Feeds:
Posts
Comments

Nell Zink–“Bonebreaker” (Harper’s, June 2017)

July 29, 2017 by Paul Debraski

SOUNDTRACK: RARE ESSENCE-Tiny Desk Concert #637 (July 19, 2017).

I have learned of go-go music exclusively from Tiny Desk Concerts:

Dominated by drive and momentum, heavy on percussion and bass, go-go music is all about the beat. Live, “songs” can continue on for half an hour, as the percussion continues to simmer and punctuate between and across different pieces. “That’s why we call it go-go, because it goes on and goes on and goes on,” as guitarist Andre Johnson put it in a documentary film.

This visit by Rare Essence perfectly encapsulated the genre’s incomparable meld of soul, R&B and, most importantly, funk (with a dash of Afro-Cuban influence).

So that’s go-go.  What about this band?

Rare Essence emerged not long after go-go itself did, beginning as a group in 1976 in Washington D.C. Ever since the group has kept a steady schedule playing around town and around the world.

The band plays seven–SEVEN–songs in sixteen minutes.  Many of them are just riffs that go on for a minute or so like “Down for My Niggas.”  Whereas “Rock This Party” is a bit more of a call and response piece–with some good congas.  “Freaky Deak” is pretty much a riff or two before they start talking to the audience.

They thank Suraya for arranging the show and there’s a lot of shouts outs and hand waving.  And then they start with one of their favorites, “One on One.”

All of the songs more or less flow into each other as one long jam.  There are multiple lead singers and everyone participates in the responses.

After a spell of their name (R-A-R, Double E, S-S-E-N, C-E) the lead guitarist sings lead on “Bad Bad” (he’s the oldest looking guy but he still has the power in his voice).

As they segue into “Lock It,” We apologize we could play this song for ever but I know everyone got to go back to work.  We’re gonna play the short version  We could play this for at least an hour.  They keys plays a nice Cuban sounding melody–almost like xylophones.

“After three minutes, he says this ant even the first part of the song–we still got about fifty more minutes.” Then they segue into “Overnight Scenario” which everyone sings along t o.

Anthony Andre “Whiteboy” Johnson (guitar, vocals); James “Funk” Thomas (vocals); Charles “Shorty Corleone” Garris (vocals); Leroy “RB” Battle, Jr. (keyboards); Calvin “Killer Cal” Henry (vocals); Michael Baker (bass); Kenneth “Quick” Gross (drums); Samuel “Smoke” Dews (congas); Kym Clarke (trumpet); Derryle Valentine (sax, flute)

[READ: July 23, 2017] “Bonebreaker”

I find Nell Zink’s stories to be weird but compelling.  She writes about strange things in unusual ways.  The people are often peculiar but compelling.

But this story was especially odd to me because the two characters seem really stupid

Both Jed and Laurie are fleeing the States.  As the story begins they go to the airport with a lot of cash.  But they knew that the TSA would be suspicious of that.  So when they see the “money sniffing” dogs, they know the TSA is on to them.  They leave their stuff at the airport and return home–which puts them on the no-fly list.

After a few more aborted attempts, they decide to take a barge–a real refugee situation. Not only do they not get where they are going, they lose a lot of money and are mostly miserable.

Why are they fleeing? Continue Reading »

Posted in #ITMFA, #RESIST, donald tRUMP, Greed, Harper's, Huh?, Idiots, Nell Zink, Newspapers, Rare Essence, Short Story, Tiny Desk Concert, Travel, TSA, Violence, Waiting, Yuck! | Leave a Comment »

Blondie (Count Basie Theater, Red Bank, NJ, July 28, 2017)

July 28, 2017 by Paul Debraski

[ATTENDED: July 28, 2017] Blondie

When I saw that Blondie and Garbage were touring together (“The Rage and Rapture Tour”) I casually asked Sarah if she wanted to go.  It’s possible that Sarah was a bigger Blondie fan that I realized.

I’ve never been a huge fan of Blondie (I didn’t even realize that she grew up n the same town as I did!).  But I love The Best of Blondie and “Atomic” is one of my favorite songs from the era.  I believe that I even stood behind her at a Ramones concert in 1989, but alas I will never know for sure.  Retroactively I’ve realized just how important she was/is and I was pretty excited to see her live.

