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Archive for the ‘Set at School’ Category

SOUNDTRACK: DROPKICK MURPHYS-The Meanest of Times (2007).

Ever since The Pogues, traditional Irish music has been matched to a punkish attitude. The Dropkick Murphys take this one step further in that they are pretty much a hardcore band, and yet they throw in heaps of Irish attitude, channeled through growing up in Boston, Ma. I got their first album when it came out because I was living in Boston at the time. Then I more or less forgot about them. But The Meanest of Times made some noise, so I checked them out again. Despite their ever changing lineup, the band hasn’t changed that much in all these years. They still write great, fast, beer-swilling sing-alongs. Their vocalist sounds like the gruff, ass-kicking younger brother of The Mighty Mighty Bosstones’ Dicky Barrett. There’s a second vocalist on this record too who is less gruff, but, I feel, less effective. He sings one or two songs, but he’s primarily background in nature. And they still throw in the occasional bagpipe, accordion and mandolin. They have diversified their sound a little bit now. There are a few slower (but no less raucous) songs and even a ballad.

Lyrically, they touch on a lot of “political” issues. Not as in day-to-day politics, but more as in a general outrage at injustice (priest sex scandals, children’s services in the state of Ma, violence and war etc). They also reinvent some traditional style songs. “(F)Lanigan’s Ball,” a remake sort of of “Lanigan’s Ball” and old trad song. And “Johnny I Hardly Knew Ye” is an update of “When Johnny Comes Marching Home” done as more of a sea shanty–a punk sea shanty.

I’m not sure why hardcore punk matches so well with traditional Irish jigs, but it really does. If you like your music fast and loud, The Dropkick Murphys throw in a few extra ingredients to diversify your portfolio.

[READ: May 28, 2008] Diary of a Wimpy Kid & Diary of a Wimpy Kid: Rodrick Rules.

A lot of kids come into the library looking for these books. When I finally looked at it, it looked pretty funny, so I picked it up. I’m going to review the two books together because the second one is basically a continuation of the first one, there’s not a lot of differences, but, since the books are pretty short, that’s not a problem. (more…)

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SOUNDTRACK: THE WEAKERTHANS-Left and Leaving (2000).

The Weakerthans are an interesting band from Winnipeg. They were formed by the founding one of the members of Propagandhi, a fantastic, very political punk band. And it’s clear that even though the sound of the Weakerthans is very different, the tone is quite similar. John Samson writes wonderfully literate lyrics (these are not overtly political as in Propagandhi, but nor are they apolitical either).

I found out about these guys with Reunion Tour, (their most recent release) and I decided to fill in the back catalog. The single from this album, “Aside” features a faster style (more rocking, less introspective) than the rest of the album, and is consequently, my favorite song. The rest of the album slows down quite a bit. It’s a great chance to really listen to the lyrics, and get absorbed in the music. I often don’t have opportunities to do this, (especially when driving), so the record loses something for me. However, Samsons’ vocals are always clear, which allows you to catch a great line even if you’re not paying attention.

[READ: June 10, 2008] Gray Horses

This was a fantastic book. That’s all there is to say about it. (more…)

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SOUNDTRACK: Sirius Radio-The Grateful Dead Channel

I’ve never been a big fan of the Dead (even though I like Phish quite a bit). I never really got into the subculture, and really the music seemed peripheral to their fanbase. I recall being very disappointed when I bought What a Long Strange Trip It’s Been back when I was a metal head and couldn’t believe that a band with that name and with skeletons all over the place was that wimpy.

Well, it turns out that Sarah was something of a fan, and, after all these years of listening to Phish, I’ve grown an appreciation for the Dead as well (and Cherry Garcia, of course).

So, as we have Sirius radio, we put on the Grateful Dead channel one night. It’s a fascinating channel, as it sounds like it’s some guy playing all of his Dead bootlegs. It was funny to not hear any LP tracks. I found the whole experience rather pleasant. It worked great as background music, and was utterly inoffensive (not exactly a ringing endorsement, I know but). I enjoyed the experience and would definitely do it again. Probably not anytime too soon, after all, that was a lot of Dead to ingest. But someday, I’m sure…

[READ: June 10, 2008] Zombies Calling

Aside from Oni Press, my favorite comics publisher is SLG, Slave Labor Graphics. They’re generally a little darker and weirder than the Oni stuff, so it suits my dark side when needed. (more…)

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born.jpgSOUNDTRACK: LOUDON WAINWRIGHT III-Career Moves (1993).

