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Archive for the ‘Adventure’ Category

SOUNDTRACK: RHEOSTATICS-Memorial Stadium, St John’s, NL (December 03 1996).

This is the 17th night of the 24 date Canadian Tour opening for The Tragically Hip on their Trouble At The Henhouse Tour. First 4 songs missing.

Even with the first four songs missing, this tidy little 30 minute set is quite enjoyable.

It opens with “Four Little Songs.”  Dave says that Don Kerr on the durms, he invented this beat (a simple snare/bass 4/4).  Then Dave messes up the 4-3-2-1 intro!   But they start over and rip it out.  When it comes to Tim’s part, he says, “Song two if you’re keeping score.  Tim changes the lyrics a bit from

This lady’s shaped like the Tour de France.
A thousand wheels besieged the city of romance.

to

This lady’s shaped like the Tour de France.
A thousand wheels besieged her underpahnts

And after the jaunty “you cant go wrong/you can’t go wrong”, Dave shouts “UNLESS” before Don’s “Huge creatures plowing the streets tonight, right, right. / The mighty puffin sets the sky alight.”

I learned a fascinating thing during this show.  In Canada, the corn dog is called a “Pogo!”  “While you’re picking yourself up a pogo or a root beer you may want to check out the CD with lovely cover art by Martin Tielli as always.”

Up next is “Sweet Rich Beautiful Mine” in which Martin jhits some amazing high notes by the end.  It jumps to “Feed Yourself.”  The end rocks with some great feedbacking.  Tim comments: Way to go Dave.”  Dave replies “Way to go Tim” as they start “Bad Time To Be Poor” which is “for all the green sprouts.”  They thank the Tragically Hip for bringing them to Saint Johns twice.

Then they end the set with “A Mid Winter Night’s Dream.”  It sounds great–Martin’s vocals and guitars, everything is great.  The high notes at the end are wonderful.  And even though at the end, he sings the opening lyric, he catches himself and sings the proper ending.  Great stuff.

[READ: April 2, 2019] Delilah Dirk and the Pillars of Hercules

Boy do I love Delilah Dirk.

These stories are wonderful–fun, fantastical, exciting, witty and historically inaccurate (mostly).

I have totally embraced Cliff’s drawing style.  He has wonderfully subtle, expressions and his command of faces is amazing.  I absolutely love his amusing “action” words when one of the characters does something: “Skid,” “Grab,” “Hoist,” “Scramble.”

But like with the first two books, it’s the story that is really wonderful.

This book opens in 1812.  Delilah Dirk and her companion Erdemoglu Selim are in Turkey waiting to help a ship in Adalia’s harbor.  They are trying to protect the ship from the local tyrant Küçuk.  We see Delilah mingling at Küçuk’s party (and her expressions of distaste are wonderful).

Things do not go as planned, but the end result is the same–success for Delilah and humiliation for the tyrant.  Of course, it’s the not-going-as-planned that makes all the fun. (more…)

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SOUNDTRACK: ALEJANDRO ESCOVEDO-Tiny Desk Concert #834 (March 20, 2019).

I feel like I’ve been hearing Alejandro Escovedo’s name for years, and yet I know very little about him.

I assumed he was a kind of folkie guy.  So I was pretty surprised by the loud sound he brought to the Tiny Desk.  And even more surprised to read

The musician, who once opened for the Sex Pistols … seemed to appreciate the difference between being pelted with spit and debris by punk rock fans and being showered with loving appreciation in the NPR Music office.

Escovedo came  in a leather jacket and a large band.  And even though I thought they were loud, apparently they intended to be louder.  They even started the show with “one for the money, two for the show, three to get ready and four Go Alejandro!”

Escovedo and his backing band known as Don Antonio set up behind the Tiny Desk, their first sounds were blistering loud. That’s when we broke the news: We wouldn’t amplify Alejandro’s voice. We got a slightly sullen look from the band; but despite the toned-down volume, they were all still amped up.

A little research into Escovedo, though shows that he has, indeed, played folkie/alt-country music.  But that his sound has evolved over the years.