I knew that Shirley Manson loved Blondie but I didn’t realize he admiration was reciprocated.  I just read that Debbie Harry and Blondie asked Manson to deliver their induction speech upon entering the Rock and Roll Hall of Fame a little over a decade ago. Continue Reading »

Posted in An Unkindness, Blondie, Bob Dylan, Count Basie Theatre, Deap Vally, Garbage, Jefferson Starship, Johnny Marr, Red Bank, NJ, Set in New Jersey!, TV on the Radio | Leave a Comment »

Garbage (Count Basie Theater, Red Bank, NJ, July 28, 2017) [BLONDIE]

July 28, 2017 by Paul Debraski

[ATTENDED: July 28, 2017] Garbage

When I saw that Blondie and Garbage were touring together (“The Rage and Rapture Tour”) I casually asked Sarah if she wanted to go.  She said yes and so cousin Kate got us tickets the same day she bought the King Crimson seats. I’ve never seen Blondie, but I loved Garbage.

I had seen Garbage at the Starland Ballroom almost exactly one year earlier.  That show was great. They played a really long set, played a lot from their debut album and I was really close.

For this show we were a bit further back (it was row T), but the view was great.  And, frankly, my location in Starland was hampered by some tall people.  So I had a pretty clear view of the show (except for the drunken people who were coming in later and later and later).

The sound was spectacular (I feel bad for Deap Vally that their sound wasn’t).  I especially appreciated how I could hear the difference between Duke Erikson’s guitar and Steve Marker’s guitar (when they alternated notes, you could really hear the sonic differences in their guitars). Continue Reading »

Posted in Blondie, Chrissie Hynde, Count Basie Theatre, Deap Vally, Garbage, Red Bank, NJ, Set in New Jersey! | Leave a Comment »

Deap Vally (Count Basie Theater, Red Bank, NJ, July 28, 2017) [BLONDIE]

July 28, 2017 by Paul Debraski

[ATTENDED: July 28, 2017] Deap Vally

My friend Kaylo [who has the best concert karma I’ve ever heard of and–even though she and her family live in Minnesota–we have made a pact to see Pearl Jam and Wilco should they ever play together somewhere.  A long shot but a drool-worthy one] saw Deap Vally open for Death From Above 1979 and Black Rebel Motorcycle Club last summer and said they were great.  I had heard their song “Royal Jelly” on NPR and really liked it (and their album is the genius named Femejism which is pretty solid as well).

So Deap Vally is a duo: Lindsey Troy (guitar, vocals) and Julie Edwards (drums and vocals).  And as with many duos these days, they are able to get a huge sound out of just a guitar and drums (even during the guitar solo which can often leave a big sound feeling a bit empty).

I loved that Lindsey was wearing a custom-made (Sarah asked her) fringed, sequined red body suit.  Julie was more hidden behind her kit, but she was also bedecked in sequins.

They played a half-dozen or so songs and they rocked (they were quite a bit louder than Blondie, but maybe only slightly louder than Garbage).  But I loved the band’s ability to impress an audience (I’m assuming a slightly older audience given Blondie) with their solid songs and stage presence).

They were genuinely happy to be playing and both seemed to be having a lot of fun.  And Lindsey’s guitar sounded tremendous (Julie’s drums were pretty great, too).

The one flaw was that Lindsey’s vocals sounded a little less great but that’s because of the venue, not her.  They were not hooked up to the sound system I don’t think, because everyone else’s voices were pretty clean.  But if you listen to “Julian”. you can hear that she’s a little muddied.  And that’s a shame because their lyrics are really great.

Like “Smile More”

And I am not ashamed of my mental state
And I am not ashamed of my body weight
And I am not ashamed of my rage
And I am not ashamed of my age
And I am not ashamed of my sex life
Although I wish it were better
I am not ashamed I am no one’s wife
Although the idea does sound kind of nice

I don’t know all of the song titles that they played, but I did get a video of the the great stomper, “Baby I Call Hell” from their album Sistrionix.

They closed with “Royal Jelly” which sounded perfect.  I thought I’d taped a clip but apparently I didn’t.

After their set they were out in the foyer signing things and giving high fives.  If I had known they were going to be out there I would have brought my copy of Femejism for them to sign. Instead, I just told them how much I enjoyed their set and wished them luck.  And Sarah got this excellent picture of them.

