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 SOUNDTRACK: FRANCES CONE-Tiny Desk Concert #646 (September 8, 2017).

Frances Cone is a relatively new band (their second album is due out soon).

There’s keys, drums guitars and lots of harmonies.

Christina Cone sings primary vocals but Adam Melchor sings lovely hrmony vocals  The keys dominate on the first song “Unraveling” until the gentle acoustic guitarists add a nice texture.  What’s interesting is that once the acoustic guitars kick in, Andrew Doherty, on bass, gets to play a more prominent lead riff and also takes over on lead vocals while keys and guitar do the oohs an harmonies.  It really changes the texture of the song and when Christina takes leads back again, it’s really something else,

The song is simple but really catchy with a powerful chorus. and Christina’s occasional high notes are a very nice accent.

I really enjoy when a band gushes to be on Tiny Desk, and Christina seems really overcome with joy (so does Adam later).

I love the keyboard sound she chooses for “Arizona”–an old fashioned organ sound. She sings lead but he guys are right behind her with low harmonies and oohs as needed.  Andrew switches to lead guitar (with the keys handling the low end) which adds a whole new sound to their repertoire, and the chorus is really catchy with Christina’s soaring vocals.

before the final song, Adam says, “I was watching that Shia LaBeouf “Just Do It” video–don’t let your dreams be dreams–and that what this feel’s like.
Bob: “I wondered where you were going with that.”
Christina: “Are you referencing Shia LaBeouf right now?”

Adam switches from acoustic to electric and there’s some great buzzy bass sounds out of the keys.  The guys sings some gorgeous harmony vocals on this song.  I love that the spare use of guitars comes in with some neat harmony melody lines mid-verse.

There’s also a drummer who I haven’t mentioned–he did a lot of interesting sounds–sometimes using mallets but playing a rim shot with each stick, or using the mallets properly.

Christina Cone (keys, vocals); Andrew Doherty (electric bass, electric guitar, vocals); Adam Melchor (electric guitar, acoustic guitar, vocals); Alex Baron (drums).

[READ: October 1, 2016] Ms Marvel: Last Days

This book collects books 16-19 of the Ms. Marvel series and kind of wraps up the story (sort of, there’s another series that has come out and starts with issue #1–so confusing!).  This book also includes a 2 issue crossover with Amazing Spider Man-7 & 8.

This book opens with yet another amazing crossover–Kamala gets to meet the original Ms Marvel, Carol Danvers (who is now Captain Marvel and, confusingly to me, is dressed in a strange suit with what looks like a mohawk).  Kamala is worried thay Carol will be mad that she copped the Ms Marvel name, but Carol is cool with it–Kamala has earned the title. Continue Reading »

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 SOUNDTRACK: JIDENNA-Tiny Desk Concert #645 (September 5, 2017).

I had never heard of Jidenna despite all of his apparent hits.  I was rather turned off by the initial song, “Trampoline.”  The chorus of “Bounce Bounce Bounce like a trampoline” was dumb enough and the music was cheesy enough that I didn’t like this at all. Although the lyric “the lady ain’t a tramp just coz she bounce up and down like a trampoline” is at least female positive.

So who is this guy?

MC Jidenna is Nigerian-American: he rocks thrift-wear tailored to a T.  Jidenna and his band recently visited NPR to perform three reworked selections from The Chief–A tribute to his father, a Nigerian chief, the record is peppered with African rhythms and themes.  They excitedly explored every nook and cranny of the Tiny Desk in search of props, eventually settling on a toy, the magic microphone, a tambourine and a bottle of whiskey.

But then he said some eloquent words about NPR–“a beacon of light of information in this information age,” and I was impressed that it wasn’t just all bouncing asses.

For then he began”Long Live the Chief.”  This rap song has some great sounding rough guitars.  His delivery is sharp and fast and the lyrics are fantastic. But its the music that really won me over–the sound of the guitars, the unexpected rhythm and some great drumming.  It was like a 180 degree turn.

But I love these lines:

Ridin’ for my niggas gettin’ locked up in the slammer
Elders saying everything’s a nail to a hammer
And niggas can’t spell but we know our Instagrammar
Well done’s better than well said
I read niggas well, a nigga well read
Really I ain’t met nobody smarter
That’s why I got admitted but I still rejected Harvard
I’m the fresh prince, in a school where they couldn’t read
Mama put me in a school with the Kennedys
When I met Bill Clinton I was seventeen
But dead presidents is all my niggas need
Dining with the governor’s daughter
And her father say I remind him of Obama
I’m the chief diplomat, every day
And I’m black and white, Janelle Monae

And then in another 180 degree turn (but not full circle, more like 180 degrees in the opposite direction) came “Bambi.”  This is a gentle lullaby–a sweet song to a lost a love.

