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Archive for the ‘NPR/PRI/PBS’ Category

Jaclyn Moriarty–The Extremely Inconvenient Adventures of Bronte Mettlestone (2018)

Posted in All Things Considered, Carrtoons, Children's Books, Coronavirus, Dragons, Elves, Fairies, Funny (ha ha), Jaclyn Moriarity, Kaelin Ellis, Kiefer, Magic, Morning Edition, Parenting, Prison, Quarantine, The Kount, Tiny Desk (Home) Concerts, Tiny Desk Concert, Water Sprites, Weekend Edition on June 30, 2021| 1 Comment »

SOUNDTRACK: CARRTOONS, KAELIN ELLIS, KIEFER AND THE KOUNT-Tiny Desk (Home) Concert #229 (June 28, 2021).

This is one of the more unusual Tiny Desk Concerts that I’ve seen.  Essentially the NPR team asked these musicians to make remixes of NPR theme music.  I haven’t heard of any of the musicians before, but I gather they are well known and regarded.

Over the past year and some change, beatmakers Carrtoons, Kaelin Ellis, Kiefer, and The Kount took to social media individually and often collaboratively to cook up productions, often resulting in viral moments and never-seen-before glimpses into their creative process.  As we continue to celebrate 50 years of NPR, Tiny Desk was determined to take part. To honor the iconic themes from our news programs, we asked these four producers to come up with their own spin on the All Things Considered theme (written by Don Voegeli) the Morning Edition theme and the theme for Weekend Edition (both written by B.J. Leiderman).

The blurb describes them as beatmakers. I don’t know what that means exactly (in my mind it has nothing to do with instruments), but for this set, each guy plays an instrument or two.  Clockwise from the bottom left Kaelin Ellis: drums, The Kount: percussion, Kiefer: piano, keyboards and Carrtoons: bass.

Most of the themes are under 30 seconds, so it’s interesting to hear them stretched out.  It’s also interesting that they didn’t simply play the theme and them jam it.  each one uses a part of the theme, but the songs go in very different directions.  The addition of bass and drums certainly changes the sound, as does their new jazzier feel.

“All Things Considered (Remix by Carrtoons)” Kiefer plays a variant of the original (quite similar) and then plays a kind of staccato piano like the news urgency music.  I like the way those original eight notes keep returning.   This new song is all of 1 minute long.

“Morning Edition (Remix by Kaelin Ellis)”  This one sounds really different with an intro (lots of bass and drums).  It’s not until the middle that the jazzy chords reveal themselves as the Morning Edition melody.  I feel like you can’t hear all that much percussion on these tracks although the bongos are audible here.  and I like the little cymbals near the end.  This song is about two minutes,

“Weekend Edition (Remix by Kiefer)” I like that this one opens with that iconic ascending melody, but dissipates smoothly.  It’s also interesting that the middle melody is still there, only stretched out. Kaelin’s drums are pretty great on this track and Carrtoons’ bass is pivotal throughout.

[READ: June 1, 2021] The Extremely Inconvenient Adventures of Bronte Mettlestone

S. read book three in this series, not realizing it was book 3.  She then read the books in reverse order, ending with this one.

Well, I decided to read them in the correct order.  And while I haven’t read 2 or 3 yet, book 1 was fantastic.   I loved everything about this book–the plot, the illustrations and especially the writing style

Jaclyn Moriarty has created a hilarious and thoughtful young narrator and the ways in which she has to deal with adults makes for some very funny scenes indeed.

The premise is that Bronte Mettlestone is ten years old and has just found out that her parents were killed by pirates. She’s not really that upset though because she never knew them.  They abandoned her at the doorstep of an aunt when she was just a baby.  They were adventurers and couldn’t be tied down by a child.

The humor comes right away, with the announcement that Bronte’s parents were killed.  They receive a telegram which says that they were “taken out by cannon fire.” Aunt Isabelle is furious about that phrase.  Could they not have chosen a less flippant turn of phrase?

So Bronte was raised by her aunt Isabelle with help from The Butler.  They see that her parents will says that Bronte must take a series of trips, by herself to visit all of her other aunts and give them each a present (the present is included with the will).  The details of the trip are spelled out in very specific detail–how long she is to stay with each Aunt and how to get from one to the next.  To make things worse, the will has been sealed wit faery stitching, which means if she doesn’t do what the will says, there will be terrible consequences.  Essentially Bronte must follow these rules exactly or OR PEOPLE COULD DIE!

So obviously this is world where magic exists, although Bronte herself has had little exposure to magic.  She says the only thing she knows about magic comes from the book The History of the Kingdoms and Empires.

There are two types of magic that are worked by thread.  There was bright thread which was used by True Mages like Faeries and elves and water sprites.  Then there was shadow thread used by dark Mages like witches and Sterling Silver Foxes.  The third kind was binding thread which Spellbinders used to stop Shadow Magic from doing its work. Initially the thread was real, but now they can do their magic with imaginary thread.  (more…)

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Rob Grant–Red Dwarf: Backwards (1996)

Posted in Barenaked Ladies, Better Than Life, Common Deer, Coronavirus, Corporate skewering, Culture Shock, Daveed Diggs, Death, Doug Naylor, Drinking, End of the World, Environmentalism, Extinction, Failure, Funny (ha ha), Futility, Grant Naylor, Hamilton, Mind control, Outer Space, Quarantine, Red Dwarf, Religion, Revenge, Rob Grant, Robots, Sci-fi, Science, Shapeshifters, The Flaming Lips, The Look People, Threats, Time Travel, Tiny Desk (Home) Concerts, Tiny Desk Concert, Video Games, Violence, Virginity (Loss of), Western, Yuck!, tagged on June 24, 2021| Leave a Comment »

SOUNDTRACK: RHEOSTATICS-Jackson Triggs, St.Catharines, ON (August 12, 2017).