Escovedo pulled the three-song set from The Crossing, the most recent chapter in his ongoing odyssey and a typically hard-rocking, literate saga about two teenagers looking for their American Dream of rock and roll and beat poetry.

“Teenage Luggage” opens kind of quiet with one guitar and quiet drums, but soon enough a sax and keyboards are added, then comes some bass and the second saxophone and the roaring lead guitar.  As Escovedo sing/speaks his story.  Then comes the catchy chorus:

You think you know me, you’ll never know me you’re just a bigot with a bad guitar.

By the end, everyone is rocking out with mini solos from Perinelli on saxophone and a raucous guitar solo from Gramentieri

The close quarters of the Tiny Desk allows for a kind of backstage insight into the musical and visual interplay between Escovedo and the veteran Italian band Don Antonio [Antonio Gramentieri: vocals, guitar; Denis Valentini: bass; Matteo Monti: drums; Nicola Peruch: keyboard; Gianni Perinelli: tenor sax; Franz Valtieri: baritone sax]. Lead guitarist Antonio Gramentieri is the perfect foil for Escovedo, who adds a heavy dose of edginess to the sound with his power strumming.

“Something Blue” is slow with a dominant organ sound (reminiscent of Bob Dylan).  It sounds like an old-school rock song and his delivery sounds more than a little like Warren Zevon.

He says that “Sonica USA” goes out to Don since Wayne Kramer from the MC5 played on this.  It has a great raw rock feel with Escovedo’s punky vocals and the chanted chorus of “Sonica USA.”  The soloing section is great with the two saxophones playing on top of Gramentier’s wailing solo.

It’s a really fun garage rocking set.

[READ: Summer 2018] The Long War

I found the first book in this series rather compelling–almost surprisingly so given that it’s not a fast-paced book and, to be honest, not a lot happens.

But it was really well written and the things that do happen are compelling and fascinating.  And I couldn’t wait to read more.

In the first book:

A man creates an invention (The Stepper) which allows one to step into a parallel world that is next to ours.  There are a possibly infinite numbers of parallel worlds in each direction (East or West).  The worlds that are closer to ours are almost identical to our Earth (known as Datum Earth).  The further you go, the greater the differences.  But none of them have experienced humanity before Step Day (aside from earlier hominids).

The main character is Joshua Valienté.  Joshua is a natural “Stepper.”  He doesn’t need the device to Step from one word to the next, nor does he feel the nausea and other side effects that most people feel as they travel.  Most of the book follows his exploits.

The Black corporate has a ship with an entity known as Lobsang who claims that he was a human reincarnated as artificial intelligence.  Joshua is sure that Lobsang is a computer, but Lobsang’s human skills are uncanny.  This ship has managed to Step as an entity, meaning everything in the ship can go with them.  Normally you can only bring what you can carry (aside from metal).

The novel more or less is an exploratory one with Joshua and Lobsang Stepping through millions of Earths.  Not a lot happens, but the novel never grows boring.  The interactions between Joshua and Lobsang are often funny.  And the writers have infused the Earths that they stop in with just enough differences to make each stop strangely compelling (this must be Baxter’s hard science leanings).

At the end of the book, the anti-steppers attempt a massive, deadly protest.

(more…)

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SOUNDTRACK: RHEOSTATICS-Scotiabank Saddledome, Calgary AB (November 16, 1996).

This is the 7th night of the 24 date Canadian Tour opening for The Tragically Hip on their Trouble At The Henhouse Tour.  These are the only recordings of “Queer,” “Soul Glue” and “Introducing Happiness” from the tour.

The opening music tonight is “Good Times” by Chic.  Which seems odd.  After a quick “hello,” Martin begins playing “A Midwinter Night’s Dream.”  The sound quality of this recording is excellent (as the others are) and this version is pretty outstanding.

Dave says “We’re very nervous.  This is very big place.  We’re very purple.  We’ll do 8 songs tonight and then the Tragically Hip will play.  We’re playing across the country with them and eating all their doughnuts.