The women among the tribe
They will be jealous of this lullaby
I’ll drink alone in my hotel and cry
‘Cause now they know you are love of my life

It sounds like a sweet reggae song or a proper doo-wop 50s song.  he seems to have a Jamaican accent (or is that a Nigerian accent?) as he sings the chorus “Bahm-bee.”

I really can’t get over the diversity of these three songs.  And by the end, his charm really impressed me (although i still don’t like “Trampoline.”

[READ: October 1, 2016] Ms Marvel: Crushed

This book collects books 12-15 of the Ms. Marvel series and includes a bonus of S.H.I.E.L.D. #2.

There’s yet another crossover moment in this book because we start book 12 in the Kingdom of Asgard where Loki, who is apparently a good guy now? is punished for his bad idea and is sent to earth to help out Ms Marvel.

I love how Loki flairs to blend in on earth and is called a hipster viking dude.  This first story is light-hearted because Kamala’s friend Bruno admits out loud (but Kamala does not hear) that he is crazy about her.  He even asks her to the dance but in such a lame way that she thinks he is joking.

Loki overhears this and decides to write her a love letter instead.  It is over the top and outrageous and Kamala thinks it is from a crazy stalker.  But she is still curious to see who it is so she goes to the Valentine’s Day dance. Continue Reading »

SOUNDTRACK: JASON ISBELL-Tiny Desk Concert #644 (August 28, 2017).

Everybody seems to love Jason Isbell.  I’d heard the songs that people liked and I didn’t really think all that much of them.

This Tiny Desk Concert made Isbell sound much more country than I’d realized (I didn’t know he was with the Drive-By Truckers, either).

I was a little resistant initially, but the first song “Chaos and Clothes” really won me over with the words and melody.  By the end of the song when the fiddle and violin are in full swing and the bassist is playing a cool bass line on that weird tiny fake-looking bass guitar the song really takes off.

But it was Isbell’s playful and funny side that made me rally enjoy him and his band.

He asks the drummer how he is dong and then comments on the hat that they wished they could have worn (they point to tiny top hats).

Isbell says, “Abraham Lincoln had a tiny head, it turns out.  Where’s you’re novel about that, George Saunders.”

Then he jokes about the bass guitar: “that’s’ why you need the hat,  your bass is so small.  Abe Lincoln played a tiny bass.

When they finally get going, the second song “Molotov” has a false start-“I spent so much time on that word and then I said the wrong one.”  The violinist says its alright she didn’t do the best either.  I love the dramatic melody and delightful swing to this song.  It’s really good.

They have a lengthy amusing discussion about babies’ defense mechanisms. The whole banter section between the second and third song is really funny.  Jason leans into his guitarist who jumps and says “thank you.”  This makes Isbell laugh, “if you scare Sadler, he says ‘thank you.'”  Sadler says it’s a defense mechanism from when he was a baby.  Isbell looks at him: “Why would you have o defend yourself when you were a baby?” They talk about baby defense mechanisms and Isbell determines that saying thank you is a good idea: if you were going to kill someone and they said thank you, you’d pause–wondering if you fell into their trap.

He jokes, “we shouldn’t have taken all that acid before Tiny Desk.”

There’s a lot of laughter and then Amanda worries that she has boogers.  It’s quite light-hearted (she doesn’t, by the way).

There’s another false start for “Last of My Kind.”  He pauses the song and then invites an audience member up on “stage” to play.  He says that when he was younger he always imagined that this would happen to him–that someone would have once just asked him to come up and play.

The final song is really good, with a lot of great details in the words, and Ashwin, “a guest in the building who got more than he’d likely expected from his visit to NPR headquarters,” makes good use of his special performance.

His band is The 400 Unit: Sadler Vaden (guitar); Amanda Shires (fiddle, backing vocals); Jimbo Hart (bass); Derry deBorja (keyboards); Chad Gamble (drums); Ashwin Wadekar (guitar on “Last of My Kind”).

[READ: March 15, 2015] Ms Marvel: Generation Why

This book collects issues 6-11 of the Ms. Marvel series. I really enjoyed the first collection a lot, but I hadn’t seen any of the follow ups.  So I was pretty excited to see that my library had gotten all of the published volumes.

In addition to having a great story line about a Pakistani-American teenager who received superpowers, Ms Marvel has a lot of fun with inside-Marvel jokes (which I know some people get tired of, but which I like and which I think works very well here).  Ms Marvel is Kamala Khan.  She is a huge fan of the Marvel Universe (which of course is real), and she had taken the name of Ms Marvel in honor of Carol Danvers, the first Ms Marvel.