I have been catching up on the last few remaining recent (relatively) shows that the Rheostatics played.  These are all shows since the release of Here Comes the Wolves.

Great soundboard show from the beautiful Jackson Triggs Winery stage with Kevin Hearn on Keys/vocals and Hugh Marsh on violin. Very chatty show with one of the longest stretches of banter I can recall at over 8 minutes of straight comedy.

The show begins with the spoken introduction from Group of 7 “A tall white pine stands between me and the tree I’m trying to see … also a tall white pine.”  Then Martin starts a gentle “Northern Wish.”  It’s followed by “Legal Age Life” which has a wild keyboard solo.  Kevin continues to shine on a lengthy intro for Dave Clark’s fun new song “Supecontroller.”  It’s kind of a dopey song but it’s one of my favorites.

Kevin says to the audience, Say hello to Dave Clark.”  Dave says Jackson Triggs has treated us fine and gave us all kinds of good food.  (and plenty of wine).

A delicate “Music is the Message with lots of violin including a solo.  Kevin introduces Tim and Dave tells a joke about the difference between a piece of cheese and a piece of string that I don’t get (something about crickets).  And then someone talks about playing and there were crickets after every song–it was pretty rough.
After a boppy “Easy to Be with You,” Kevin plays keys like at an ice skating rink as a segue into a soaring “Stolen Car” with a lengthy solo form Martin and Hugh.
They thank the opening band  Common Deer and say that High and Kevin will be with them all summer long: Hugh Marsh Kevin Hearn Summer Experience.  Tickets: $5.99 at your local fairground.
They mention CDs and Martin in great, funny form says, we’ve lived through many formats.  The wax cylinder the vinyl disc, the compact disc (Tim: “they said they’d never skip but all mine skip now”). Martin: they skip in the most painful, digital…  the universe conspired to make it more annoying than previously existed.  When a vinyl skipped you’d go hmm, weird did they write that like that?  When a CD skips deh deh deh deh deh–a drill to the center of the mind.  Unless you’re a Squarepusher.  Hugh had many intentional skips on his recording–the king of the skip.
Don’t bug Hugh.  Hugh has no way to defend himself except for his instrument.  Sure he does, he’s the best looking dude in the band.  And he’s like 73.
DB says, from 2067 it’s “PIN.”  I really got my FM radio voce on tonight huh?
Dave you’ve always had a voice that is delightful on the radio as when you hosted Brave New Waves in the early sixties?
DB says Dave Clark influenced my life so much when he said “Do you want to be someone playing the bands on the radio or do you want to be the band?”
Martin: That’s very good advice Dave Clark and also demeaning to people who promote  our music and celebrate it.  My opinion of you has changed.  You told that story and now I hate you.  Dave Clark does not have that fulsome overtone.  DC: But Ii have a better personality.  My teeth would have been straight by now.  How does the teeth work into that? CBC benefits! CBC teeth.
That could have been you on Corner Gas.
Dave Clark says he has a show to pitch to the CBC.
Kevin: I have an idea for this show–play the next song.
Kevin plays in Barenaked Ladies and they talk a lot. Kevin was so excited to play with us here as a band who doesn’t go on talking about nonsensical things.
Kevin: You’re even worse.  Dave B: “way worse.”
Martin: Kevin before BNL you were in a band called The Look People   “5 is the number that makes me want to boogie.”
After “PIN,” there’s some scratching sounds and a Mr. Rogers intro into Michael Jackson.   Nice harmonies at the end.
Soaring keys swell for the intro to “California Dreamline.”  Martin gets a little wild singing in the dolphins part.  Keyboard washes segue into “Claire.”
Big shout to those who came down form St. Catharine’s a city that supports the arts.  When I think of Niagara Falls. i think of Dale Morningstar and his shenanigans.  Ron Sexmith
Can I tell you one of Ron Sexsmith’s original jokes?  Hey, did I just sit in maple syrup?  You bet your sweet ass you did.
Kevin: By the way I was told we’re good for time as long as we don’t do any more fifteen minute intros.  Man they run a tight ship around her.
DB to an audience member: Want to come up and model our new shirt?  No I’m not going to sign it now, I’m working.  It says nothing on the back.  You can write your own inspirational phrase on the back.
Kevin: Are you finished?
DB: Yes but I was selling merch it’s important.
MT: This is from Saskatchewan the Musical (that’s bound to be next).  Martin sings:
I don’t know what I’m doing here
I feel so different from everyone else in this town
Saskatchewan.”
Coming in the fall of 2025.
Then martin gets serious, and sings the song properly but sings the end in a slurry drunken way.
Then introduces: “This is Queer: The Musical.”
A jam in the meddle where Kevin plays nearly two minutes of keyboard fills before they jump to the bouncing ending.  It’s followed by a lively “Dope Fiends featuring a lengthy drum solo.
At the end as they sing “dark side of the moooooon,” Tim starts playing Pink Floyd’s “Money.”
After an encore break, Kevin comes out and starts playing pretty chords.  “Shaved Head” sounds very different with gentle keys.
It’s a great summer set and a very fun show.

[READ: April 21, 2021] Backwards

I’m not sure what got me on my recent Red Dwarf reading kick (finding out that they had just released a new series on DVD was certainly a spark).  I was sure I had read all of these books before and yet none of them were familiar to me at all.

The Grant Naylor team wrote two books and the second one ended on a cliffhanger.

Then for reasons I’m not willing to look into, both Rob Grant and Doug Naylor each wrote a sequel to that book.  But neither book is like the other and they both go in very different directions.  Naylor’s book was really dark and very violent.

Grant’s book is also dark but in very different ways.