 

Posted in Blondie, Count Basie Theatre, Deap Vally, Garbage, Pearl Jam, Red Bank, NJ, Wilco | Leave a Comment »

Fleur Jaeggy–“An Encounter in the Bronx” (Harper’s, June 2017)

July 28, 2017 by Paul Debraski

SOUNDTRACK: TUXEDO-Tiny Desk Concert #636 (July 17, 2017).

tuxedoI have never heard of Tuxedo, although I have heard of its main singer Mayer Hawthorne.  But I realized that I don’t know why I know Hawthorne.

So the blurb fills me in

Seattle-based producer Jake One [keyboards and occasional backing voice] has a who’s-who client list, from Rick Ross to 21 Savage — while DJ, singer-songwriter and producer Mayer Hawthorne [lead vocals and piano] is a renaissance soul man from Ann Arbor, Michigan. They stealthily debuted three tracks on SoundCloud in 2013 with only a black square stamped “Tuxedo” as the cover art, leaving fans wondering where this new funk was coming from.

When Tuxedo arrived at NPR and Mayer Hawthorne spied a small ‘Ho!’ button sitting on Bob Boilen’s desk, he immediately beamed. “We use a big ‘Ho!’ button on tour,” he said. They didn’t bring a drummer, opting for a boombox — yes, a real boombox playing a real cassette tape, kids — and it was nostalgic delight from the start of the cassette’s hiss. The band was tight as ever, while their ace in the hole, Gavin Turek [with incredibly big hair] provided dance moves and the sweetest harmonies. Tuxedo set things off with a fan favorite from their first album, along with two from their latest, before closing it out with a red light special.

I am surprised to hear the music described as funk, because to me this is all pretty simple disco dance music, fun and catchy and instantly forgettable.

My favorite thing about “Do It” is the fun, watery, almost farty synth sound.  Hawthorne has a pleasant voice and it all works fine.  The song segues seamlessly in to “Second Time Around.”  Same basic beat, a change in synth sounds but otherwise it’s not that different.

Sam Wish plays keys and then switches to piano, but One plays the main riffs.  Christian Wunderlich plays very discoey guitars.

Before the final song Hawthorne introduces them and says they are from the West Coast (which elicits mild applause) and it makes him say Ain’t no party like a West Coast party.

For “July” he says they’re going to slow it down and get romantic–they need the disco ball on. It is certainly slower, but it also doesn’t sound all that different.

I could see this being a lot of fun to dance to, but then not remembering what it was you were dancing to.

[READ: July 24, 2017] “An Encounter in the Bronx”

This is a story from Jaeggy’s new collection translated by Gini Alhadeff.  I found it rather puzzling to say the least.

It begins as one thing and turns into something else entirely all in the span of a few paragraphs.

The first line says that the narrator is in a restaurant with Oliver.  The story ends in the restaurant as well.  So far so good.

But before the restaurant they went to his freezing home.  Oliver loathes the heat.  She was surprised by how much he hated it.  The narrator is the opposite.  She covers up from any cold.  There is much detail about his she gets cold–her neck, her hands.  Continue Reading »

Posted in Fish, Fleur Jaeggy, Food, Gini Alhadeff, Harper's, Huh?, Short Story, Tiny Desk Concert, Translation, Tuxedo | Leave a Comment »

Antonio di Benedetto–“The Guide Dog of Hermosilla” (Harper’s, May 2017)

July 27, 2017 by Paul Debraski

SOUNDTRACK: JAY SOM-Tiny Desk Concert #634 (July 10, 2017).

I’d heard Jay Som’s “The Bus Song” and one other song from a few years back.  There was much I liked about the song.  I like the way the whole band chants “but I like the bus” during the second verse but more impressive is the way the chorus soars to great high notes (even more unexpected is the high notes that come from drummer Zachary Elsasser.

But aside from that I didn’t know much about Jay Som

Jay Som is the project of 23-year-old Melina Duterte, who has been creating music for the past 10 years or so on a multitude of instruments, from guitar to trumpet. Though she played every instrument on her newest record Everybody Works, her touring band here at the Tiny Desk gave a rougher edge to some of the more premeditated sounds on her wonderful album.