Jacob Wyatt drew books 6 & 7 and Adrian Alphona did 8-11.

The book opens with Kamala’s parents–god-fearing Muslims, sending her to Sheikh Abdullah.  She is obviously concerned with talking to this religious leader. Her new career as Ms Marvel has kept her from doing most of the things she should be doing as a decent Muslim girl. But the Sheikh is surprisingly cool.  She doesn’t reveal her secret but he senses that she is doing good and perhaps she just needs the help of someone–a teacher?  She heads downtown where suddenly there is a sinkhole in the ground.  As Ms Marvel, she jumps in and discovers gigantic crocodiles.  The person who has carted these gigantic creatures proves to be a human-cockatiel hybrid who IS NOT A BIRD.  He is bad guy named The Inventor.  And just as things start to get really intense, a teacher of sorts comes to help out–Wolverine!  It cracks me up that she takes a selfie with him. Continue Reading »

[LISTENED TO: September 13, 2017] Believe Me

When I saw that Eddie Izzard had a book out I was pretty interested to read it.  I have loved his stand-up since 1997 or 1998 and I was lucky enough to see him on his Circle Tour (on the date they recorded it!).  I have been keeping up with his career and trying to see him in whatever he does (although I like my comedy more than drama and he has certainly made the shift towards drama in recent years).

I thought an autobiography or memoir by him would be pretty interesting (even if he claims to be boring).  But when I saw that he read the audiobook, I knew I had to give it a listen (even if it was 12 discs)!

Amusingly, there was a long delay at the library.  The lady at the counter (who is not the librarian–we librarians know the difference) said if I knew his voice, I could just read the book to myself in his voice.  It was an amusing thought, and I possibly could do that, ….yes, but Eddie’s voice is just so fantastic that it never would have worked properly.  Plus, he throws in easily an extra hours worth of footnotes and rambles that aren’t in the print book!  That’s right, an extra hour’s worth of nonsense if you do the audio.   True you don;t get to see the pictures, but it’s a fair trade-off.

Well the book finally came in and I had plenty of driving time to make short work of this 12 hours behemoth.  And I laughed and laughed.  And cried and cried.

Because while Eddie Izzard is an action transvestite (transgender, now) and one of the best stand-ups around, he is also an extremely warm and thoughtful person. He worked very hard to become the success he is.  And he has used his fame to do some absolutely wonderful things for humanity–including raising millions of dollars.  Not bad for an atheist who is sometimes in girl mode and sometimes in boy mode. Continue Reading »

instruct SOUNDTRACK: RHEOSTATICS-The Horseshoe Tavern, Record Body Rheos Day#6, Toronto, ON (November 12, 2001).

Sometimes you would go see Rheos and they would play a show packed with rarely played songs. This is one of those shows – The Woods Are Full Of Cuckoos, SRBM, Onilley’s, Jesus Was Once A Teenager Too, Public Square, Halloween Eyes, Satan Is The Whistler, PROD, Martin’s First Day Of School, Home Again…a treasure trove for hardcore fans. This was night 6 of Winter Nationals 2001 aka Record Body Rheos.

This is the only show remaining in 2001.  It is also only the second show of this run available on RheostaticsLive.

The recording of this show is spectacular—loud and very clear soundboard recording.  It features Michael Phillip Wojewoda on drums–the band’s final drummer before their dissolution in 2007.

Dave as always is very chatty: “Is it the first night for a lot of you folks here?  Oh you’ve been here before?  Cool.  We mixed it up for you tonight.  We got a lot of stuff we haven’t played over the last 4 or 5 nights.

Mike says, “A lot of stuff I haven’t played.”  Apropos of nothing Martin says, “We’re going to play a new song called ‘Couscous.'”  [They don’t].

The show starts with “The Midnight Ride Of Red Dog Ray.”  I’d always assumed this song was by Stompin’ Tom, but in fact it was by Washboard Hank Fisher.  The songs sounds sounds big and full–much louder than other versions of this song.  Tim has lots of backing vocals: “riiiiide” “Raaaaaay.”  Dave rolls his rs in the last chorus.  It ends and Dave asks “That wasn’t too hard was it, Mike?”