The previous book ended with an old Lister being sent to a planet where everything goes backwards so that he can de-age to about the same age he was when he was on the series.  They plan to meet him 36 years later at Niagara Falls.

But this book opens with a prologue about Arnold Rimmer aged 7 and how he continues to fail in school.  His teachers suggest he be held back, but his mother interferes and that lets him move on.

Then the book starts properly with the crew of Red Dwarf: Rimmer, Cat and Kryten landing on Reverse World and trying to locate Lister.  Because everything goes in reverse (which takes some time to wrap your head around) all of your actions are predetermined.  And, essentially, if you do something dangerous, you know that if you’re not already hurt, you won’t get hurt because you would be hurt to start with.  What?  You’ve already jumped off the cliff, now, you’re doing it backwards.  But you already landed, so you’d already be hurt and going backwards would un-hurt you.

It also means that you un-eat food, good to sleep when you are refreshed, wake up when you’re tired.  And you don’t even want to think about going to the bathroom. (more…)

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Stuart Gibbs–Spy School (2012)

Posted in Adventure, Brothers Osborne, Children's Books, Coronavirus, Death, Funny (ha ha), Guns, Mysteries, Mystery, Ninjas, Quarantine, Richard Thompson, Robbery, Set at School, Spies, Tiny Desk (Home) Concerts, Tiny Desk Concert, Violence on June 23, 2021| Leave a Comment »

SOUNDTRACK: BROTHERS OSBORNE-Tiny Desk (Home) Concert #215 (May 26, 2021).

If Brothers Osborne were an instrumental band I’d really like them. Lead guitarist John Osborne is an amazing player whose riffs are amazing and even though they sound pretty country, he’s amazing to watch.

But when T.J. Osborne starts singing, you understand why they wear cowboy hats.

For their Tiny Desk (home) concert… Brothers Osborne–a country duo that’s long challenged the conventions of country and still managed to top the charts–scale to fit the setting – John’s wood-panelled Nashville living room furnished with plenty of guitars and a tiny desk featuring a Maryland flag mug – but refuse to dial down the intensity.

They open with “Muskrat Greene,” the instrumental that is so impressive.  T.J.’s guitar licks are flying, Adam Box’s drums keep a tight martial pace (and the drum sound is fantastic) and the song never lets up.  I love the backwards guitar part in the middle along with some cool keyboard soloing from Gabe Dixon.

Opening with the explosive instrumental track “Muskrat Greene,” Brothers Osborne and their collaborators use their set to showcase the very best of Skeletons. As on the record, they transition immediately into “Dead Man’s Curve,” a track that’s the ideal interplay between John’s fiery guitar and T.J.’s singular vocal stylings.

After two and a half minutes they segue into “Dead Man’s Curve” which sounds like a pretty great rockin’ roots song.  The main riff after the chorus is spectacular and T.J.’s solo smokes.  I’d like to hear it with different vocals.

“I’m Not for Everyone” is where the set falters for me.  It is such a standard country song–anthemic and familiar–I’m sure it sounds exactly like some other country song.  I might enjoy it more as a cover because the lyrics are pretty funny (country music self-deprecation).  The addition of “local legend” Matt Heasley on accordion is a nice touch.

“Skeletons” opens with some muted acoustic guitar from T.J. and some nice slide guitar work from Jason Graumlich.  Once again, if this song didn’t feel so “country” I would really like it.  Musically it’s solid (John gets another great solo) and lyrically it’s quite clever.  I just don’t like the vocal style.  When I imagine Richard Thompson singing it, I like it a lot better.

“Hatin’ Somebody” (never got nobody nowhere) ends the set with more clever lyrics.  This time John uses the slide for some more great guitar work.  The song has a fun riff and Pete Sternberg’s bass keeps the low end solid.  But the song is just too country for me.

I do appreciate how much fun they are having though.

[READ: June 1, 2021] Spy School

I read Gibbs’ Charlie Thorne books recently and really enjoyed them, so I thought it would be fun to check out his earlier series Spy School (which C. had read a few years ago and really liked).

This story had the same kind of clever wit as the Charlie Thorne books, which I greatly appreciated.  It was also a pretty exciting story.

It starts in the middle of nowhere.  Well, actually in the middle of Ben Ripley’s house.  Where, out of nowhere, a Federal agent has just told him that he has been accepted into spy school.  They’ve had their eyes on him for a while. He did wonderfully on the STIQ exams.  What are they?  He doesn’t remember taking them.

Standardized Test Inserted Questions.  The CIA places them in every standardized test to asses potential espionage aptitude.  You’ve gotten every one right since third grade.

So that’s pretty wild.  Of course everything about Spy school is secret so he can’t even tell his parents or his best friend. They al think he’s going to a super brainy nerdy math school (Ben is a super brainy math nerd after all).

The agent, Alexander Hale, is so cool, Ben can’t wait to hang out with him.  But when Alexander drops him off at school things are not good.  The whole school is under red alert–there seems to have been a security breach.  And Ben is now a target.  Why? because even the enemy has heard about him. (more…)

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Alice Iseman–Heartstopper: Volume 1 (2020)

Posted in Alice Iseman, Buzzy Lee, Coronavirus, Graphic Novel, Kissing, LGBTQ, Quarantine, Romance, Set at School, Tiny Desk (Home) Concerts, Tiny Desk Concert, YA Books on June 22, 2021| Leave a Comment »

SOUNDTRACK: BUZZY LEE-Tiny Desk (Home) Concert #218 (June 2, 2021).

Everybody sounds better in the bathroom, right?