I know “The Bus Song” from All Songs Considered and that’s because:

Of the three songs they chose to bring to the Tiny Desk, one was a personal favorite from Everybody Works: “The Bus Song,” which is a perfect swirl of stream-of-consciousness:

Take your time
Won’t be long till our car breaks down
Your hands in mine
Feel like a firefighter when I take off your shoes

Before concluding with a thoughtful nod to her partner:

Take time to figure it out
I’ll be the one who sticks around
And I just want you to lead me
And I just want you to need me

It’s lyrics like this, alongside the comfy, no-frills directness of Duterte’s delivery, which make Jay Som feel so welcoming and refreshing.

Even though Melina is the leader of the band I was surprised to hear that the lead guitar work comes from Oliver Pinnell–she adds some great, interesting rhythm chords.   But mostly she focuses on singing. Her voice isn’t amazing or noteworthy, it’s just very nice and gentle (and tuneful).

“Baybee” opens with some fast high bass notes from Dylan Allard and then a soaring guitar line from Pinnell that sounds kind of like a synth.  Melina plays interesting chords to support him.  There’s cool moment when everything kind of slows down and grows woozy before resuming again.  The song is a little slick, but I like it.  She and Oliver play little solos off each other at the end.

Before the final song she says she’ll “wet my whistle,” and then says “well, it’s the end of the road. This is the last song ever.  We’re going to be gone forever.”

Oliver then chimes in, “I’m picturing the You Tube comments now, just like uhhh.” [I have no idea where he’s going with that].  Melina jokes, “Why are the so sweaty?”

Opening “I Think You’re Alright” she plays a chord, Oliver plays the same chord and then Dylan plays it.  It’s a smooth almost sultry song–again not what I expected from her.  Oliver sings high backing vocals.  The song feels like its coming to and end with Dylan scratching along the bass strings and then she and Oliver plays some slow chords that sure sounds like it’s going to end. And then she sings the slow final verse which ultimately ends pretty abruptly.

The set is pretty surprising given that the other song I know from her “1 Billion Dogs” is really fuzzy and almost shoegazey.  I’m curious to hear more from her.

[READ: May 10, 2017] “The Guide Dog of Hermosilla”

This is a fascinatingly told story translated by Martina Broner.

A man on his regular route sees a homeless man under a bridge.  The man has a dog.  The man doesn’t beg or really do anything.  And the dog seems to have infinite patience (the narrator is impressed with the dog–“his understated style was interesting.”

Then there’s this sentence:

One day, things were going well–I wasn’t getting laid off, not yet–and I wanted to show that I was grateful.

It’s the “not yet” part that I can’t tell if it’s supposed to be forecasting or concern.  But it hangs over the story like a cloud. Continue Reading »

Posted in All Songs Considered, Antonio di Benedetto, Dogs, Harper's, Huh?, Jay Som, Martina Broner, Short Story, Surreal, Tiny Desk Concert | Leave a Comment »

Joy Williams–“My First Car” (Harper’s, May 2017)

July 26, 2017 by Paul Debraski

SOUNDTRACK: CHANCE THE RAPPER-Tiny Desk Concert #633 (July 5, 2017).

I first heard about Chance the Rapper from NPR–what Robin is talking about in the blurb below. I downloaded his free album and liked it enough.  But I didn’t think much about him beyond that.

So I was really surprised a year or sop ago to see him in a Kit Kat commercial and then to discover that he was apparently huge.  Like mega huge.  I know many people who have gone to see him with their kids, he’s that big.  I’m puzzled because his album Coloring Book is the one that came after the free one I downloaded.  How did he become famous?

Well, good for him.  He seems like a really nice guy.  He’s wonderfully calf and understated as he comes out.  He introduces everyone nicely, with special attention to the drummer, “my good friend, Stix.”

He says “I’m a big fan of the series.”  Bu then admits “I didn’t know it was actually actually in an office.”  How?  But he later mentions some performances that he likes, so maybe he just never thought about it.

The night before arriving for his Tiny Desk set, Chance performed for more than 23,000 people at Jiffy Lube Live, an outdoor theater in Bristow, VA. The sold out arena and amphitheater shows of his current tour offer a stark contrast to the first time I saw Chance in concert back in 2013. Then, he was a 19-year old upstart rapping and singing for a handful of people at a tiny club in Austin, Texas. A lot has changed since then, and quickly. Chance’s most recent mix tape, Coloring Book, was widely ranked among the best albums of 2016 (some called it a masterpiece) and featured collaborations with a cast of hip-hop luminaries, from Kanye West to Lil Wayne and T-Pain.

