I was also surprised by how into this book I got.

Oh, and also how eerily appropriate it was that I selected this particular book while I’m in the midst of Infinite Summer.  I figured Clarice Bean would be a nice relaxing thing to read in my Infinite Jest Downtime.  But Clarice Bean starts out: Part One: Where does infinity end?

Seriously. (more…)

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scouts.jpgSOUNDTRACK: NIRVANA: With the Lights Out (2004).

withthe.jpgIt probably sounds like an urban myth to say that Nirvana was a catalyst for new music way back then. But I can recall when “Smells Like Teen Spirit” was first on the radio, and I was living in a region of the country (hey Office fans, it was Scranton, PA) that was devoid of anything interesting on the radio; it was like a flash of light: there is interesting music out there, somewhere. So, yup, Nirvana was a great moment for me.

Now, I’ll backtrack by saying that I had just graduated college, where I had been music director of our college’s radio station. We specialized in good indie music, so I was no stranger to Sonic Youth or They Might Be Giants, or anything that would soon be played on 120 Minutes, or labeled “alternative”; but as our station had a range of about 50 feet, I couldn’t even hear it from my apartment. So, I was left with Rock 107–not a bad station, just a typical classic rock outlet–and Marywood College’s very hip, very cool radio station, that came in if the weather agreed.

And suddenly there was Nirvana.

I wasn’t that bummed when Cobain killed himself, as I’d enjoyed their releases, but they were no longer the huge band in my life. So I got some of the posthumous releases, but held off on the box set because, who needs an expensive collection of outtakes? Well, for Christmas, Amazon was selling With the Lights Out for super cheap (sometimes it pays to wait), so I figured I’d grab it.

The best thing I can say about it is that it really rekindled my appreciation for Nirvana. It also made me realize that they only released three albums (not including all of the comps and live releases), which is a teeny output for such a huge band). And, finally, and most shockingly it made me realize that “Smells Like Teen Spirit” is over 5 minutes long…WHAT? How did a 5 minute song become a hit??

Anyhow, I’ve enjoyed listening to this collection. It was cool to hear some of the early demos of songs, and see how they morphed into the ones I know. There’s a few 8 minute jams that aren’t worth hearing more than once, but overall, it’s good for those who like Nirvana and would like a little more of their story. Especially if you can get it cheap!

[READ: November 12, 2007] Scouts in Bondage

This is a fantastically funny book. It is a collection of book covers from antique and rare books that are now shockingly inappropriate. I feel that the UK subtitle is more apt for the book, because when these books were written, they weren’t meant to be risque, but as times and language has changed, they are now full of double entendre.

(more…)

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