“Bad Time to Be Poor” is dedicated to Gord.  It’s another Tim two-fer with “Introducing Happiness” which is “for my cats.”

Up next, Dave introduces “a song about being gay and playing hockey.”  “Queer” sounds great and the band is really into it.  It’s followed by a bouncy and fun “Soul Glue” (three from Tim!) with a grooving solo from Martin.  “Soul Glue is such an underrated gem.  I love the way the middle section is chaotic with the three singers singing different parts and then it segues into the great harmonies of the final “ooooh” section.

Dave jokes: “Hey, Martin, if you’re gonna play stadiums you need to know how to flick the pick.”  Then Dave gives a big shout out to Recordland on 9th: “the greatest record store in the celestial universe.”  And it’s still in business in 2019!

The guys don’t banter too much as openers, but they have this exchange about the people down front:

DB: They’re having too much fun.
MT: Is there such a thing?
DB: Yes as you know first hand.
DB: Does everyone wanna party?  [crowd roars] I was afraid you’d say that.
MT: Well, this song is a real downer.

It’s “Sweet Rich Beautiful Mine” which sounds great with some really interesting chaotic parts in the middle–Martin seems to be either having fun or going a little crazy with the sounds and soaring vocals and lots of growled “rich”s.

Feed Yourself starts out really weird (a missing guitar maybe).  After a verse or so it sounds fuller.  The middle has no crazy chanting, but when the middle slow part end, it roars back.  It segues instantly into “California Dreamlike.”  When he sings “disillusioned porpoise,” the guitar sounds kind of dolphin-y.  The crowd is totally into them by this point.

They end the show with “RDA.”  Martin seems to start it twice then re-tunes and the blast through it properly.

Although a long rambling Rheostatics show is a thing of beauty, these short sets are pretty spectacular–like a great short story.

[READ: February 21, 2019] Quirk’s Quest 2

I had the exact same reaction from book one as I did for this book.  About Book One I said:

This story threw out so much disconnect for me that I never really determined if I liked it.

The artwork is adorable–the characters look like Fraggle Rock creatures–soft and furry with big round ping pong ball eyes.  Even the bad guys (much taller with four eyes) don’t look all that fierce.

And yet.

In the first 30 pages, these monsters kill and eat some of the cute Fraggle Rock creatures. What?!

This book looks ostensibly like a children’s book.  It is really cute.  But the diary entries of the Captain are written in a cursive that even I had a hard time reading (particularly because the captain’s named is Quenterindy Quirk and he is sailing on the H.M.S. Gwaniimander (hard enough to read that, imagine trying to figure it out in cursive!).

The cursive is still there (they name a river “Mabooglaqui” in cursive), and while there’s less death in the beginning of book two, there is a fairly astonishing scene where a creature eats smalls creatures and is then blown to bits (somehow adorably). (more…)

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SOUNDTRACK: RHEOSTATICS-Pacific Coliseum Vancouver BC (November 9, 1996).

Rheostatics opened for The Tragically Hip in Fall 1996.  Some of the shows were online already, but in 2018, Rheostatics Live added about ten more shows.

This is the 2nd night of the 24 date Canadian Tour opening for The Tragically Hip on their Trouble At The Henhouse Tour. It also includes “Fan Letter To Michael Jackson” from the first night in Vancouver November 8, 1996.

Rheostatics as an opening band are quite different from a headlining show.  As headliners, they play for over two hours, the banter a lot and they are quite funny.  As an opening act (especially for a band like The Tragically Hip), they are much more efficient.  They have about 45 minutes.  I imagine the fans are receptive, although it’s hard to tell from these recordings.

Of course, the Rheos had been together for over a decade by then and had certainly done their share of opening slots, so they play  their songs and sound pretty great.  They even set up the night for fun by having their walk on music “Popcorn” by Hot Butter.

They are playing a lot of songs from The Blue Hysteria, their recent release.  And this set features Tim Vesely on lead vocals quite a lot.  Three of the eight songs!