Maybe that’s how he got so famous.

He plays two songs.  The first is “Juke Jam.”  It’s got a cool 70s sound on the keys and some popping drums–I’m really taken with the drummer.  I didn’t notice until about half way through the song that the only instruments are the keys and a trumpet, which is pretty interesting.  Chance has an infectious smile as he raps/sings.

I didn’t love the song on first listen–it’s a little too smooth/r&b for me.  But on the second listen I rot to appreciate the words.  and how it’s kind of a sweet (but dirty) tribute to roller rinks.  I enjoyed this section:

All the kiddies stop skating
To see grown folks do, what grown folks do
When they grown and they dating

And the backing vocalists really bring it all home nicely.

Chance The Rapper knew he wanted to try a different approach for his Tiny Desk performance, so he decided to do something he said he hadn’t done in a long time. He wrote a poem. More specifically, he wrote a poem in the short time it took him to ride from his hotel in Washington, D.C. to the NPR Music offices. Calling it “The Other Side,” Chance debuted it in the middle of his remarkable set, reading from his notes written out in black marker on sheets of typing paper.

I really liked this poem.  It was real and it was funny.  He also didn’t read it in that awful coffee house style of reading that poets love these days.  And before starting, he says, “Forgive me, I haven’t written a poem in a long time.”

“I still have all the keys that are of no use to me,” he began. “They used to, though. On the other side was a mansion on a hill, complete with L.A. pools and fireplaces and a rim made specifically for people that lie about being six feet to dunk on.”

Chance didn’t get much further before he was interrupted by one of the hazards of performing in an actual, working office: a building-wide page for someone to call the mailroom. But Chance rolled with it, cracking a quick joke before starting over again.

After the announcement, he paused and said, it’s all right, I’ll start again.  Then he smiled and covered his mouth and said, “he’s like shut the fuck…no more poetry!”  He also tells everyone, “There’s humor in this poem so you can laugh at it. Unless it truly offends you.”

Chance’s poem “The Other Side” was sandwiched between an opening version of “Juke Jam” from Coloring Book and another special gift just for his Tiny Desk appearance, a moving cover of Stevie Wonder’s 1974 song “They Won’t Go When I Go.”

“They Won’t Go When I Go” (written by Stevie Wonder) is gorgeous.  He has Stevie’s vocal stylings down, but he makes them his own.  The music is really lovely-minimal and spot on.  And when the backing singers kick in, it  elevates his own singing even more.

I kind of thought he’d do more, but he really did a lot of interesting things in those 12 minutes.

As the credits roll, he says, “Give it up for Third Story.  Give it up for the Players of the Social Experiment and the beautiful Rach Jackson on vocals

Not sure which people are in which “group”. but here’s everyone: Chance The Rapper (vocals); Nico Segal (trumpet); Peter Wilkins (keys); Rachele Robinson (background vocals); Ben Lusher (background vocals); Elliot Skinner (background vocals); Richard Saunders (background vocals); Greg Landfair Jr., aka “Stix” (drums)

[READ: May 1, 2017] “My First Car”

I just don’t see the appeal of Joy Williams’ stories. This one absolutely feels like it is an excerpt and yet I am fairly certain it isn’t.  It also feels like a couple of stories wedged together, and I’m pretty sure it isn’t that either.

In one part of the story, the narrator is asked by the caretaker of Mrs B’s Baby Village Day Care to look after the babies there.  She has no experience (except that she was once a baby) but agrees anyway.  Mrs B (Mr B is dead) needs to go pray for the world.

Mrs B had for some time wanted to go visit the great barrier reef.  To see it in its full bloom.  But then she found out that it was mostly dead.  She was made about that of course, so she was going to pray for the world. Continue Reading »

Posted in Babies, Cars, Chance the Rapper, Harper's, Huh?, Joy Williams, Short Story, Stevie Wonder, Tiny Desk Concert | Leave a Comment »

Nat Segnit–“Necessary Driving Skills” (Harper’s, April 2017)

July 25, 2017 by Paul Debraski

SOUNDTRACK: HELADO NEGRO-Tiny Desk Concert #632 (June 30, 2017).

