Feeds:
Posts
Comments

Archive for the ‘19th Century’ Category

SOUNDTRACK: KING CRIMSON-The Elements Of King Crimson – 2014 Tour Box (2014).

When King Crimson reunited in 2013, they prepared to tour as a seven piece behemoth the following year.  There would be three drummers, two guitarists, bass and horns.

And they were totally reinvigorated.

To celebrate this tour, Fripp and his minions created this Elements Tour Box, a 2 -disc set dedicated to displaying the elements that made up the band from the beginning until now.  It was made up of alternate takes, excerpt (lots of excerpts), live recordings and rehearsals from the entirety of the Crimson canon, including some of the 2014 shows.

It is a treasure trove for Crimson fanatics.  But it is also an excellent resource for anyone looking to explore the Crimson underworld without buying $150 boxsets.

The discs follow a vaguely chronological overview, starting in 1969 and moving on through 2008.  But there are 2014 takes of old songs thrown in as well–some sound better than others, but overall the quality is quite good.

The first disc covers 1969-1974.  It opens with
“Wind Extract,” which is the sound of Fripp’s mellotron being turned on back in 1969.
“I Talk To The Wind” is an instrumental version of the second song on ITCOTCK.  Purists will be able to tell how many things are different between this version and the actually-released product, but in a nutshell, this is the album version with no vocals.  It’s really interesting to focus just on the music and not the words for a change.  The song is quite pretty, with lots of flute.

“Cadence and Cascade” is from In the Wake of Poseidon and no one involved in the recording remembered Greg Lake singing a version of it.  Guest vocalist Gordon Haskell sang the album version.  Then someone recently found this “guide vocal” version of Lake singing it for apparently the first and only time.

The boxes often contain brief excerpts like this one–fifteen seconds of Fripp’s classical sounding guitars from “Cirkus.”  This is kind of an acoustic bridge before we hear the full song recorded in 1971 on the Lizard tour.  This song in particular sounds very dated live and the middle “circus sounds” sections are 70s crazy.
“Hoodoo (extract)” is a 2014 rehearsal that’s all of 20 seconds which segues into a raucous recording of Fripp playing a wild guitar solo for “Sailor’s Tale.”  It’s wild and really shows Fripp throwing everything he can at the song.
“The Talking Drum” is an early alternate mix which sounds great to me.  It gets really crazy by the end.

The “Lark’s Tongues in Aspect I” excerpt is from 2014 and is just Mel’s flute for 2 minutes.  It’s followed by a 1972 extract that’s just violin and dulcimer and harp.

This turns into a great new mix of the 11 minute “Fracture.”
After a minute of gorgeous harmonics by Fripp from “Fallen Angel,” we get a full, gorgeous 6-minute instrumental version of the song.  Because Crimson songs are so complicated and so carefully constructed, they are one of the few bands whose songs can have lyrics removed without them falling flat.
There’s a weird-sounding version of “21st Century Schizoid Man” from 1974, which sounds so very mid-70s in the recording style.  It seems somewhat slapdash compared to the utter tightness of the 2014 band.  The disc ends with Mark Charig’s cornet recording for the end of “Starless.”  On the proper release they use Mel Collin’s saxophone, but the cornet sounds delightful.

Disc two covers 1981-2008.

  This is pretty much the Adrian Belew era.  Belew was not invited back for the new incarnation, so that’s a little awkward.

It begins with an alternate take of the instrumental “Discipline.”  After a 45 second drum intermission, there’s a track called “Manhattan (Neurotica)” which is an instrumental version of “Neurotica.”  I love that the opening guitar sounds like sirens and car horns.
A minute and a half of the middle of “Neal and Jack and Me” is followed by the Steven Wilson mix of “Sleepless (Bearsville)” with an incredibly 80’s sounding slap bass from Tony Levin.

Then there’s a recording session of “Sex, Sleep, Eat, Drink, Dream.”  We hear lots of stops and starts, bass only, guitar parts and someone repeating “this is tough, tough shit.”
There’s a live version of “THRAK” followed by a minute of Fripp soloing around “Larks Tongue” called “Venturing Into Joy.”

This is followed by two tracks from Fripp’s side ProjeKcts,  “The Deception of the Thrush” is performed live by ProjeKct Four in 1998 with big thumping almost splatting-sounding drums.  Then there’s a trippy and ambient early version of “Heaven & Earth” by ProjeKct X.