Dave says, “we’ll stay in Ontario for this next number.”  It’s a nice, spare version of “Christopher.”  I like when Martin is singing “we used to take trips,” he plays the melody on the guitar the same notes.  And when he “setters” ‘trips’ a second time he plays the guitar note as well.  They have a really hard time with “The Woods Are Full Of Cuckoos.”  They play it twice way too fast for Tim to sing.  The guitar in the beginning feels way too fast even if you don’t know the song.  Tim says, “Hey this is way too fast.”  Martin agrees: “Bit of a wrist twister.”  Tim: “I only go so fat.”  They try again, Martin slows down but the drums are the problem.  It’s pretty much the same tempo.  Then MPW gets it right and Tim does a good job—it’s still a pretty fast song.   During the end part they mess up that final riff, but they do manage it after another try.

Martin jokes: “The woods are full of caca” (chukcle).

Tim says, “Speaking of that band, Gordon Cummings’ new band Precious Little is playing with us this week.”  He asks when and Dave says “It’s in the paper, Tim.”  Tim: “‘I don’t subscribe to such things.”

A fan says something and Dave replies, “I’m not smoking.  My playing is pretty hot, but I’m not smoking, sir.”  He then tells a story about playing hockey at 2PM at the Annual Green Sprouts Game.  He says he normally wears full pads, but this time he wore pants and water got all over him–it looked like I peed myself.  Tim: “remember that gig in Victoria when you actually peed yourself?”  Dave says something about a toilet and then says “And you were drawing it in your sketchbook.”

Martin has his new robotic voice synthesizer and speaks “SUPERdifficult.”  It’s fun to hear this song after so much time in the mid-1990s.

Dave: “I sense that you are a loud crowd.  Sometimes smaller bodies of people should be louder”
Martin: “The example of the Belizian howler monkey–small body, loud sound.”
Dave: “Any howler monkeys here tonight?”

They thank the opening acts: Some Guy with a Guitar (is that the guy’s name or are they joking about who it is?  I can’t find anyone with that name).  And The Keep On Keepin’ Ons  they should lose that Dave Love guy he’s gonna destroy them if he doesn’t destroy himself.  [Can’t find anything out about him either].

Martin introduces “PIN”:  “This is a song about stuff that goes like this.”  But for “Sweet Rich Beautiful Mine” Dave says, it’s a song from The Blue Hysteria which we recorded in 1996.”
Martin: “Really eh?  This is song about probiscis monkeys and how good they are at sweeming…swimming.”
When they start there’s a terrible flat note on bass.
Martin says, “No, no, its not gong to be that interesting.”
Dave: “I mean how many fucking songs do we have to have about proboscis monkeys who swim?  Shit.”
Tim: “Martin, can you stretch a little?”
Martin: “All my songs are about apes.”  Fan: “What about ‘That’s How They Do It in Warsaw’?”  Martin: “Polish apes.  It’s about a zoo I visited there in the elate 60s.  Zoos at the at the time, ooh la la.
Before this gets out of han Dave says “Let’s go capo monkey.”
When Martin gets to the “sweetest ass” part he chimes in: “all red and blue and such.”

When the song ends, Martin says “Archie” in Edith’s voice (why he is talking about All in the Family I have no idea).  Dave says, “All I could think of the tragedy in the towers.  (this show is just a couple months after 9/11) Archie Bunker lived in Queens and when they showed the footage of the plane wreckage all the houses looked like Archie Bunker’s house.”  Martin: “704 Hauser Street.”  Dave: “Alright Tim [Mech], atta boy.  Pretty good to have a guy feeding you lines in the wings.”
Tim: “No more monkey jokes, Tim.”
Martin: “Yeah, cool it on the ape shit.”

While they’re bantering, someone says, “That last song was really fucking good.  Dave: “Thank you, sir.”

This next song [“Mumbletypeg”] is dedicated to Tim’s tie.  Dave says that Night of the Shooting Stars is out in a couple weeks.  The album cover is a cross between Spinal Tap, Charlie’s Angel’s and Metallica’s black album.  And it sounds like a cross between those three things.
Martin: “Precisely.  With nothing else.”
Mike: “As a total marketing move the last night of our run here is the night of the shooting stars.  So everyone should go up north and watch the Leonids
Martin: “When does the meteor shower start, Mike?”
Mike: “Well 4 in the morning. Until the 18th”
Dave: “We should probably end the night with a processional chant of LEE-OH-NiD.”
Mike: “With flutes and a bus.”
Martin: “The flute bus!”
Dave: “The flute bus, I think The Medieval Babes have it.  They did beautiful older music but they added a sexy edge to it.”

They play another song from NotSS called “Reward”: “We’re gonna do a song we did last night but it didn’t turn out to good, so we’re going to try it again for you. No, No, for us.  For the greater good. We are true artists.”