It’s unfair that I have recently really enjoyed songs by Chicano Batman because Helado Negro sounds so much like Chicano Batman that I would certainly have guessed that’s who this was (although Chicano Batman is a bit more catchy and groovy).

Helado Negro is a band: [Roberto Lange (vocals, guitar); Nathaniel Morgan (sax); Angela Morris (sax, violin); Ben Lanz (bass guitar); Weston Minissali (synthesizer); Jason Nazary (drums)] and this is what Felix has to say about them

The artist Helado Negro (Roberto Lange) made a very big impression on me when I first experienced him almost eight years ago. It was a sound I had never quite heard, and I was immediately drawn in; there were layers of synths, percussion that percolated rather than pulsed, vocals that epitomized the world ethereal and lyrics in Spanish and English that floated amidst the music like wisps of smoke.

But that’s not what you’re getting here — instead of tinsel, we get Roberto standing behind Bob Boilen’s desk in a t-shirt that says “Young, Latin and Proud,” the title of his most recent single. That’s the essence of the songs he chose to play (and really, his entire catalog), music about being a young American with Ecuadorian parents, singing about life in here in the U.S.

Our little concert here also shows off an acoustic treatment of Helado Negro’s vision, and it’s just as compelling without the electronics. In fact, it’s as if the songs reveal a different aspect of themselves, the lyrics intimate and laid bare. Personally, I loved the sound of the alto and tenor saxophones playing harmonies in place of a bank of keyboards. As you’ll see, the entire band perfected that delicate balance of intensity and low volume, letting the music and ideas breathe.

They play four songs.  They are all mellow

“Transmission Listen” opens with Lange singing and playing guitar and then the full horns kick it, and that’s when it sounds like Chicano Batman (in a good way).

“Young, Latin and Proud” is very catchy.  This song reminds me of Sandro Perri–mellow and gentle with his smooth voice rising above it all.  I like at the end that he mentions his audience: “Felix is young Latin & proud, mi abuela is young Latin & proud.”

For “Run Around” he doesn’t play guitar.  There’s a nice use of violins instead of strings in the beginning and some cool synth sounds.  I liked the squeaky violin noises at the end.

“It’s My Brown Skin” is a happy song–indeed I love that he loves who he is and where he comes from: “My skin glows in the dark / shines in the light / its the color that holds me tight.”  The ending melody is really pretty (played on sax and violin) “I love you and I can’t miss anything about you / you’re stuck on me and all this time I’m inside you  / And its your brown skin… it’ll keep you safe.”

[READ: April 4, 2017] “Necessary Driving Skills”

This story was, wait for it, all over the map (ha) in some ways.  It is all about driving, (see, ha).  But it is about much more than driving.  It is about relationships, friendship, business and of course, driving.

It even starts: “This is the story.”

It continues: “Kim Le Bouedec and I run the Finchley Mint.  And I’ve just kissed his wife.”

The narrator, Neil, and Kim were friends in college.  And it follows that thought with this: “You see, this is the paradoxical thing about my age group (and yours–if it hasn’t happened yet, it will.) The more we settle, the more opportunities there are for disruption.”

Neil details: Simon and Maxine are married with a ten month old daughter.  Luke is married to Helen (who worked with the Neil’s wife Jill), there’s Kim and his wife Sasha.  “My circle of friends, turning square.”

Neil and Kim work at this Mint. It’s a business in which they sell “die cast model cards by mail order. Don’t laugh.” Continue Reading »

Posted in Cars, Chicano Batman, Harper's, Helado Negro, Nat Segnit, Regrets, Saloon Stock Car Racing, Sandro Perri, Sex, Short Story, Tiny Desk Concert | Leave a Comment »

Peter Handke–“Sound and Fury” (Harper’s, December 2016)

July 24, 2017 by Paul Debraski

SOUNDTRACK: RHEOSTATICS-The Palladium, Toronto ON (April 23, 1994).

This recording would be awesome–one of their best–if it were a little clearer and the audience was less talkative.  The band is absolutely on fire, having a lot of fun and really rocking out. There are some sloppy moments, but everyone is really on fire–including the chatty audience, who often as not sing along loudly.

It begins with an incredibly excited introduction: Right now we’re going to explore some pop culture–Life is about whats taking what’s in your heart and doing it and these guys right here right now want to do it for you.  The Rheostatics!