After a scorching “Level Five” from 2008, there’s a minute long drum solo which would ultimately morph more fully into “The Hell-Hounds of Krim” and then two tracks from A Scarcity of Miracles.  “Separation” is an edited version of the bonus track (the disc label calls it something else).  And there’s an alternate take of “A Scarcity Of Miracles”–still long and a little too jazz-lite for me.

This is a really solid collection of all eras and styles of Crimson.  And it also showcases the various parts coming together.  A great production all along.

[READ: January 19, 2018] Monsters of the Ivy League

This book collects a series of Ivy League graduates and puts them in context with a they have a lot of support for all of their declarations.  Each entry gives a brief (biased) biography that highlights their flaws, outrages and downright unforgivable behavior.

So, rather than rewrite summaries of these assholes, I’ll present a grid with the shortcut (and some choice tidbits).  You can find the book and read the details for why our Ivy leagues have bred so many shitheads, including current miscreants:

Samuel Alito, Ben Carson, Ann Coulter, Ted Cruz, Laura Ingraham, Henry Kissinger, Dr. Oz, trump, and many more.

The introduction says that the term Ivy League refers to a bunch of football teams. (That’s why it says “league”).  The League was formed in 1954 to formalize the sporting relationship between eight teams: Brown, Columbia, Cornell, Dartmouth, Harvard, Univ of Penn, Princeton and Yale.

Of course, no one goes to these schools for sports, they go to find the best future contacts for your budding careers.

But read this book and remember:

An ivy education doesn’t force you to become a hideous person, but it doesn’t necessarily prevent it, either.

What follows is a smart-shopper warning to those applying, a count-your-blessings consolation to those who have been rejected and a watch-your-back caution to those already attending.

(more…)

Advertisements

Read Full Post »

SOUNDTRACK: ‘TIS THE SEASON: Praise and Worship Christmas: A Collection of Inspirational Holiday Classics (2001).

s-l500This Christmas Collection came from Sarah.  As you can tell from the title and subtitle and sub-subtitle, this is a religious disc.  And as you can tell from the title and subtitles, they have gone way over the top.

The group consists of a bunch of performers and a choir from something called The Evergreen Community Church/The Rock.  Presumably not the actor The Rock, although that would be pretty cool.

As with a lot of contempo-Christian music, they’ve decided to add a rock flair to it.  So these are 13 songs sung very passionately and with little restraint.  Because if you can have an echo pedal, you should use it.  And for some reason, nothing says Christmas like alto saxophone.

“O Come All Ye Faithful” features that sax prominently.  Up next, I was pretty surprised to hear a rocking harmonica solo on “Joy to the World.”  For the most part the folkiness was okay until the choir at the end.

“Do You Hear What I Hear” has a solid drum machine and an excess of R&B vocals.  Up next, the music for “What Child is This?” is understated and pleasant.  Shame that the singer is shooting for the rafters.  Their version of “Go Tell It On the Mountain” is not gospel-tinged and, stranger yet, they changes the stress of the chorus to the “ow” of mountain.

“Angels We Have Heard on High” brings that saxophone back and back and back.   “O, Little Town of Bethlehem” has a quiet piano motif, but once again, it is oversung.

“We Wish You A Merry Christmas” makes excessive use of that echo pedal on the vocals.  “Hark! The Herald Angels Sing” was pretty good.  No complaints.

But try to imagine just how over the top and ponderous you could make an a capella (plus echo) version of “O Come, O Come Emmanuel.”

“Silent Night” loses all of its power in this folkie rendition.  I’m noticing the fretless bass and cheesey sax rather that the echoed vocals.  Amazingly, “Amazing Grace” is understated musically with just an acoustic guitar but the singer overcompensates.

The disc ends on a high note (not literally).  On “Joy to the World” the folkie harmonica and guitar work nicely.

[READ: December 22, 2017] “The Christmas Banquet”

Once again, I have ordered The Short Story Advent Calendar.  This year, there are brief interviews with each author posted on the date of their story.

Hello. Welcome. It’s finally here: Short Story Advent Calendar time.

If you’re reading along at home, now’s the time to start cracking those seals, one by one, and discover some truly brilliant writing inside. Then check back here each morning for an exclusive interview with the author of that day’s story.

(Want to join in? It’s not too late. Order your copy here.)

This year I’m pairing each story with a holiday disc from our personal collection. (more…)

Read Full Post »

klosetrSOUNDTRACK: RHEOSTATICSFall Nationals The Horseshoe Tavern Toronto, ON. Night 1 of 13 (November 10, 2003).