“Oneilly’s Strange Dream” sounds so much like “Saskatchewan” in parts.   Those three harmonica notes before the solo are just like in “Claire.”  Dave seems to fill in on some of the words if Martin forgets them.  The end of the song has a really noisy section of chaotic chords and drums.  Martin ends the song with the lyrics from the first verse instead of the final verse.  Dave rescues the song and Martin finishes it.

Tim: All we did was smoke pot in the Bahamas when we recorded that album.  Sorry about that.

Dave tells a very long story about he Bahamas that is very funny (drinking, missing planes, throwing up).

This leads to a mellow, almost acoustic “Jesus.”  Martin messes up a lyric and Dave feeds him a line, so he continues.

Dave: “Pretty great fun for a Monday night for us.  We’re usually at home watching Golden Girls by this time.

They go all the way back to their debut album for “Public Square,” a song they didn’t even play that much back then.

Someone shouts “Halloween Eyes.”  Dave: Halloween has passed, ma’am.”  But they play it anyhow. Really goofy.  They don’t play it much at all: “Don’t look at me with your Halloween eyes.  Don’t hit me with your pumpkin pies.  Devils got horns devils got a tail.  666 gonna fuck you up.  Some even say that he’s got scales. 666 you’re a sitting duck.”  Dave: “They actually really were stones when they wrote that.”

This next song [Bad Time to be Poor] is dedicated to the retirement of Mike Harris [Harris was the 22nd Premier of Ontario from June 26, 1995 to April 14, 2002. He is most noted for the “Common Sense Revolution”, his Progressive Conservative government’s program of deficit reduction in combination with lower taxes and cuts to government spending].

“Satan is the Whistler” is sloppy but rocking with more of that robotic voice “he is the whistler.”

There’s an interesting surf guitar like opening to “Four Little Songs.”  The whole thing is crazy fun.  For Tim’s: “Lets go to France, beautiful France.”
I’m not sure who is singing Don’s part, but they stop “we should get these guy to sing that one.”

Huge creatures prowl the streets tonight
Moon and antlers set the sky alight

Martin: “These beast have antlers, perhaps they’re just moose.”  After the first attempt, Dave chides, “Wait that’s really terrible, hold on.”   They resume the middle part and then the audience sings along pretty well.  During the Neil Young part there’s some gentle jamming with funky bass from Tim.  Whoever sings it has a crazy voice.  They slow things down at the end for “and my brain goes….”  The sound goes slow and woozy.
When they stop that, Martin says, “This is the morning after” and they resume properly, except Dave sings “We drank all our beer and ate all our pizza.” at the end.  And then he introduces, “Drunk guy.  Drunk guy.  Thanks, Justin.”  Mike says, “Dave, I love it we your son gets up to sing with us.”

On his way out Martin says, “Rush never sleeps.”

Thanks to The Keep on Keepin’ Ons and the Poppy Salesman (this makes me think the guy with a guitar was Martin).

The encore starts with “CCYPA.”  Dave says this is the lead off track or the emphasis track about Canadian politics.  As the song ends, Martin says, “Pleased to meet ya.  Dave Love of Love Your Stuff Records.”

It’s followed by a wild “PROD.”  Dave: “Tim’s got the urge, we got the urge”  ….Tim gets a small bass solo.  Then “Let’s give the drums some space.” (a small solo).  And then they say goodbye.

They come back and Tim asks Martin for a few bars of “Martin’s First Day of School.”  “I’ve always liked that song.”  Martin: “The last time we played that was in 1992.”  Dave: “Not even.”

Martin: “Before the world changed.   Before the horrible events of Dave’s birthday.”  Dave’s birthday is September 11.  He said people were calling him up saying, “Dave, happy birthday.  What a tragic day, terrible day, your birthday.”

They end with “Home Again” from Harmelodia and then “Song of the Garden” which they re-recorded fro NotSS.

As they head out, Dave reminds everyone: Tomorrow’s free, so you got no excuse.  Tomorrow night: Precious Little at 9:30.  John Ford at 10: 25 and  Rheostatics later on.

[READ: June 30, 2016] The Instructions

I put off reading this book for six years.  And I see that I started to write about this over a year ago.

The book is massive!  (Category Thirteen even created a web page comparing the size of the book to other things).

It has been a major conversation piece.  I was reading it at the mechanics and an elderly lady and I wound up talking about books for 20 minutes because of it (she was reading Michael Chabon).

I had heard that even though it was big, it was not particularly challenging to read.  So while it is physically bigger than Infinite Jest (see the link above), it has about 40 fewer pages (and while it does have footnotes, there are not very many).