The show begin with “Fat” with Dave on vocals and Tim playing some fun bass parts.  Both guitars sound great.  Everyone’s vocals are in top form.  Dave gives the rather bold introduction: “Thanks, Vancouver, we love you and we’d like to change your life.”

Up next is Tim singing “All the Same Eyes.”  The note on the cassette says it was hyperfast.   Then it’s back to Dave with “Fan Letter to Michael Jackson.”  Instead of Jackson, he sings Tielli and Martin gets a great solo.  Martin also hits some great high notes.

Martin’s first song of the night is a great “Dope Fiends.”  There’s a mellow middle section with some nice drum work before Martin roars back in.

Dave says we come from Etobicoke–it’s a long way from here.

Then it’s back to Tim for “Bad Time to Be Poor” which energizes the crowd.  Even more Tim follows with a lovely “Claire” in which Martin gets a ripping solo.

Martin says, “The guy with the bald head is Dave Bidini….  now you introduce me.”

Dave tells everyone that after the show (after the show??!!) at the Starfish Room on Homer Street is a bill with The Inbreds from Kingston, the Local Rabbits from Pointe-Claire Quebec and Citroën from here.  It’s cheap and it’s great and it’s new and it rocks.  And this is a song about pumping gas.  Not having gas, pumping gas.  Don Kerr says that that song is not on their new album which just came out.

They play a terrific “Self Serve Gas Station”  It ends beautifully and then it’s jarred out of the beauty but a slamming “RDA” to end their set.

This recording has a bonus track from the night before (which is kind of odd–why just this one song?).  It’s a recording of “Fan Letter to Michael Jackson.”  Martin asks if Michael Jackson ever played there.  We can’t hear an answer.  It’s got quite a slow opening and when they get to the line “I play Bad until my parents….” Dave winds up repeating the line.  It seems like a stylistic choice until he then says Here I am at the Pacific Coliseum and I forgot the words.  It’s my greatest moment of rock so far.

Otherwise the song sounds pretty great.

[READ: March 1, 2019] Hocus Focus

I have really enjoyed these short comic books based on the Adventures in Cartooning series.  Although this one was a little subpar, I felt.

Each one follows the adventures of the Knight and his horse Edward.  In most scenarios the Knight is impulsive and gets himself into trouble (often at Edward’s expense).

The Knight is tired of peeling vegetables,  he is working for the wizard and decided that he wants to learn to do spells.  So he asks the wizard to help him make a spell that will turn him into the greatest wizard ever.  He want to use a horn of unicorn and the feather of a phoenix for his super spell.

The wizard says she should learn stuff first (like patients) before jumping into something, but the knight refuses. (more…)

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SOUNDTRACK: MEG MYERS-Tiny Desk Concert #830 (March 6, 2019).

Meg Myers has a fascinating delivery–singing rather low on the first verse and then in a kind of falsetto on the second verse.  It’s kind of interesting but it seems at times like she’s mocking the lyrics or something.  But I love the music on the song.  I especially love the violin slide to the high notes at the end.

Apparently the instrumentation here is very different from the album.

Meg Myers put out one of 2018’s most intense and cathartic albums. Take Me to the Disco raged and threw sonic punches at anyone who’d ever attempted to use or abuse her, from former record executives to past lovers. Dressed in a sparkling blue leotard, Myers re-creates that fire and ferocity behind the Tiny Desk, replacing her album’s roaring electric guitars and electronics with a pulsing string quartet, piano and brushed drums.  [Jared Shavelson: drums, percussion; Josh Rheault: keys; Kristin Bakkegard: violin; Livy Amoruso: violin; Paul Bagley: viola; Carol Anne Bosco: cello].

But the most intense part of the performance is Myers herself. The distant, piercing looks she gives during the set’s opening cut, “Jealous Sea,” are unforgettable and unforgiving as she sings about a rat’s nest of feelings — anger, fear, jealousy, desire — over an ex. “Everything’s right, everything’s wrong / When you call my name,” she sings while half-hugging herself. “And I don’t think I can stop the jealousy / When it comes, it comes like waves and I can’t breathe.”