This show was recorded following primary recording of the Introducing Happiness album in the Bahamas.  And also during the Western Conference Quarter-Finals between the Leafs and the Black Hawks.  And so after “Michael Jackson” fans start chanting “Go Leafs Go” over and over.  The band plays the synthy “Crescent Moon” and the chanting resumes after the song.  You hear someone shout “anyone know the score?” 5-4.  For Toronto?  No.

They send thanks to Guelph’s masters King Cobb Steelie who opened.

They play a great “Introducing Happiness” and then a rollicking “Rain Rain Rain.’  The crowd is insanely singing along to it.  So much so that Dave has to say “This is the quiet verse” so that Martin whispers his lines.

Dave says that “If you’re at your video store rent a film called Millennium with Daniel J. Trevanti and Cheryl Ladd.  He says that the band are in it as alien junk sweepers.  I don’t know if the whole band are in it but Dave Bidini is in it for “18 seconds” which you can see here.  Clark chimes in that while we’re on the subject, “I’d like to outlaw toilet paper dispensers in public washrooms that don’t dispense toilet paper when you need them.”

Martin jumps in with “A new song by Dave called “Me and Stupid.”  And then the crowd noise becomes really awful.  There’s a terribly annoying group of people talking through “Northern Wish.”  Honestly.

Dave asks Clark for a “Quick travelogue of our experiences in the Bahamas” and Clark does what he does best, rambling for 3 or so minutes.”

Then they ask for suggestions for their new album: Hammerhead, Tackle Box, Undertow or Introducing Happiness.  Tackle Box wins easily.

When they learn that the Leafs lost, Bidini says the “Leafs didn’t win because Wendell Clark is in the audience tonight.”  Some shouts to play Wendell!  But instead they play “Take Me in Your Hand.”  And then they play “Wendell” but Clark says they’ll “Do part 2 first and part 1 second.”  But they never do play Part one.

There’s rocking version of Soul Glue and for that last line, Tim sings, “No… going see the Pink Floyd concert coming soon to this town save your money, don’t do it.”  This leads to some lines like “classic rock no good.”  Tim jokes that he thought the guys in King Cobb Steelie were wearing lip gloss because he can taste something on the microphone.  Then he realized that Alive, a Kiss tribute band was there last night and there’s fake blood on the monitors and the floor and that must be what he’s tasting.

Clark sings: “I’m the king of the nighttime world and you’re my sexist song.”

Then Clark jumps in and says they’re at the “Midpoint in the show” so they should do “one more breezy number and then well pick it up.”  Bidini says it’s time for the ritual trading of the hats.  Martin keeps interrupting “Hey Joey” (although they don’t play Record Body Count) and then says, “Back in high school they used to call me rubberneck.”  This is all a strange introduction to “Claire” which is kind of sloppy although Martin plays an awesome effects-laden solo at the end.

Someone shouts something and Dave things they said Pentangle.  So Clark says they’ll do a Pentangle cover.  But Bidini just asks if they want a psychedelic beginning to the next song.  They do.  So he says “Promise that none of you will get so high you have to go to the trip tent—and everyone agrees that Trip tent should be the name of the new album.

The psychedelic intro to “Dope Fiends” begins with Clark singing…something… “and they crawled from the tombs of despair.”  And then this improvised song:

In the maze of my mind
Where I took a little something sublime
I’m waiting for it
I’m wanting more of it
I gotta get me some tea for my party  (Tea Party!)

LSD, MDA, Magic Mushrooms, they’re okay
But when I want that trip sublime (tripping freaky in my mind)
the only thing I’m wanting for
Is orange pekoe in my jar

This leads to “One More Colour,” after which you can hear some fans talking (loudly): “Wasn’t that amazing?”  “Any fuckin band that has a cover….”  Sadly it is cut off, I wish I could have heard the end of that!

A gentle “Digital Beach,” segues into a delicate “California Dreamline” which segues seamlessly into “Horses.”  During the end someone sings, “we don’t need no education.”  (After the song fans sing to the “holy mackinaw, joe” melody: “Lets fuck up Patrick Roi” “Holy Patrick Roi.”  This leads to a chant of “Go Habs Go” and calls to stone him!

“Bread Meat Peas and Rice” is done folkie–it’s cut off and quiet.  When the song is over someone yells: “we’re not worthy, we’re not worthy [I guess Wayne’s World just came out]—we’re worthy of peas and rice bit otherwise we’re not worthy.