There’s a comfort to be found singing in a bathroom; we all sound better with our voices bouncing off the tiles. For Sasha Spielberg, a.k.a. Buzzy Lee, she took it a step further, recording her Tiny Desk (home) concert in her childhood bathroom, which her parents decorated with images of fairytales.  … “I’d spend hours on end in here dreaming of singing in front of people. It’s also where I wrote my first song, age 5, ‘You’re Just Like Pie Crust.’ It was a pop song. Huge hit.”

Buzzy Lee’s Home Tiny Desk is filmed in her bathroom.  The show opens with her sitting on the edge of her tub playing the keys and gently singing “Strange Town.”  After 43 seconds, she adds a bass note with a second keyboard and the song fleshes out.  But when the camera pulls back you can see Adam Gunther sitting in the bathtub playing modular synth and modular bass (it sounds really good later in the song).

After a minute and a half the song changes from soft washes to a super catchy synth riff and Jorge Balbi Castellano who has been sitting on the toilet all this time, starts adding electronic drums.  Once the riff kicks in the song is really catchy and Spielberg’s voice proves to have a lot of different sounds (including a really cool mic that is like an echo chamber unto itself).

For the rest of the four song set

we hear songs and tales with different themes: obsession, love, attachment, and self-doubt, all filled with playful wordplay and her passionate voice.

It’s weird to hear her ask Gunther to “pull up the file for ‘Coolhand.'”  But it’s all smiles as he “types” in to the keyboard on the tiniest Tiny Desk yet.  This song is poppy and bouncy with some really fun singing in the verses.

When the song ends, she says “We’re going to play ‘Spoiled Love,'” and hands Jorge a newspaper.  He puts down his sticks to read while sitting on the trouble.  This song is a gentle ballad (with no drums).  I love the use of that crazy echoing microphone.

To start the final song, “What Has A Man Done,” she reaches over and “starts” the computer.  Her keyboard has a really soulful sound as she sings this slow, moody piece.  I love the way her voice goes from deep to a really high falsetto as it shifts from verse to chorus.

[READ: June 1, 2021] Heartstopper 1

Sometimes a simple love story which is told very well, can be a real joy to read.  It’s even better when there are wonderful illustrations.

The story opens on Charlie (a quiet boy) and Ben (a much louder boy) kissing in the library at school.  But the bell rings and class starts–and Ben seems a little jerky.

Charlie has a note that says he’s in a new class with kids from all four grades in it.  Charlie is in grade ten and he is placed with Nicholas Nelson an 11th grader.  As their eyes meet, the title–Heartstopper–flashes across the page

Nick is a big strong guy–a rugby player–and although he is very nice to Charlie, Charlie assumes that Nick is messing with him.  Charlie doesn’t trust the jocks–and with good reason.  When it got out that Charlie was gay (in an all boys school) news travelled fast and people weren’t nice to him.  But he seems to be pretty well accepted now–at least by some. (more…)

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Paul Tobin, Arjuna Susini, Vittorio Astone, Saida Temofont–Heist or How to Steal a Planet (2021)

Posted in Aliens, Angelica Villa, Arjuna Susini, Billie Birds, Coronavirus, Corporate skewering, Death, Dogs, Fat Joe, Funny (ha ha), Funny (strange), Graphic Novel, Guns, Huh?, Humiliation, Paul Tobin, Prison, Quarantine, Saida Temofont, The Future, Tiny Desk (Home) Concerts, Tiny Desk Concert, Violence, Vittorio Astone, Yuck! on June 21, 2021| Leave a Comment »

SOUNDTRACK: FAT JOE-Tiny Desk (Home) Concert #217 (June 1, 2021).

This Tiny Desk (Home) Concert opens with big chords from Eric Whatley’s bass and Simon Martinez’ guitar.  Then some record scratching from DJ Ted Smooth and crashing cymbals from Rashid Williams.

Fat Joe walks into a shop and is handed a mic as the Eugene “Man-Man” Roberts plays a menacing melody on the keys.  I like Fat Joe’s vocal style but “My Lifestyle” is just another story of bitches n’ hos.

A founding member of the D.I.T.C. (Diggin’ In the Crates) crew, Fat Joe Da Gangsta has managed to last nearly 30 years and multiple generations in the rap game without ever giving up his lease on the top of the charts.

He introduces DJ Ted Smooth and his protégé Angelica Vila and then the Terror Squad band.

That crew turns the rugged “My Lifestyle” into a visceral experience with layers of nuance added by Joe’s longtime DJ Ted Smooth.

“What’s Luv?” is a slow ballad.  Angelica Villa sings and her refrain of “whats luv” sounds remarkably like a sample–her voice is really amazing.

 On the 2002 smash “What’s Luv,” Angelica Vila takes the spotlight singing a hook originally performed by Ashanti.

It’s weird to see her dancing and grinding like it’s a music video, which I guess it is, but still.  There’s some salsa infusions in the song.

“Lean Back” has a bad ass riff and a repeated chant of “lean back.”  It’s really catchy.

Latino hip-hop legend Fat Joe muscled his way out of the streets of the South Bronx with his debut album, Represent, in 1993. He radiates a different energy in 2021, sauntering in his own uptown streetwear shop, fresh fitted in pink leather and a designer bucket hat, but he’s still got that old larger-than-life electricity.

And yet he still seems unreasonably angry–staring down the camera and shouting, “Tiny Desk don’t play with us like that, man.”  [What could that possibly mean in this context?]

Up next is “Sunshine (The Light)”

an effervescent new springtime jam that was spawned by 22-year-old internet sensation Amorphous, who mashed up Luther Vandross’s debut single “Never Too Much” with Rihanna’s “Kiss It Better.” Joe, who has always had a solid ear for new talent and a prowess for pinning down a buoyant hit record, came in and gullied this sparkling jam, renewing a glow that’s been dim for this last year.

It’s a pretty song and Angelica’s voice sounds really great.  I look forward to hearing more from her.