I am mixed on her delivery, but I like most of her lyrics.  I am fascinated by the imagery of “I don’t think I can stop the jealous sea, when it runs, it runs like lightning through my teeth.”

Myers follows with a searing version of what she calls “a very lovely, uplifting song” from Take Me to the Disco called “Tear Me to Pieces,” a frenzied takedown of liars, buried secrets and “wicked temptations.”

In the middle of “Tear Me to Pieces,” she sings “it’s in your eye,s you fucking liar” which she sings in what I assume is her normal voice.  And she sounds so powerful and clear there that I rather wish she sang more like that.   I wonder if all of these vocals styles sound different with guitars.  Because by the end, her yelling seems a bit out of tune.

She takes a little break before the final song because she played last night.  While she’s rehydrating, she talks about the next song, a cover of Kate Bush’s “Running Up That Hill.”

She then dials back the fury and indignation to close with a surprising version of “Running Up That Hill” by Kate Bush. Myers is a longtime fan, and often gets compared to the British singer. But Myers tells the audience she fell in love with the song for its meaning. “It’s about men and women and the differences between them, and learning to have empathy for each other.”

At first I wasn’t too keen on her version–again, her vocal delivery seemed really wrong for this song.  But as she was singing–and singing the lyrics so clearly, I started to really appreciate the way she was performing it.  So I’m overall mixed on her.  I wanted to like her more than I did.

[READ: February 21, 2019] The Dam Keeper: World Without Darkness

Kondo and Tsutsumi have both worked at Pixar, which may explain why this graphic novel looks unlike anything I have ever seen before.   I have (after reading their bios) learned that this was also a short film.  I’m only a little disappointed to learn that because it means the pictures are (I assume) stills from the film.  It still looks cool and remarkable, but it makes it a bit less eye-popping that this unusual style wasn’t made for a book.

For part two, our heroes, Pig, Fox and Hippo are trying to get back home.  But they need the help of that weirdo frog character named Van.  Van shows them the city where he lives.  And it is incredible. So many people, so many colors, and the dams are all automated.  But when they get down into the city, it is just fill of smog,.. so much smog that they need to wear masks.  Van gets ahead of them and they lost him, but everyone speaks a different language and it’s hard for them to find anything.

After wandering around looking for Van, Pig spies the ancient symbol of damkeepers.  He remembers back to his father saying it’s a symbol of the damkeepers’ promise to protect the city–they sacrifice for a greater cause. (more…)

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SOUNDTRACK: KING GIZZARD AND THE LIZARD WIZARD-Live from Gizzfest (December 1, 2018).

King Gizzard and the Lizard Wizard are such a big deal in their native Australia, that they have created their own festival called, naturally, Gizzfest.  It began in 2015 as a touring festival with a dozen or so bands.  2018’s festival was only one day (in Melbourne) and some kind soul recorded it and posted the KGATLW set online.

The set lasted for about an hour and 40 minutes and touched on nearly every release.  It even included a few never before played live tracks from Eyes Like the Sky!

The recording quality isn’t great and you can hear a lot of people talking through the set.  It sounds like it might be pretty far away from the speakers as well.  Having said that, the music isn’t hard to hear (it’s not like it was recorded at a low level) it’s just not very clean.  Having said THAT, it’s not like KGATLW are an especially clean band, since they are often shrouded in fuzz, echo, distortion and more.

The songs are not chronologically played.  In fact, they start right in the middle with I’m in Your Mind Fuzz.  They play the first two tracks, “I’m in Your Mind” and “I’m Not in Your Mind” seamlessly together, including the nifty solos throughout “Not.”

But they do not play the third song (which segues on the album).  Rather, they jump right to Murder of the Universe with “The Balrog.”  It’s an intense start to the show and after a little breather they play the far slower and very delightful “Stressin'” from Oddments.  Unfortunately, the recording is very quiet and more muddy for this song.  Not sure what happened there.