This was the 1st night of their 13 night Fall Nationals run at the Horseshoe.  Rheostatics Live has recordings of nights 1, 3, 4, 5 and 7.

 The sound quality of this show is great, although it’s quite disconcerting how quiet it is between songs—must be soundboard with no audience pick up at all.

Dave chats with the crowd of course: “Always exciting on opening night—a tingle in the air.  We’re basking in the glow of David Miller’s victory tonight even if he doesn’t know the words to “Born to Run.”

David Raymond Miller is the president and CEO of WWF-Canada, the Canadian division of the international World Wildlife Fund. A former politician, Miller was the 63rd Mayor of Toronto from 2003 to 2010. He entered politics as a member of the New Democratic Party, although his mayoral campaign and terms in office were without any formal party affiliation. He did not renew his party membership in 2007.  After declining poll numbers, Miller announced on September 25, 2009, that he would not seek a third term as mayor in the 2010 election, citing family reasons.  He was replaced by Rob frickin Ford.

They play a lot of songs from their not yet released album (not until 2004, in fact) 2067.

They open with “The Tarleks” which is follows by 2001’s “Song of the Garden” and then back to 2067 with “I Dig Music.”  The new songs sound similar to the release but perhaps the words might not be solidified yet—there’s also no “too fucking bad” in “I Dig Music.”

Tim’s “In It Now” comes next with that cool opening riff.   It segues into one of my favorite Tim-sung songs “Marginalized” also from 2067.  I love the drums, the guitar riff, everything about it—although they are off-key as they start.

Dave says, “We’re surprising ourselves a little by playing new stuff.   But when Martin asks for requests and people say “Saskatchewan” Martin starts playing it (see, the squeaky wheel…).

“Fan letter for Ozzy Osbourne” (also from 2067)  it sounds a bit more spare and sad (with no wailing vocal at the end).  It’s followed by “a very old song we wrote in 1989, I think, but it still applies on this special occasion.”  He says it’s called “You can’t go back to Woodstock baby you were just 2 years old you, you weren’t even born.”

There’s a quiet “In This Town” that’s followed by a lengthy “When Winter Comes.”  This song features a remarkably pedestrian guitar solo (sloppy and very un-Martin like).

Dave says they were recording audio commentary from a show two years ago (for what?  is this available somewhere?).  He says that night wasn’t a very good patter night.  Good music night, though.

Tim says, “So we overdubbed good stage banter. … Till I sparked up a fattie and giggled like a moron.”
Martin: “till you sparked up a fattie and the ridiculousness of the situation became glaringly apparent.”
Dave: “Martin I can’t believe you just said ‘sparked up a fattie.'”
Martin: “The times they are a-changing.”

Martin introduces “Aliens” by saying “This would be a b-minor chord.  The whole thing seems a little weird–Martin does some odd voices and weird guitar noises—it almost sounds out of tune or like it’s just the wrong guitar.

Back to a new song with “Polar Bears and Trees” and they have fun chanting the “hey hey ho ho” section.

Dave calms things down with some details: We got some stuff planned over the next 13 days. Lucky 13.  Thursday there’s going to be 25 guest vocalists.  We’re gonna mail it in, basically.  And then on Saturday we have “Tim Vebron and the Rheostars.”  According to a review, this “band” is a goof: “Martin was wearing a lei and suspenders, MPW looked like an extra from THX1138.”   You can also get a pass to all 13 shows for $75.  For some good old live live Canadian shield rock.

Dave asks, “Tim did you get a contact high during aliens?  Some wise acre lit a marijuana cigarette.”  Tim:  “It’s just kicking in now.  I’m hungry.”

“PIN” sound great although in “Legal Age Life,” the sound drops out at 58 seconds and comes back on at 1:35.  During the song, Dave shouts G and they shift to “Crocodile Rock.”  It kind of clunkily falls back in to “LAL,” but it’s fun to see them jamming and exploring a bit.

Dave says “Crocodile Rock” was a very complicate dance, but it didn’t catch on.  I think the dance involved implements didn’t it. Tongs?”

“Stolen Car” starts quietly but builds and builds to a noisy climactic guitar solo.  Its pretty exciting.

During the encore break there’s repeated chants for “Horses.  Horses.”

You can hear Dave say, “‘Soul Glue?’ We’re not going to do that tonight, we’re going to say it for a special occasion.”  The audience member shouts, “the hell with you.” Dave: “Ok, bye. Yes I am going to hell.”

What song do you think cleans the palate for the song to come after it—A sherbet?