I first discovered Loudon Wainwright III through the great short-lived TV series Undeclared. Wainwright was the main character’s dad, an unlikable lout who, over the course of the show, became a really funny, interesting character.

Wainwright has become something of a staple in the Judd Apatow world, and he did the soundtrack for Apatow and Seth Rogen’s film, Knocked Up. And, as synchronicty happens, I thought I’d check out his music as well. I’ve gotten some records from various points in his career. This live collection, Career Moves, is a definite highlight. Wainwright writes poignant songs that are often, inexplicably, funny. He’s not a “funny” songwriter or a “novelty” singer (although his first big hit “Dead Skunk” is pretty close) but he writes in a wry tone that often brings a really funny couplet into a moving song.

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sonmob.jpgSOUNDTRACK: GORDON LIGHTFOOT-The Complete Greatest Hits (2002).

gordon.jpgIn keeping with the Gordon theme of this post, I’m going to mention Gordon Lightfoot. He is an iconic Canadian folk singer that I was sure I must have heard in the past. He seemed to be mentioned a lot recently, so I decided to get a hits collection and see what’s up. I was somewhat surprised to see that I knew only one song by him (“The Wreck of the Edmund Fitzgerald”) and one other one “For Lovin’ Me” because it was covered by Peter, Paul and Mary.

So, after a few listens, I find that Lightfoot’s melodies are really strong, and I found myself singing along to most of the catchy choruses. It’s interesting to see his career evolve over the years: from the 2 minute folkie to some longer, more complex songs, to the 70s AM radio songwriter, to the very unfortunate 80s period, and finally back to basics in the 90s.

I know I won’t need any other records by him, but he’s a great addition to my folk collection. This album seems to cover a track or two from most of his records (although he was quite prolific). I prefer the earliest, most spare folk tracks, especially the “Canadian Railroad Trilogy,” but some of his later songs, while more produced, are even catchier: “Summer Side of Life” “Sundown.” And, even though some of these later songs are a little cheesey (in a 70s AM radio way), they’re still pretty good: “Cotton Jenny” and “Daylight Katy.” But still, the highlight is “The Wreck of the Edmund Fitzgerald,” what a great great song. And what a great great mustache too!

[DIGRESSION]: There’s a song on Moxy Fruvous’ b record called “Gord’s Gold” which I never understood. It was only after investigating Gordon Lightfoot that i realized he has two greatest hits records called “Gord’s Gold.” The Moxy song must be some kind of light footed parody of Mr Gordon. Also, Barenaked Ladies’ first record is called Gordon, and in the back of the liner notes they list all kinds of famous people named Gordon.

We figure that Gordon must be the quintessential Canadian name. I was surprised to find out that Gordon Korman is from New York.

[READ: March 2008] Son of the Mob

This is the YA book that Sarah has talked to me about the most. When we were first dating she used this book in her booktalks to the local teens in school. A booktalk is a compelling introduction to a book, designed to whet your appetite for more. Her booktalk for this title stuck with me, even if I didn’t remember the whole thing. But I knew I’d be checking this one out. (more…)

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rockstar.jpgSOUNDTRACK: RADIOHEAD-In Rainbows (2008).

inrainbow.jpgOK Computer has been my favorite album for many years. And since then, I’ve been consitently blown away by Radiohead. Even their willfully obscure phase is pretty awesome in my book.

I’m not going to say much about Radiohead’s decision to sell this record online. I congratulate them for going on their own and selling so many copies. Good for them.

I bought the CD.  I would have bought the crazy expensive package, except that it was crazy expensive, so…no.

Anyhow, this album is really great. Really, really great. Radiohead have mellowed since the gorgeous cacophony of “Paranoid Android” but their songwriting has never sounded better. The songs all just sound so good. Which is sort of like saying I like eggs because of the way they taste, but the point is tsill there.