But things get much louder very quickly, as they jump to their then newest album Gumboot Soup.  They play only one song from the record, the totally rocking “The Great Chain of Being.”  To much celebration, they jump into Polygonswannaland’s “Crumbling Castle.”  All the elements are there and they sound great playing it (even if the audio quality isn’t great).  The song segues perfectly into the album’s final track, “The Fourth Colour.”

After all of that rocking, they slow things down but stick with Polygondwannaland with the groovy “Deserted Dunes Welcome Weary Feet” which segues into the middle section of that albums’s “Castle in the Air.”

Ambrose gets to the mic to say they’re gonna to do some silly stuff now.

“Dead-Beat” goes all the way back to their first EP, Willoughby’s Beach.  The really dumb lyrics “pull my finger and punch my face” are so much clearer here than on the album.  I wish I could hear if people are singing along.  Then they play a track from their first album 12 Bar Bruise “Cut Throat Boogie.”  This one is sung by Ambrose and features lots of his wailing harmonica.  Ambrose gets another lead vocal on another old-school one, Float Along–Fill Your Lung‘s “Let Me Mend the Past.”  It’s a respite of slower rock n roll with some nice piano accompaniment.

They play a surprising “Tezeta” from Mild High Club.  It’s slow and groovy with nice clear sound, although I can’t hear if there are any groovy backing vocals or not.

After these slower moments the band roars back with a wild “Rattlesnake” from Flying Microtonal Banana which whips the crowd into a sing-along frenzy.

And then they pause to introduce their special guest: Ambrose Kenny-Smith’s dad, Broderick Smith, writer and narrator of the Eyes Like the Sky album. Broderick does a great recitation and the band plays these rarely played Western songs perfectly: “Eyes Like the Sky,” “The Year of Our Lord” and “The Raid.”

They jump in with the opening to the jazzy wonderfulness of Quarters‘ “The River,” but they only play about 3 minutes of it, because as the band is quieting down during the slow bit (down down down) with the falsetto “a river” backing vocals, Stu starts singing the lyrics to “Wah Wah.”  For a few beats, the “a river” backing vocals continue, which is pretty cool.  “Wah Wah” rips louder and louder and as the song starts feedbacking out, the super fast drums of “Road Train” begin.  For this is the Nonagon Infinity portion of the show.    “Road Train” is the last song on Nonagon infinity so its fun that they do some nonagon infinity chants and then continue with “Robot Stop,” the first song of the infinite loop album.   It’s full of that spiraling guitar and wild harmonica solos.  But rather than seguing into the next song on the record they jump to the super catchy “Gamma Knife.”

The concert more or less ends with “Some Context,” the 46 second riff that’s a transitional piece on Murder.  That’s how they ended the show when I saw them.  It’s a great riff, too.  But they weren’t quite ready to end the show.

After some quiet, they began their 16 minute epic “Head On/Pill”  This version is certainly slower than the record, but it is still trippy.  It’s still got those soaring riffs and chanted vocals.  Things quiet down to almost a whisper around three minutes in, but by 4 minutes, the whole band kicks in for a truly rocking jam.  After nine minutes, they start a medley that begins with a rather quiet “Alter Me” which is more of a jam than the song.  Some more jamming leads to the opening of “Am I in Heaven?”  They end more or less with “Cellophane” which everyone can chant along to.

It’s basically a career spanning set in which they play songs from all of their fourteen releases (in FIVE YEARS), except for their folky Paper Mâché Dream Balloon.

Although the sound quality isn’t great, this is a fantastic show in front of a very happy hometown crowd.  When I saw them back in 2018 they focused primarily on the five albums they had released the year before with six songs from Murder of the Universe, 4 from Polygondwannaland, and 3 each  from Gumboot Soup and Flying Microtonal Banana.  I love that they can play such diverse sets–playing new songs for people who haven’t heard any of them and then playing a whole career’s worth for the locals.

How their sets can stay under two hours when they have that much music is still a mystery.  And yet no one leaves disappointed.

[READ: March 1, 2019] Spill Zone 2

I enjoyed Book 1 but I really didn’t like this part.  For some reason I thought this book had at least three parts.  But it seems that it has ended with book two which makes it all the more disappointing.