There’s some amusing commentary between Dace and the audience.  And then a little more local politics: “Did you think that was good speech by David Miller?  I didn’t. I don’t want to be a bad guy coz it’s his night but…”  Then Dave imagines a “David Miller ascension-to-power film starring Ed Begley Jr.”

The encore includes a rollicking “Satan is the Whistler” followed by a solid cover of The Clash’s “London Calling.”  Tim’s a little sloppy on the bass, but the guitar sound is perfect and Dave’s got the vocal sound just right.  As they leave you can still here that guy calling for “Horses.”

[READ: July 1, 2016] What If We’re Wrong?

I have enjoyed a lot of the essays I’ve read by Klosterman.  But I’ve never read one of his books before.  I saw him on Seth Meyers one night and this book sounded cool.  And then I saw it at work, so I grabbed it .

Klosterman is clever and funny and this book is clever and funny.  Although I found it a little long–every section of the book felt like it could have been shorter and it wouldn’t have lost any impact.  However, I loved the premise and I loved all of the examples.  I just got a little tired of each section before it ended.

So what is this book (with the upside down cover) about?  Well, as the blurb says, our cultural is pretty causally certain about things.  No matter how many times we are wrong, we know exactly how things are going to go. Until they do not go that way any more.  “What once seemed inevitable eventually becomes absurd.”  So what will people think of 2015/16 in 100 years?  And while some things seem like they may be obvious about how tastes change, he also wonders if our ideas about gravity will change.

This came out before the horrors of the 2016 election and I read it before them, so the whole premise of the book is even more magnified. (more…)

Read Full Post »

SOUNDTRACK: RHEOSTATICS-Copps Coliseum, Hamilton, ON (December 11 1996).

This is the final show on Rheostatics Live in which the band is opening for The Tragically Hip.

For this show, the intro music is also from The Wizard of Oz, but this time it’s Judy singing “Somewhere Over the Rainbow.”  It’s just one verse before fading out and then guitars fading in for Martin to play “A Mid Winter Night’s Dream.”

Turns out that this setlist is similar to the one from Buffalo with a lot of new songs.  Although there are a few older/more popular songs in places.

The new songs include “Fat” which sounds great of course.  I gather they are maybe sharing a microphone because at the end Dave says “See you in the next song, Martin.”  “Okay, Dave.”  This leads into a perfect version of “All the Same Eyes.”

Martin says “We are the Rheostatics.”  Dave says “We are the Rheostatics, not to be confused with The Howell Brothers (?).  They couldn’t make it but we got their jackets.  It’s nice of you to come out early.  We’re playing selections from our new record. Get it before it’s reduced to clear.”  (You can hear someone laugh on tape).

This is a segue into the single “Bad Time to Be Poor.”  It’s followed by another Tim song, “Claire” with the acoustic guitar opening in place.  There’s another lengthy guitar solo, although it’s not quiet as exciting as some of the other ones.  But Martin was saving up for a spirited version of “California Dreamline.”

They end their set with a rough rocking “Feed Yourself.”  During the spoken part, they slow things down to just a bass and washes of guitar.  It’s a pretty intense ending and a good preparation for The Tragically Hip.

[READ: June 25, 2017] The Story of Canada in 150 Objects

In celebration of Canada’s 150th year, Canadian Geographic and The Walrus created this special issue–a fun way to describe many elements of Canadian culture through “objects.”

The objects are grouped in vague categories.  Some have just a few words written about them while others get a few pages.  Some are humorous, some are more serious.  Most are happy or amusing, some not so much.  And all of it together paints a diverse and complex portrait of the country–as well as teaching this person from South of the border a number of things I did not know.

It’s with comic pride and humility that the first object is politeness (which is not an object at all, of course).  The amusing thing about this article about “politeness” is that while the author of it is very pleased to be so polite, he also can’t wait for his fellow Canucks to forget to be polite so he can rub it in with a extra smarmy “You’re Welcome.” (more…)

Read Full Post »

storiesSOUNDTRACKPOLYPHONIC SPREE-Tiny Desk Concert #259 (December 21, 2012).

The Polyphonic Spree performs a Tiny Desk Concert.I really enjoyed Polyphonic Spree’s first album (and their strange robes and cult-like following (apparently even within the band).

They put out a Christmas album some time ago, and since we have a big pile of Christmas albums, I grabbed that one.  I didn’t love it, but it was a fun addition to our collection.

This Tiny Desk Concert is notable for just how many members of the band are behind (and on the side of) the Tiny Desk (perhaps 18?).