This story is all about Guiron ben-Jusah Maccabee, a ten-year old Israelite who may just be the next Messiah.

The book itself looks like a Bible (from the sheer size) and, indeed, as it opened we see that The Instructions were written by Guiron and translated and re-translated from the Hebrew and the English by Eliyahu of Brooklyn and Emmanuel Liebman.

Then there is a note from the publisher in 2013 (the book came out in 2010) saying that Guiron received no fanciable remuneration for his work, but money will go to the Scholars Fund.  Whether the U.S. Government “convicts, acquits, or fails to prosecute him for crimes relating to “The Damage Proper,” “the 11/17 Miracle,”: or any other event pertaining to “The Guironic War,” note that the Scholars Fund “in neither a terrorist organization nor a sponsor of terrorist organizations.”

That’s a pretty intense introduction.

The whole 1000 page book takes place in just a few days Starting November 14, 2006 (between second and third period).
Although the book is about Guiron, there are dozens of characters in the book–those who are “faithful” to Guiron and those who are not.

Benji Nakamook and Vincie Portite are his two closest allies.  They go to school with him at Aptakisic Junior High.  And they are all in The Cage.  The Cage is sort of a detention class–a high-security education experiment–the kids have all of their classes in this one room that has more security than any other room.

Guiron has been expelled from two other Jewish day schools.  In both instances he was considered brilliant and a genuine scholar but he was removed from both because of his violent tendencies.  And those violent tendencies are right up front.  As the book opens, Benji, Vince and Guiron are trying to waterboard each other. Continue Reading »

SOUNDTRACK: PHISH-LivePhish 10.21.95 Pershing Auditorium, Lincoln, NE (2007).

In addition to formal live releases and a series of 20 full show LivePhish releases (which were packaged in some horrible goo and have subsequently been ruined), Phish has also released some shows a but more formally as LivePhish archival “releases.”  I don’t know if there is any specific reason for the release of any of them, but they seem to put out two or so a year.

There’s a pretty thorough review and essay (with photos) by Kevin Shapiro about the show here.  And it provides a lot more context and Phish lore than I can and I’ve quoted some below.

This is another great set from 1995.

It starts with a ripping, quick “Tweezer Reprise,” a great way to begin a set (and the first time they had done so).  It’s followed by a rocking “Chalk Dust Torture” and great version of “Geulah Papyrus.”  Then comes a fantastic 14 minute version of “Reba.”  It’s the first jam of the night and they really explore the song (it doesn’t have the whistle ending).  It moves into “Wilson” which is (as usual) a lot of fun too.  After the “blap boom ” section Trey has some wild noisy effects on his guitar.

That settles down into a jaunty “Cars Trucks Buses” and the typically weird “Kung” which is a 4 minutes and features a drum solo that leads to a great, long version of “The Lizards” (10 minutes).  There’s a piano solo which leads to a pretty “Strange Design.”  Unexpectedly for me, next up is “Acoustic Army,” a four-person acoustic guitar song (see it here).  You can hear Trey shout Let’s do “Good Times” and they launch into great rocking version of the Led Zeppelin song (with a few nods to “Jessica” and “Reeling in the Years.”  I love that you can hear them decide what to play next right on the fly.   “Good Times” sounds perfect including the solo.  They end the set as they began with a reprise of “Tweezer Reprise.”

Set 2 opens with an audience chess move and then seems to start with “David Bowie” but instead its “2001” which segues into “DB.”  Its “only” 17 minutes but there’s lots of parts including a dark part and a fast part with echoed guitars.  There’s a mellow “Lifeboy” that winds up with a really long solo.  “Sparkle” sounds great with some awesome harmonies in the “laughing laughing fall apart” section.

Then comes the 25 minute “YEM.”  It starts with trippy washes of guitars.  There’s a lengthy bass solo with a lot of high notes—somewhat unusual for Mike–and then a long funky keyboard solo that segues back into a funky bass section with some trippy sounds and even a drum solo. The last five minutes is a voice jam that ends with snoring.  It somehow morphs into Fish singing “Purple Rain” (rather poorly) with a (rather great) vacuum solo.