“Legal Age Life” begins a capella then guitar comes in after two verses.

And then a plea from the band to get their video for “Shaved Head” on the air:

Write to Much Music tell them you want to see the video.  It’s black and white and live (both audio and video are live).

This song ends the show.  It’s a really intense version–would be great to have a clear recording of it.  After it’s all done martin does an interesting feedback session for a couple of minutes and then they’re gone.

It’s really great hearing how much the crowd loves this band.

[READ: January 15, 2017] “Sound and Fury”

This story is an excerpt from Handke’s novel The Moravian Night (translated by Krishna Winston).

It opens with a symposium on noise.  The symposium was held in a conference center located on the Spanish steppe–no settlements in the vicinity, only a few farmsteads, long since abandoned.

The auditor imagined the symposium would be full of dignitaries, experts and role-players.  But those who came were victims, above all.  They were all permanently damaged by noise and racket. Continue Reading »

Posted in Daniel J. Trevanti, Drugs, Excerpt, Harper's, Hockey, King Cobb Steelie, Kiss, Krishna Winston, Millennium, Noise, Peter Handke, Pink Floyd, Rheostatics, Toronto Maple Leafs, Translation | Tagged | Leave a Comment »

Diane Williams–“Four in Prose” (Harper’s, August 2016)

July 23, 2017 by Paul Debraski

SOUNDTRACK: RAVI COLTRANE QUARTET-Tiny Desk Concert #631 (June 26, 2017).

Ravi Coltrane is the son of John Coltrane–giant shoes to fill.  Indeed there’s quite a legacy in this band:

Yes, Ravi Coltrane is the son of the John Coltrane, one of the most famous and important jazz saxophonists and composers of all time. He’s also the son of multi-instrumentalist, composer and spiritual leader Alice Coltrane Turiyasangitananda. (In fact, all members of the band here are performing artists in their own right and come from artistically rich families; drummer E.J. Strickland is the brother of saxophonist Marcus Strickland; Adam Rogers parents performed on Broadway and Yunior Terry is Yosvany Terri’s brother, both heirs to Cuban music royalty.)

I don’t know anything else about Ravi Coltrane, so I’m going to let the blurb do the detailing:

The first song in the set, “Cobbs Hill,” was written by Coltrane’s good friend and colleague Ralph Alessi. Beginning with Yunior Terry’s funky and deliberate bass line, further enhanced by intentional drum rolls the 2/4 time signature, two beats per measure, captures a march-like proclamation. [Ravi plays the soprano sax on this one.  There’s a lengthy guitar solo in the middle of the song in which Ravi just relaxes, but it is primarily Ravi’s show].

The second song is Coltrane’s own composition, “Three For Thee”, a fan favorite from the 1998 Moving Pictures album; the original recording included Ralph Alessi on trumpet. Only 32 years old when that record was released, it could be taken as a sign of things to come: Ravi Coltrane, an old soul in a young body, mature and capable of creating work so robust and important. Almost 20 years later, hearing that music again here, even better, is affirming and a testament to Coltrane’s ever-evolving artistic journey. And E.J. Strickland’s opening drum intro couldn’t be more spunky; he teases the audience into the groove with effortless, intentional punctuations.  [Ravi is on tenor sax for this song.  There’s another lengthy guitar solo in the middle].

After this song, he thanks everyone and then points out that there is a two drink minimum.

Sadly there is no blurb for “Phrygia,” so it’s up to me.  I really like the main riff of this song.  And the middle has a groovy bass solo, which could be longer, frankly.  I like that the guitar plays some really delicate notes and phrases to accompany the bass solo.  After some good wailing, I like that they return to the main theme and then bring things down with some thumping bass and gentle guitars

[READ: August 20, 2016] “Four in Prose”

Back in 2009 Williams had 7 brief stories published in Harper’s.  My take away was: I would have not finished this work, except the whole thing was only two pages long.

These four pieces are also only 2 pages long.

The first is called “The Perverted Message” Continue Reading »

Posted in Babies, Boredom, Diane Williams, Flash Fiction, Harper's, Huh?, Marriage Trouble, Parenting, Ravi Coltrane Quartet, Tiny Desk Concert | Leave a Comment »

« Newer Posts - Older Posts »