And the band is suitably musical–trombone, trumpet, keys, drums, bass, cello, violin and a ten (or so) piece choir.

Interestingly, I find that the weak link in this whole thing is leader Chris DeLaughter.  It’s just that his voice is really not that interesting. It’s especially notable on “The Christmas Song” where he sings some high notes unaccompanied.  When the choir comes in (and they change the melody) it sounds really cool.  I especially love the way they make “reindeer really know how to fly” into a high note.

The first song is “Happy Xmas (War Is Over)” which I feel is the Christmas song they might be best known for.  It’s pretty traditional to the original, with the choir filling in for the kids.  The addition of horns really adds a lot to it.

“Silver Bells” gets a pretty rocking treatment–the buildup at the beginning is pretty cool.  They change the main melody to an almost circus-like waltz. I love the way it sounds when everyone joins in–and when the choir is singing along to the rocking end (with a very different melody) it sounds great.  But once again DeLaughter’s voice doesn’t seem up to the task of leading this larger group.

But it’s festive and fun, especially with everyone in red robes (and DeLaughters green one).

[READ: December 2016] Christmas Stories (1854-1864)

Last year, I started reading some Charles Dickens Christmas Stories in December.  I imagined that I’d finish the whole book this season (all 750 pages of it), but I didn’t come close.  I enjoy these stories but they are not quick reads by any standard.

The fascinating thing with a lot of these stories is that they appeared in All the Year Round, a Victorian periodical founded and owned by Dickens and published between 1859 and 1895 throughout the United Kingdom.  But just because these stories came out for the Christmas issue doesn’t mean they have anything to do with Christmas directly.

I thought I’d be reading a whole chunk of the book in a row, but I wound up skipping around a bit.  Maybe next year I’ll finish the remaining stories. (more…)

Read Full Post »

black-daimons SOUNDTRACK: LAST EX-Last Ex [CST107] (2014).

last-exOne of the things I love about Constellation Records is that you often never know what you’re getting.  They used to very specifically release a certain kind of music, but they’re now just releasing interesting and exciting music.  But also, a band name can’t really tell you what to expect from this label.

So who knows what a band like Last Ex will sound like.  And how cool that their first few songs on this are so good.

The disc’s sides are split into Side X and Side XX.

“Hotel Blues” opens with some scattered drums and chords.  It has  vaguely early-Pink Floyd feel to it.  But around a minute in, the synths pick up a repetitive melody and the bass and drums kick in to give it a very Can or Kraftwerk vibe.  The song is fairly straightforward, but there are sprinklings of notes—sometimes slightly off and vibrated that add some very cool textures to this pulsing track. It’s really groovy and fun.  But it’s “Girl Seizure” that I find so strangely compelling.  Again, over simple repetitive drum and bass, the guitar (or keyboards) play warbling notes that are unsettling and yet enticing.  The song quiets to almost nothing and then resumes in much the same way—and you welcome that weird warble and its of Moog feeling.  At just under 3 minutes its just the right length.

“Flûte magique” slows things down with some simple arpeggios.  There’s not a lot to the song, but it is wonderfully soothing as the bass notes tick away and then the guitar notes rise higher and higher.  The song picks up speed as it goes along and leads to a middle section that’s almost stiffly funky, if that’s possible.  The ending gets a little louder as it thuds to a conclusion.

“It’s Not Chris” opens with some static and strange noises and some soaring keyboards.  About a minute and a half in a strange staccato organ melody comes in with a violin sound doing a kind of solo over the top.  It’s all a little strange but it drops out in the middle to a kind of sinister pulsing, and when the melody resumes, it seems strangely comfortable again.  The end of the song has some high-pitched violin notes that sound almost like a theremin.

“Resurrection Drive” is mostly drums and echoed surf guitar chords. After a minute or so some strings are added to the mix.  It’s only 2 minutes long but it introduces some interesting tension.

Side XX has a quieter feel overall.  “Nell’s Theme” opens with acoustic guitars playing a simple, pretty four-note melody.  The song slowly grows more complex as a violin is added to the song. With about 30 seconds remaining, everything drops away save for a mournful violin.

Thudding bass and picked notes echo through “Trop tard.”  It has a slow, spacey feel (like mid-period Pink Floyd).  A guitar is added and it speeds up some but still sounds of the era and then settles back down to a languid pace.  “Cape Fear” is less than 2 minutes of swirling outer space sounding synths—a creepy, lonely feeling.