If you were to compress all of the things that Radiohead has done since OK Computer into one album this is what you would get. Not to say that it’s derivative, because it isn’t. I’m listening to it right now, and the amazing hook of “Jigsaw Falling Into Place” blows me away every time. The first time I heard “Werid Fishes/Arpeggi” I was instantly sucked into the groove. Even the opening song, which starts out with a weird staccato drum beat leading you to think here’s another techno-Radiohead disc is taken in a whole new fantastic direction by the great, weird and wonderful guitar lines that soon follow.

It’s just an amazing creation. It’s almost alike a greatest hits record of all new material. Great basslines, great harmonic vocals, astonishing guitar work, and best of all, crazy beats that keep you off balance and in the groove at the same time.

I’m curious to hear what some of these originally sounded like (there was a lot of talk of fans hearing these songs in different versions on tour, so if they ever release some live shows, that would be pretty neat. In the meantime, I’ll take this compact token of Radiohead’s output.

[READ: March, 2008] Rock Star Superstar.

So, this is my first serious foray into YA books. I got this book purely for the title. I was showing a patron the YA section, and this title jumped out at me. I’m thrilled that I took it out. In continuing with my YA theory (see What I Learned… (18)) this book is very short. It also cuts right to the chase. Our hero is Pete, a very talented bass player. He has been playing for years and is very skilled, and in the way of most high school musicians that I knew, he’s very uptight about the difference between “real” musicians and “amateurs.” I can recall having endless discussions with my fellow classmates about the merits of various musicians, (shout out to Al Crisafulli, Mike Hoblin, Tom Fitzpatrick and Steve Angelone…let’s see if you find this by Googling yourselves! “Is Geoff Tate a better singer than Bruce Dickinson?” “Is Yngwie Malmsteen a great guitarist or an overrated poseur?” (more…)

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abstinence.jpgSOUNDTRACK: PEARL JAM-Live at the Gorge 05/06 (2007).

gorge.jpgPROLOGUE: When Guns N’ Roses’ Appetite for Destruction came out, it galvanized the three friends I had with the most disparate musical tastes. I knew an indie rock guy, a metalhead, and an industrial/goth guy, and all three of them loved Appetite for Destruction. It was the only record that they all agreed on. I thought the same would happen with Pearl Jam’s Ten. But, the goth guy didn’t think it was dark and sleazy enough (like GnR) and the indie guy found it too commercial. And, actually, I only talk to one of the three of them these days anyhow.

I’m usually pretty cynical about celebrities. And, I know well enough that rock stars who say “We love you” and “Hello, Cleveland” are, at best, pandering to us. And yet, there are some who seem sincere enough to be believed.

Eddie Vedder is one of those sincere fellows. Ever since Pearl Jam took on Ticketmaster, they seemed to be using their fame and influence for the good of the common man (or at least the common fan). Since then they have donated to various charities, thrown their support behind a (in hindsight, bad) politician (Ralph Nader, a guy whose idealism I supported, but whose reality was less than ideal), and tried their best to muckrake against the current administration. So, when he thanks the audience for letting him share music with them, when he says he’s genuinely glad to be there, and when he acts moved by the show, it all seems genuine. Again, maybe he’s a good actor (although I just watched Singles, for the first time in many years, and Eddie and some of the other PJ guys are in it, and he’s not exactly a scene stealer) but I believe him.

This is all a long set-up to review this recent live collection. It’s a collection of three shows: one set is 3 CDs the other two are 2 CDs each. The first show is from 2005 and the second and third are their tour-ending shows of 2006. All of these shows were performed at The Gorge amphitheater outside of Seattle. From the talking that Eddie does, the Gorge sounds like a great place to see a show, and it sounds like there is camping on the grounds. I only wish they included photos of the show, as I’d love to see it.

The 2005 show starts out with a disc of acoustic songs. The band appears to be in unplugged mode, chilling out before letting ‘er rip in the second half of the show. As with most of their shows, the set list is long and varied. Their shows often clock in at over two hours, with a break at about the midway point. There is a decent selection of tracks from throughout their career, as well as a couple of covers. The notable aspect of this show is that Tom Petty is performing on the following night, and Vedder vows to keep him awake all night. He gets the crowd to chant “Hello Tom, Come down, Tom,” which, sadly Tom never does. But Vedder does a rendition of “I Won’t Back Down.”