I didn’t even find the art to be evocative or charming.  It just felt kind of ugly an over the top.

As the book opens Addison goes to her art dealer and gets a million dollars. Of course she went to the buyer directly, cutting out the sketchy middleman.  And he is not happy about that, so he goes to the North Koreans with some information about Addison and her pictures.  Of course they have no time for bit players like him.

Meanwhile back in North Korea, Don Jae had entered the Spill Zone there and was having visions about the one in America.  He knew he had to go there.  He winds up visting the art buyer.  He gives her some of the radioactive dust so she can truly see what’s going on in the pictures she’s buying. (more…)

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SOUNDTRACK: ZAYTOVEN-Tiny Desk Concert #828 (February 28, 2019).

I saw Zaytoven on the Gucci Mane Tiny Desk Concert and thought he was a good performer.  I didn’t expect that he woul det his own show.  So I wasn’t expecting all that much, but man, this is awesome.  And then I read why this show is the way it is:

Last month, Zaytoven arrived at Bob Boilen’s desk with a full band in tow with the intent of backing up his Atlanta friend and collaborator Future, who had dropped his latest album, The Wzrd, earlier that day. The plan was to translate the bass-heavy trap sound Zaytoven helped originate to real instruments with Neil Garrard on guitar, Bernard “TreWay” Lambert on drums, DJ Spinz and Elena on flute (for what would’ve been a live version of “Mask Off”).

So instead, we get this beautiful instrumental collection.  There’s three tracks that are kind of jazzy, but not exactly.  They’re pretty melodies with some great solo work from the electric guitar and lots and lots of flute.   The drums from Bernard “TreWay” Lambert are a mix of traditional and electric (with great sounds) and some nifty scratching from DJ Spinz.

Track one “Lay Up” has a ripping distortion-filled guitar solo from Neil Garrard.  But man, the real killer is the flute work.  It’s so effortlessly beautiful the way it floats around the song.  Elena Pinderhughes is just dynamite on this song and every one.

Introducing “Peacoat,” he says it feels it like jazz.  He also says he still plays the organ in church on Sundays and that he wants all of his songs to have soul.

“I wasn’t even allowed to listen to this type of music, let alone to be producing it,” he told me a little over a year ago in the church outside Atlanta where he plays organ every Sunday morning. He was remembering how conflicted he’d once felt as a young producer who’d grown up in the church to be playing his trade for street artists like future trap god Gucci Mane (who Zaytoven would later back on keys during his first visit to the Tiny Desk). “To be the godfather of the sound, it was almost embarrassing for me, like, ‘Hold on, bruh. This ain’t really how I was brought up. This ain’t really what I do.’ I’m a guy that’s in the church and I try to lead people more so that way.”

There’s some pretty piano and keyboards form Zaytoven on this song, and I like the subtle scratching throughout.

The final song “Mo Reala” is also great.  He says it’s got a church vibe.  It was his first single from the album with Future saying real things.  He’d ben producing since 2004, but Future helped him refine his piano work and his beats.  In addition to the great song itself, the flute and guitar solos are fantastic.  And again, I love the drums and scratching too.

I listened to the track with Future’s vocals on it and I didn’t like it half as much.

Zaytoven, if you read this, you should absolutely get this band together and record these songs just like this as instrumentals.  They are dynamite!  And no one is releasing music like this right now.  Get on it, man!

[READ: February 26, 2019] Cucumber Quest 4

Reading book 4 means that I am now caught up with the books that are currently out.  And that is terrible, because the series suddenly got really intense and really emotional.  And who knows how long I’ll have to wait until the next book!

When I first started this series, which is kind of a spoof on hero quests, I enjoyed it.  It made me laugh and had lots of funny and absurd twists.  I never expected to get so invested in the story of the Nightmare Knight and his explanation for why he is such a bad guy.

But back to our heroes.

When they arrive in the Flower Kingdom, they are given the terrible news that the Kingdom does not have a Princess (our heroes need Princesses to sign a sword as art of their quest). What will they do? (more…)

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