I love this description of these events:

YEM synesthesiastically blends music theory, reggae, funk and trampolines into a psychedelic prog-rock rite of passage that primes the college Being for exactly that for which the composition is aptly named.  Blown away, the lively audience clapped along with a polyrhythmic vocal jam that became a pitch-increasing rotation of sound effects and lights (strobe alert #2) before sinking into a dynamic breathing-snoring exercise.  As the snoring subsided, You Enjoy Myself drifted away on cymbal rolls that allowed Trey to slide behind the drum kit while Fish grabbed his vacuum for Purple Rain.  Upon arriving center-stage, Fish crowned himself with a glow ring that he wore the rest of the show.  It’s a shame the video of this song can’t be released at this time because Fish, looking like a short Jesus or a white Hendrix with his head-ring and running slow motion in place as he guided you to the Purple Rain with an Electrolux solo was a sight to behold.  The crowd was spellbound,

When they return to “Harry Hood” they resume some notes of “Beat it.”  It proves to be a pretty mellow guitar jam, although during the “Thank you Mr. Minor”, section, there’s some nice full-band improvisation.

The crowd erupted as Trey called Suzy Greenberg.  Fish continued the Harry Hood humor into his usual Greenberg commentary, making Trey and Mike laugh as they tore into the last song of the set.

The set ends with “Suzy Greenberg,” more “Beat It” riffs and a Led Zeppelin nod.  “As Suzy drew to a close, Trey threw out one last stanza of Tweezer Reprise as a parting nod to the shared magic of the moment.”

The encore is a rocking version of “Highway to Hell.”

Due to licensing, we can’t present the Highway to Hell video at this time, but like Purple Rain it warrants mention.  There is a combined glow from watching Fish wearing his head-ring, Mike mysteriously sitting down in a chair during the second verse and Trey in Husker red, pumping his fist and singing like a kid in a candy store.  As Highway to Hell drew to a close, the room exploded with lights flashing (strobe alert #5), heads banging and fists pumping in a classic display of arena rock power.

The bonus filler is a 20 minute soundcheck “Dog Log Soundcheck.”  It contains teases of You Enjoy Myself (“Wash Uffitze”) and The Landlady.  The dog log part doesn’t start until way near the end of the song but the beginning is really cool with lots of trippy synths.  As usual, the soundchecks don’t compare to the real show, but as a bonus feature, it’s a nice add.  This one is particularly good.

[READ: November 24, 2016] The Murder of Monty Woolley

Madras Press publishes limited-edition short stories and novella-length booklets and distributes the proceeds to a growing list of non-profit organizations chosen by our authors. For this particular book, proceeds to benefit initiatives to cure and control Cystic Fibrosis like the Cystic Fibrosis Foundation.

This is very short release, unlike all of the other Madras Press books.

The title page shows a screen shot for Colossal Studios Presents Monty Woolley, Doris Merrick in Alfred Hitchcock’s [fake] Death Wears a Beard. Continue Reading »

SOUNDTRACK: PHISH-LivePhish 12.01.95 Hersheypark Arnea, Hershey, PA (2006).

Speaking of 12.01.95 (see yesterday’s post), this show is the proper release from the soundchecks for the 11.14.95 disc set.

In addition to formal live releases and a series of 20 full show LivePhish releases (which were packaged in some horrible goo and have subsequently been ruined), Phish has also released some shows a but more formally as LivePhish archival “releases.”  I don’t know if there is any specific reason for the release of any of them, but they seem to out out two or so a year.

There’s a pretty thorough review and essay (with photos) by Kevin Shapiro about the show here.  And it provides a lot more context and Phish lore than I can, but I will quote him below.

The set opens with a fast rollicking version of “Buried Alive” (only 3 minutes long) which segues neatly into an intense “Down with Disease.” The seven minute song ends with Fish playing just high hats for a bit before seguing into “Theme form the Bottom” which is from Billy Breathes out the following year.

When that song ends they play into a fun fast version of “Poor Heart” which segues into “Wolfman’s Brother.”  The staccato ending sequences nicely into a 7 minute “Chalk Dust Torture.”

Then comes the wonderful surprise of “Colonel Forbin’s Ascent.”  As the song segues into “Fly Famous Mockingbird,” Trey takes some time to chat.  He tells the audience a brief history of the planet.  In the time of the ancient Greeks, philosophy, science and religion were all one thing.  Science and religion split off.  The Eastern style stated that everything is one.  Western style focused on matter vs spirit and gave rise to modern concepts of religion.  It seems like he’s getting very serious.  Then he talks about how eastern religious led to cows which led to milk which led to milk chocolate.  Chocolate.   The Mystical Land of Chocolate.  Then he says there is only one place where science religion and philosophy are one thing—Gamehendge.   And then he talks about the Rhombus which can be found in King of Prussia.  Find Wilson Dr.  (Although presumably this gives the truth behind the rhombus).  There’s parts near the end where the song fades in and out in a very cool way.

Then they play a fairly dark version of “Stash” and a rocking version of “Cavern” to end the set.  It’s interesting that “Chalk Dust,” “Stash” and “Cavern” were also on the 11.14.95 set).