He shouts out to Luther and then goes on a little rant about being old and having everything ripped away and the coming back at 40.  I don’t know he seems pretty successful to me.

“All The Way Up” ends the set sounding similar to “Lean Back” but with a jazzy sample.  Throughout the song as he raps lines there’s a response.  I thought they were samples, but it turns out that the DJ is his hype man too.

I tend to like rappers in this Tiny Desk Home Concert better than on record, but I really liked Fat Joe’s style.  I’ll have to keep it limited to this though, I think.

[READ: May 20, 2021] Heist

I enjoyed this book so much I wanted to see what else Paul Tobin had written.  Lo and behold, he is responsible for a favorite graphic novel Claudette.  This story is a lot different and a lot darker, but it still has his sense of humor.

The book opens with a man fleeing from people trying to kill him. Glane Breld escapes and says he needs a drink…and a  crew.  He’s been out of prison for nine hours and he is ready for his next heist.

The people he wants are Celine Disse, master gunsmith, Gaville, master of disguise (she is crazy-she enjoys blowing things up and collecting famous peoples underwear).

Saving the best for last Eddy Lets.  Why is he the best?  Because the closest this planet ever had to a leader was Eddy’s mom Lera.  Her assassination was Glane’s fault.

When Glane heads to his rendezvous he is met by a local street urchin named Brady.  Brady latches on to Glane and Glane cant shake him.  But the kid proves useful.  Not only does he get Glane away from some assassins but he also gets Glane a splint for his brain–so his mind can’t be read.

Then Brady, believing he has a tourist with a lot of money, tells the history of planet Heist.  Right up to the story about Glane himself (Brady does not realize the man is Glane).

Dignity Corporation owns all of the planets in the area but this one (Heist).  Glane was hired by the Dignity Corporation to find incriminating evidence on Lera.   This faked evidence was used by Dignity to bring down Lera which eventually led to her assassination.  Soon after, Heist was taken over by Dignity Corp. (more…)

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Edwidge Danticat, Shannon Wright–My Mommy Medicine illus. 2019

Posted in Children's Books, Coronavirus, Edwidge Danticat, Karol G., Parenting, Quarantine, Shannon Wright, Tiny Desk (Home) Concerts, Tiny Desk Concert, Uno on June 20, 2021| Leave a Comment »

SOUNDTRACK: KAROL G-Tiny Desk (Home) Conert #216 (May 27, 2021).

I’m always amazed when a musician is described as a superstar but I’ve never heard of her.  Well, Karol G. is a reggaeton superstar and it makes sense that I’ve never heard of her since I’m not even really sure what reggeton is.  This set doesn’t really clarify that for me because this just sounds like great pop music and indeed: 

Colombian reggaetonera Karol G floats between styles on this wistful Miami set with the breeziness of a pop star who knows no boundaries – or maybe it’s the calculus of an artist who has built a career on subverting them. Her personal, unapologetic flourish has allowed her to top the Billboard charts of a genre with limited female participation, and even less superstardom.

It was pretty cool to see that Karol G.’s band was all women (even if some of them look like they’re still in high school, they are all great).  

Her signature bichota energy is subtle, yet pervasive in her stripped-down Tiny Desk (home) concert. Flanked by an illuminated all-women band, Karol G’s authentic command of the intimate moment and its intended audience is unmistakable. 

She plays three (or four) songs. 

She deftly moves from a ballad-like rendition of urbano mash-up “Créeme/A Ella.”

She has a lovely voice with wonderful flow.  Then Guillana Merello starts thumping the floor toms to kick the song off and then she looks so very happy once he main part starts.  Sus Vazquez plays interesting chord shapes high up the neck while Anastasiia Zaichenko plays a bouncy bass. Sus plays a series of pretty chords and things slow down as the song shifts to “A Ella” with soft keyboard washes from Bryan Bliska.

to a soulful performance of trap corrido “200 COPAS” (her proclaimed favorite song at the moment) with Mexican Regional cariño Danny Felix.

Felix plays some great acoustic melodies on the 12 string and the song has a very Mexican/Puerto Rican feel.

She speaks a lot between songs although I have no idea what she’s saying.

Closing with a first-ever live performance of the dreamy duet “CONTIGO VOY A MUERTE,” she marks the end of the concert with a nod to her roots. Intertwined with fellow Colombiano Camilo, Karol G expresses gratitude and pride.

You have to check out Camilo’s mustache!  And the fact that his voice is actually higher than hers.  The songs tarts with some gentle guitars and keys as Camilo sings.

[READ: June 19, 2021] My Mommy Medicine

I’ve read a lot of short stories by Edwidge Danticat, but I had no idea she wrote a children’s book (with lovely illustrations from Shannon Wright).

The story is pretty simple.  In the author’s note, she says that she is a mom to two daughters and whenever they were sick she would lavish them with “mommy medicine.”

In the book there’s one little girl and she knows she can count on her Mommy medicine. (more…)

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Mac Barnett & Jory John–The Terrible Two Go Wild (2018)

Posted in Children's Books, Coronavirus, Cows, Deep Sea Diver, Funny (ha ha), Humiliation, Jory John, Joseph, Kevin Cornell, Mac Barnett, Pranks, Quarantine, Revenge, Sharon Van Etten, Summer Camp, Tiny Desk (Home) Concerts, Tiny Desk Concert on June 18, 2021| Leave a Comment »

SOUNDTRACK: DEEP SEA DIVER-Tiny Desk (Home) Concert #214 (May 25, 2021).

I had not heard of Deep Sea Diver before this year.  But her song “Impossible Weight” is definitely one of my favorite songs of the last year.  Apparently, last year NPR voted “Stop Pretending” as one of their favorite song of 2020, so she clearly writes great songs.