“Cité d’or” has more slow pulsing rhythms and more echoing surf guitars and the whole thing feels rather tension filled.  Some squealing  feedback intersperses the surf guitar.   “Hotel Blues Returns” for 1:43.  It’s primarily the drumming pattern of “Hotel Blues” with some swirling synth noises (it’s good for headphones).  “Hotel Kiss” ends the disc with sirens and then a slow thudding drum and more noir guitars.  This could be used in a Twin Peaks scene.

So this album is an interesting mix of rocking songs with unsettling noises and mellower songs with cool synth effects.  It’s a great find.

[READ: September 24, 2016] The Black Diamond Detective Agency

I read this book a while ago, but I never posted about it.  And that gave me the opportunity to re-read it and, frankly, to enjoy it more.

This is the third book by Eddie Campbell that I have read.  I have found his stories to be complicated and hard to follow on first read.  They really demand a second and even a third read.  Part of it is that he writes complicated and somewhat intentionally convoluted narratives.  And part is because of his drawing style.

I love the cover of this book, how it is set up to look like an Old West placard: ORPHANS! MAYHEM! TERROR!  “In This the most recent offering from The First Second Quality line of Books.  An epic take of a newly industrialized America as revealed in words and pictures by the inimitable Mr Eddie Campbell.  Based upon  the manuscript of a Kinematographic play by Mr C. Gaby Mitchell.”

And its this last part that I missed when I first read it–that it was based on a screenplay.  And this book does resemble a screenplay.  However, I noted that in my other posts about Campbell that I’ve said of this book: I liked and didn’t like this book.  Well, which is it?

The story is incredibly complicated–with double and triple crosses.  And the visuals call for mistaken identity and hidden identity as well as new characters who all look vaguely the same–like pale photographs of turn of the century urban gangsters. But the story is really interesting. So I liked it, although I think I’d like to see it more as a film. (more…)

Read Full Post »

overpoSOUNDTRACK: J. MASCIS-Tiny Desk Concert #406 (November 22, 2014).

mascisJ. Mascis is best known as a wailing guitarist who plays in front of a wall of speakers with Dinosaur Jr.  But for this Tiny Desk Concert he busts out an acoustic guitar and plays some songs from his solo album (as well as an old Dino classic).

“Stumble” is sung in Mascis’ delicate falsetto.  They zoom in on him singing and its amazing how he doesn’t seem to be straining in any way doing this really high voice.  After all the falsetto, his saying “Thanks” in a deep voice is really kind of funny.

For the second song, he busts out the classic “Little Fury Thing.”  This acoustic version sounds really good–so simple and clean.  The original is great burst of loud rocking and it’s amazing that the song can sound so good stripped down. His voice is much deeper for this song .  I love at the end how he plays the strings really really fast but continues to swing in his most languid style.

The third song is actually two songs.  He switches guitars (and is apparently using sheet music) to play “Drifter/Heal the Star.”  The first part is a lengthy, really pretty instrumental.  For all of Mascis’ noise and rocking out, he knows how to write beautiful, lovely melodies.  The main melody is played on the high strings alternating some great strumming on the low strings for the “chorus.”   I could listen to this for ages.

The song segues into “Heal the Star” which sounds very Mascis–his most Mascis voice and strumming style.  Although for the chorus he’s back to the falsetto vocals again.  The solo a the end is great as he plays chords on the lowers strings while soloing ion the high strings (there must be a different tuning to make this sound so good).

I saw Dinosaur Jr a couple of months ago and I’m going to see them in November again.  I love Mascis’ loudness, but it’s wonderful to hear him play these quiet pieces too.

[READ: April 1, 2016] Overpowered!

I loved the premise of this book right from the start.  I mean, the cover alone is great, and flipping through it, there are some wonderful images of men with great mustaches in turbans doing all manner of hypnosis to people.  What I didn’t expect (but probably should have if I’d read his bio on the back) is that Green himself is a practicing hypnotherapist (in addition to being an actor and performer who has created such characters as “US Country music star Tina C and pensioner rap star Ida Barr.”

It turns out that Green has been interested in hypnosis for a long time.  He learned how to do it and then wanted to set the record straight for what hypnosis actually is as opposed to what we believe it is.

So this proves to be a thorough (and very funny) history of hypnosis through the years.   He says the book is called “Overpowered” because “I’m fascinated by the delight human beings derive from the idea of being taken over.  Being conscious may be beneficial, but it is also hard work.” (more…)

Read Full Post »

Older Posts »