Stash followed with a formidable jam that stretched out instrumentally, locking into a dissonant theme that ignited the highest improvisation of the set. The whole band linked up beautifully for this jam, evoking a Dave’s Energy Guide-ish vibe and at points recalling the expectation-smashing heights of the Orlando Stash weeks before. After Stash returned to terra firma, Cavern closed the set, leaving “15 minutes” of recovery and preparation before the even sweeter second set that defined this show.

Set two opens with a chess move from an 11-year-old boy (who is now in his thirties (!!!).  They begin the music with an a capella (doo-wop) version of “Halley s Comet.”  It ends with a cool segue into “Mike’s Song,” a 20 minute jam with a really long piano solo from Page ans a nice end that rumbles into “Weekapaug Groove.”  [Read Shapiro’s eloquent discussion about this transition].  There’s a quiet solo in the middle of the song with a brief clap-along.  But it pulls out of that to get noisy and chaotic by the end.  Things mellow out with “Mango Song” but the crowd erupts for a short (5 minute) fast version of “Wilson.”

Things get a little silly with Fish singing “Suspicious Minds.”  (I just found a video for this—Fish comes out weaving an Elvis Cape and a big glasses.  It ends with a fast “Hold Your Head Up” keyboard romp (with Trey on drums).

When things settle down Fish starts playing the high hats for “David Bowie,” but before the song begins, Trey sings “Catapult.”  And then before the song can begin again, in the trippy intro Trey starts moaning “Chocolate.”  There’s a brief Simpsons riff and a Do’h and then they launch into the song proper (about 2:30 into the song).  There is a long middle with lot so solos and then a fast, tidy ending.

The encore is a romping 7 minute “Suzy Greenberg.” It’s another great show.

Even if it is a bit shorter than the previous one–that personalized chocolate section and the Colonel Forbin’s is pretty great.

[READ: November 25, 2016] Eating Fish Alone/Country Cooking from Central France

I really enjoy Lydia Davis’ stories.  I always find them a little weird since most of the time they feel more like little diary entries rather than stories.  Each narrator seems to be pretty clearly her, and each story seems like a gripe she has about something that happened.

And yet, it is like the best diary entry you’ve ever read.   Most of her stories are a couple of paragraphs long.  I find I don’t really like the longer ones as much, which is kind of ironic given that the short ones seem so short.

So this is a collection of a few of her stories.

“The Mice” is a page and a half about how the mice in their house never go into their kitchen.  Their kitchen is sloppy and full of food–why wouldn’t the mice go there?

“Meat, My Husband” starts with the narrator saying that her husband really loves meat.  His favorite chidhood food was corned beef.  But she, being a healthy person (and perhaps a bit obsessive) hardly makes meat (or uses butter).  But her husband really enjoys a dessert–which he helps to make.

“Happiest Moment” is only one paragraph and is an interesting twist on happiness.

“Kafka Cooks Dinner” is much longer than the others and it gets a little repetitive.  It is told from the point of view of a man looking to make a meal for his dear Milena.  He puzzles over several different options.  He wonders if he should serve the same to her as he did to Felice.

“Eating Fish Alone” is a story all about the neurotic narrator trying to figure out when and what fish she can eat. She says she pretty much only eats it alone because of the smell  But she also a has a list of which fish she can eat–some is safe and others are not.  She often asks the waiters about the fish, even though they don’t know much about the food.  The end sees her eating a marlin steak.

Continuing with the food theme of this book, the other half of the book (flip it) is fully called Country Cooking from Central France Roast Boned Rolled Stuffed Shoulder of Lamb (Farce Double)

This is one of those stories that I never understand why they are written.  Lengthy and very detailed all creating something that is possibly funny, but I’m not sure if it is–making a story out of something that is just a goofy recipe.

It is a 24 page recipe for Farce Double–the specialty of La Tour Lambert.  It is an elaborate (beyond all reason) recipe that might make no sense to a foreigner.

You must marinade the giant lamb parts–in Paris they might use a bidet, you can use a bathtub.  After extensive details you get sentences like: at some previous moment, you will have made the stuffing for the quenelles.

There are clay pots and giant pits and marinating for days and all of that.

The only thing that interrupts the recipe is the song that is sung during a break in the roasting.  This song is about a blacksmith’s son who goes in search of his lost mother.  He finds several women who take care of him, making him believe that each is his mother until she “does for him what mother a never did for her son.”

The feast of farce double is a moment for friendships to be renewed, for enemies to forgive one another, for lovers to embrace.

Serves thirteen.

Uh huh.