She’s also got a keen sense for presentation, as soon as you see her set.

She also chose a very particular location for the shoot: “There were countless times this past year that I wanted to be transported out of my house and into a different world,” the singer and guitarist explains to NPR via email. “One of my favorite and most inspiring worlds is that of David Lynch’s Twin Peaks. I wanted to pay homage to the show by recreating the red room for our Tiny Desk.”

I’m not saying that that would be terribly hard to do, but it certainly took a bit of effort.  And it looks awesome.

Inside the red room, the set includes three tracks from Deep Sea Diver’s marvelous 2020 album, Impossible Weight… joining the band are some special guests: Natalie Schepman and Meegan Closner of the band Joseph sing background vocals, and Dobson’s Beagle, Henry, makes an appearance. (Dobson claims he’s the only one who didn’t care that Deep Sea Diver couldn’t tour last year.)

“Impossible Weight” sounds fantastic.  I really love everything about it.  From the mutes guitar intro to the super catchy chorus to the wordless hook.  Every time I heard it on the radio, I was singing along to that chorus.

But that
was then
and this is now
I tried
so hard
not to let you all down
It’s an impossible weight
So I’ll just let you down now

On the record, Sharon Van Etten sings some part of it. I’m not sure what–I assumed Sharon sang the chorus, but it sounds the same when Dobson sings it here.  But in this Tiny Desk two thirds of the band Joseph joins her on backing vocals (I wonder why Allison wasn’t part of it) and they sound perfect.

After the song her drummer (and husband) brings out Henry, who gets a credit.

  • Henry Lee: beagle

“Lights Out” is up next and wow does it rock.  It’s got a great fuzzy bass intro from Elijah Thomson.  I feel like her voice sounds a bit like Torres here (no bad thing).  The sprinkling of keys from Elliot Jackson are a subtle touch, as is his later guitar playing.  But man, the guitar solo that Jessica plays absolutely rips–she gets a fantastic sound.  After the solo the song gets quiet for a minute but it slowly builds in power.  Mansen’s drumming by the end of the song is exhausting to watch.  The song comes to a fantastic abrupt end and it really feels like it needs a crowd cheering after it (so it’s nice that Joseph is off stage to provide the cheers).

She moves to the piano for “Wishing” where she shows off

an impressive homemade bolo tie that she crafted from an NPR enamel pin and “a little bit of duct tape.”

Pianos tend to mean ballad, and this song is more ballady for sure.  The synths give it a retro feel, although Mansen provides some good rumbling drums for the catchy chorus.  I also got a huge kick out of the end when she plays a chord and sings “Awesome.”

“Stop Pretending,” was chosen as one of NPR Music’s favorite songs of 2020.

It has a cool opening guitar riff and later in the song the guitar sound she gets is an amazing roar.  In fact the end of the song builds to a great wall of noise with intense drumming and some great bass lines while Jessica plays an amazing solo.

[READ: October 10, 2016] The Terrible Two Get Worse

I really enjoyed the first two books in this series (Mac Barnett is such a hilarious writer–or maybe Jory John is the funny one?  Well, I know from past books that mac is hilarious).  But I forgot about the series and didn’t realize that this one (or the next one) had come out.

So book three is different from the first two because it is set in the woods. In the summer!

Niles and Miles are spying on Papa Company.  Papa Company is a patrol at a summer camp–the wonderfully named Yawnee Valley Yelling and Push up Camp.  Papa Company is run by Josh Barkin.  Josh is the son of the boys’ Principal and their archenemy.  He has two cadets in his patrol.  He has nicknamed them Dugout and Mudflap.  It’s not entirely clear if Josh is supposed to be taking these boys on as his own patrol, but the only rules at camp seem to be yelling and push ups, so….

Josh was sent to the camp last summer as punishment.  But he loved the yelling and meanness so much that he asked if he could stay there all summer…and return again this year.  The camp is big on acronyms, and the authors have a lot of fun with them (right up until the end!) (more…)

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MariNaomi–Distant Stars: Life on Earth Book 3 (2020)

Posted in Abortion, Aliens, Coronavirus, Domestic Violence, Graphic Novel, Graphic Universe, Jason Isbell and The 400 Unit, Kathleen Edwards, MariNaomi, Marriage Trouble, Mdou Moctar, Nigeria, Quarantine, Romance, Set at School, Sexism, Tiny Desk (Home) Concerts, Tiny Desk Concert, Trilogy, XPN Fest, YA Books on June 17, 2021| Leave a Comment »

SOUNDTRACK: MDOU MOCTAR-Tiny Desk (Home) Concert #213 (May 24, 2021).

Mdou Moctar has been getting some well deserved recognition lately.  It’s pretty great to see a Nigerian performer, who plays distinctly Nigerian style music making an impression on American audiences.

Of course, since I’m contrary, I’m more attracted to Moctar’s drummer who is playing a calabash–in this case red object that looks like a turtle shell and makes a remarkable range of sounds.  But really the focus should be on Moctar’s guitar playing.

Get ready for some fiery desert guitar-shredding, Saharan style, with the music of Mdou Moctar. Producer and American bassist Mikey Coltun told me that “the concert was filmed outside of the house we were all staying at in Niamey, Niger, in November/December 2020.” He continued, “As with any sort of musical happenings in the region, once some music is blasted, that’s an invitation for anyone to come join, sing, clap, dance, and just come together as a community. We wanted to present the Tiny Desk exactly like this, from when we started playing to finally the energy growing with fans crowded around filming on their cell phones and passing around Tuareg tea.”

And so, the four musicians, seated on a blanket (designed with oversized roses) with amps on either side, start playing with no fanfare.