The two 2006 shows are back to back two nights in a row. It sounds as if people camped out overnight. And there is some good-natured banter between Vedder and the crowd. What is especially interesting to me about this two-night event is that they play 61 songs over the course of the two nights and the only ones they repeat are “Alive,” “Corduroy,” “Even Flow,” “Given to Fly,” “Life Wasted,” “Severed Hand,” “World Wide Suicide,” and “Yellow Ledbetter.” It’s quite apparent that the band knew there would be lots of folks for both shows and they designed a nicely diverse set list for both nights.

There’s also an interesting shout out to the previous year’s show. On the last night he mentions the Tom Petty taunting from last year, and a large portion of the audience begins the “Hello, Tom. Come down, Tom.” chant.

If you’ve been a big fan of Pearl Jam (as I am) you probably have this. But if you’ve been a mild fan of Pearl Jam over the years, this is a great set to get. You’ll get all of the hits, you’ll get a bunch of songs you’re unfamiliar with, and you’ll get a band playing at its peak. The live renditions of their songs are typically fast and furious. There’s also a lot of room for improvisation. And, it’s a chance to see the lighter side of such a “serious” band. A lot of people used to like Pearl Jam but feel their works since Ten have gone steadily downhill. I disagree, but I think that’s because listening to the live versions of the songs makes you appreciate them even more. So, check it out, it’s well worth it.

[READ: January 8, 2008] The Abstinence Teacher.

My first book finished in 2008! And, I can only hope that this is a good portent for future books this year. Wow, this book was great!

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inbetween.jpgSOUNDTRACK: RICHARD THOMPSON-Sweet Warrior (2007).

sweetw.jpgI recently posted a bunch of reviews of RTs back catalog, and here’s his latest release. I almost feel like it’s a waste of time for me to review this because, what can I say? It’s great. Strong songs from start to finish. Catchy rockers, bitter ballads, everything is fabulous. My only negative mark is that the third song, a slow ballad, is really long, about 7 minutes, and there’s nothing remarkable about it to justify that length. It’s a pretty enough song, but could have a few minutes lopped off of it. Otherwise, the album is great.

During his earlier releases, he seemed to have a hard time finding producers who could really capture a sound that suited him. I’d say his last two or three releases, including this one, have found him with excellent production values. They really capture a full sound of RT’s guitar and his vocals are always strong in the mix. This is a great place to start for getting into the RT catalog, and no doubt, half of these songs will become classics. Just looking at the track list, I see these outstanding songs:

Needle and Thread, Mr Stupid, Dad’s Gonna Kill Me, Poppy-Red, Bad Monkey, Too Late to Come Fishing, Sneaky Boy, Johnny’s Far Away, and Guns are the Tongues.

Stellar collection again, RT.

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hp.jpgSOUNDTRACK: THE DECEMBERISTS-Castaways and Cutouts (2002) & Her Majesty (2003) & Picaresque (2005) & 5 Songs (2003) & Billy Liar [single] (2004) & The Tain (2004).

The Decemberists were, in fact, the soundtrack for this book. The last 250 pages were accompanied by the entire Decemberists catalog [excepting The Crane Wife, which was out in the car]. Whether or not it was a good choice, I feel that it certainly set a mood for the book.

I feel that the Decemberists have been part of my cultural landscape for many years. Their name seemed to pop up from time to time in a way that said I should check them out. And yet I resisted. No real reason why; I just did. And then when Picaresque came out and was so widely applauded, I thought I would need to hear for myself what this band was about. I was immediately smitten: by the tunes, by his voice, by the subject matter. Everything. Such an odd band, yet so smart, so literate, so edifying. They are truly one of the great storytelling bands.

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onbeauty.jpgSOUNDTRACK: STEELY DAN-Can’t Buy a Thrill (1972) & Countdown to Ecstasy (1973) & Pretzel Logic (1974) & Katy Lied (1975) & The Royal Scam (1976) & Aja (1977) & Gaucho (1980).

cantbuy.jpgMy theory about Steely Dan is that they are the definition of Adult music. No one under the age of 25 should listen to them. I hated Steely Dan all through high school and college, and then sometime around the age of 30, I suddenly liked them. So, it’s something about the style, and the sound, and Donald Fagan’s voice, and Walter Becker’s whatever, that should be utterly anathema to anyone under 25. (more…)

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