The (home) concert starts off with Mahamadou Souleymane, a.k.a. Mdou Moctar, playing a melodic line on acoustic guitar, with Ahmoudou Madassane on rhythm guitar, Souleymane Ibrahim playing percussion on a calabash, and Mikey Coulton on his Fender Mustang bass on the song “Ya Habibti” from the album Afrique Victime. It’s an album of songs dealing with intense subjects close to Mdou Moctar’s heart: colonialism, exploitation, inequality, but also love.

The song almost feels like a drone because the bass and rhythm pretty much never change throughout.  The drumming is muted–effective but never sharp.  And Moctar’s voice and lead guitar work is subtle.  I’m sure since I don’t understand what he’s singing (which sounds pretty intense), I find his voice very soothing.

“Tala Tannam” follows in the same pattern–except the bass is even less mobile and the way Moctar sings it feels like a lullaby.  The best part is watching Ibrahim and Coltun clearly enjoying themselves–smiling to each other and even hugging at one point.  It’s hard to know how long these songs are as they seems to just go until they stop, but this one does have a deliberate ending.  It’s when he puts down his acoustic and grabs the electric guitar.

You can hear the real musical fire on the last song, the roughly 7-minute psych-rock title track to Afrique Victime. “Africa is a victim of so many crimes,” Mdou Moctar sings in French. “If we stay silent, it will be the end of us.” Silence is not something in Mdou Moctar’s vocabulary.

Moctar’s soloing was subtle on the other songs, but you can really here it standing out with this sharp electric guitar sound.  It’s nice to watch his fingers fly around the neck. There’s some guitar god moments in the soloing–including some finger tapping–but having him seated and equal with everyone else, the solos never seem showoffy.  I also like the way the song speeds up incrementally as it goes–mostly notable by how fast Ibrahim is suddenly hitting the calabash.

[READ: June 10, 2021] Losing the Girl

This final book of the trilogy was a little disappointing for me.

I don’t know what I was expecting, but I feel like there wasn’t enough resolution for anyone.

The book opens on Nigel.  Claudia has shown up to tutor him in math.  He is so smitten he writes a poem that he submits for class.  He calls it “Teacher” and his teacher assumes it is about her.  I can’t even believe that he would submit a poem with the line “teach me how to make puppy love turn into doggy style”  (Nigel is so clueless).

Next we see Brett at his mother’s funeral.  Johanna tries to comfort him but he blows her off demanding to know why she didn’t tell him about her and Paula.  They smooth things over and she asks if his father knows that his mother died.  He says no, he hasn’t talked to his father in a long time.  Jo says her mother might know how to get in touch with him.

The next section is about Darren.  He is by himself remembering how his father hurt his mother and how he doesn’t want to repeat the cycle. (more…)

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MariNaomi–Gravity’s Pull: Life on Earth Book 2 (2019)

Posted in Abortion, Aliens, Bob Boilen, Coronavirus, Domestic Violence, Graphic Novel, Graphic Universe, Laurie Anderson, LGBTQ, MariNaomi, Marriage Trouble, Quarantine, Romance, Set at School, Sexism, Tiny Desk (Home) Concerts, Tiny Desk Concert, Tiny Desk Unit, Trilogy, YA Books on June 16, 2021| Leave a Comment »

SOUNDTRACK: LAURIE ANDERSON-Tiny Desk (Home) Concert #212 (May 20, 2021).

Anyone who likes original or avant garde music knows Laurie Anderson.  Even forty years later, her music is unlike most other music out there.  Her music still sounds futuristic.

Which doesn’t mean it’s always enjoyable.  But some of it is quite good and it’s all pretty fascinating.  It’s also fascinating that you know instantly that it’s Laurie Anderson.  Her voice hasn’t changed in years–true she doesn’t sing, but it’s still the same.

She begins this set, which feels incredibly minimal with her keyboardist (and so much more–she played on and produced Big Science with Laurie Anderson in 1982) Roma Baron playing a simple clicking beat track.  She speaks (with her voice processed):

I met this guy and he looked like he might have been a hat check clerk at an ice ring.  Which in fact he turned out to be.  And I said oh boy, right again.

And Rubin Kodheli on the cello is playing gentle strings, including high notes sliding down the fretboard.

Is the song a story?  Does it have a narrative?  Or is it just stream of consciousness?  I’m not sure.

Laurie Anderson is a revolutionary artist who has mixed storytelling, music and technology for the past four decades plus. This Tiny Desk (home) concert celebrates the truly breathtaking breakthrough album she put out in 1982, Big Science. On that record, she used a few different voice processors; one of them was a Vocoder. By singing into a microphone attached to a keyboard, you can hear how it effectively adds harmony to her voice on “Let x=x.”

Laurie Anderson’s music seems so serious, so it’s delightful to hear her be so loose and chatty (and funny) between songs.

She introduces Rubin Kodheli, her favorite musician, with whom she plays all the time.  They create what’s listed here as “Violin Cello Improv.”  It’s about a minute of vaguely dissonant string music.

Then comes the big song, the one that people know Laurie Anderson for.  If it wasn’t a hit, it was certainly popular.

Laurie Anderson also used that [Vocoder] effect, creating what I think of as ‘the voice of authority’ in her storytelling, on “O Superman,” a song unlike anything music I’d heard when it came out in 1981. She made use of a vocal loop, something ever-present these days in sampling, but here she uses an Eventide Harmonizer, looping the single syllable “ha” as the rhythm of the song. It’s a song about dealing with the technological revolution, about compassion; if it’s your first time hearing it, take it in and see what strikes you.

The song has always felt very mechanical to me (it must be the looping and the synthesized voice), but it’s really interesting to hear how it changes live. Not drastically, but it feels like a living breathing song, which is pretty neat.  As is Bob Boilen’s story:

On a personal note, I was a lover of Laurie’s music back in those days; they were also the days I played synthesizer in my band Tiny Desk Unit. We opened for Laurie Anderson in 1981, and Laurie joined us onstage for a song. I bring this up because the Tiny Desk name (created by our guitarist Michael Barron) was familiar to Laurie long before this NPR series existed. At the end of her home concert, Laurie, I assume, mistakenly, thanks Tiny Desk Unit for having her. It made me smile and sparked so many memories. Thank you, Laurie.

Laurie Anderson is 74 and she seems as vibrant as ever.

[READ: June 10, 2021] Gravity’s Pull

I really enjoyed everything about Book 1 of this series and I was delighted to see that Volumes 2 and 3 were already out.

Volume 2 follows the same characters and is laid out in the same way (with each section following one of the characters but having the timeline stay linear.  MariNaomi also seems to be having even more fun with her drawings,

The first part is about Nigel Q. Jones (just like in the last book).  He’s in class when his teacher announces that the girl who was missing in book one (Claudia Jones–no relation) has suddenly returned and is coming back to school.  The teacher asks that everyone just give her space.

We realize it has been four months since the last book so Claudia has been gone along time.

Meanwhile Nigel still thinks about Emily (who has a cool new haircut–when a friend said she finally has good hair, the insult is not unnoticed) but realizes it’s time for him to move on.  As he’s thinking this Claudia Jones walks into the building and Nigel falls instantly in love with her.  How does she suddenly look so beautiful?  Almost otherworldly.  Here’s where MariNaomi has fun with the illustrations, making Nigel’s dreadlocks look like a kind of glove the way she draws his head. (more…)

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MariNaomi–Losing the Girl: Life on Earth Book 1 (2018)

Posted in Abortion, Aliens, Coronavirus, Domestic Violence, Graphic Novel, Graphic Universe, Jason Isbell and The 400 Unit, Kathleen Edwards, MariNaomi, Marriage Trouble, Quarantine, Romance, Set at School, Sexism, Tiny Desk (Home) Concerts, Tiny Desk Concert, Trilogy, XPN Fest, YA Books on June 15, 2021| Leave a Comment »

SOUNDTRACK: KATHLEEN EDWARDS-Tiny Desk (Home) Concert #211 (May 19, 2021).

Kathleen Edwards is a wonderful songwriter with a fantastic voice.  I discovered her from her 2008 album Asking For Flowers.

She put out one more record and then disappeared.

Struggling with depression, Kathleen Edwards opened a coffee shop called Quitters Coffee and lived a very different life.  A handful of years later, in 2017, she was invited to Nashville by Maren Morris to write some songs. That Nashville visit sparked a new beginning and eventually the 2020 album Total Freedom, which birthed the four songs you hear in this Tiny Desk concert.

So Kathleen Edwards is back with a wonderful new album.

On this Tiny desk she is joined by Todd Lombardo and Justin Schipper on dobro (that slide guitar looking thing).

Kathleen’s voice sounds great and on “Glenfern.”

From a house in East Nashville, Kathleen Edwards sings about how thankful she is for those early aughts when she was praised with awards, television appearances, touring to packed venues — even if the tour bus with the bed in back was “total crap.” As she continues to sing “Glenfern,” the opening track to her first album in eight years as well as this Tiny Desk (home) concert, she remembers her former husband and collaborator.

After the first song she introduces the band and says I can’t sing through a mask so after this we’re going straight to to the COVID clinic.

Kathleen Edwards seems happy playing these new songs.  They can be songs of sadness, sometimes filled with seething, such as “Ashes to Ashes,” but she’s also grateful for her everlasting love for a four-legged creature and the little catalpa tree where it’s buried.

There’s some beautiful interplay of guitars in this song.  It’s amazing how great her voice sounds with no accompaniment, no effects.  And afterwards she tells a delightful story about catalpa trees–I just passed one on a dog walk yesterday and absolutely want to try to grow my own this year.

“Hard On Everyone” is the song that’s been getting some airplay around here.  It’s so catchy, I love it.  And the lyrics are pointed and spot on.  when the song is over she and Todd bump elbows and their guitars bump for a nice resounding thump.

I would love to see Kathleen Edwards live.  She played one of her first shows after retiring at XPN Fest, unfortunately that was the year we went to Newport Folk Festival.  Now I see she’s coming around again, but she’s opening for Jason Isbell, and I don’t want to see him, so I’ll have to hope she finds a smaller club to headline.

[READ: June 10, 2021] Losing the Girl

T. brought this book home from school and I though the cover looked pretty neat.  When I looked inside I really liked the crazy drawing style(s) of it (S. did not like it at all).

The book opens on Nigel Jones, a boy with dreadlocks (his profile is always great, and MariNaomi uses these dreadlocks to express Nigels’ mood in clever ways).  The book also uses simple things like arrows to convey movement in a panel, which I liked.  One of the early ones shows a city block.  We just saw Nigel get off a bus and the arrows and a tiny figure on a skateboard show which way he is going.  This effect is used very well at a party later as we see the crowd move about the room in a static picture.

It’s through Nigel that we learn that nobody’s phones are working–this is a steady concern and a minor (or major) irritant throughout the story.   We also learn that a girl, Claudia Jones, (no relation) has been missing for three days.  Everyone has speculations about what happened to her.

Nigel lives with his mom (his dad has moved out) and Nigel is not too happy about the new arrangements–just because your parents separate doesn’t mean they fight less.  In school the next day Nigel tells a joke to Emily.  I found it very funny but Emily doesn’t seem to.  She asks if that’s his way of flirting with her.  A lightbulb goes off and he says yes (he’s had a crush on her for years).  She agrees to meet him at the bleachers later. (more…)

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