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Archive for the ‘Dogs’ Category

SOUNDTRACK: PHISH-Live Bait Vol. 13 [Baker’s Dozen Edition] (2017).

Live Bait 13 was a special release to tie in with the Baker’s Dozen shows at Madison Square Garden.  It’s a little strange that 11 of the 13 songs are from MSG and not all of them, but whatever.  The MSG recordings date from 1994-2016, and the additional two songs are a relativity recent song from Chicago and a 1993 track from Pittsburgh.

The set starts with a 14 minute “The Wedge” (7/20/14 FirstMerit Bank Pavilion at Northerly Island, Chicago, IL).  It seems to be a little stiff and almost “formal” to start with although by around 9 minutes it loosens up and gets funky with some cool drum breaks.  By 11 minutes it turns into a loos jam of chords that sounds familiar like an other song, but I can’t place it.

The “Run Like An Antelope” is from 1993 (7/18/93 I.C. Light Amphitheater, Pittsburgh, PA) and it opens fun with woodblocks and a dramatically dissonant chord.  Trey launches into Led Zep’s “Heartbreaker” riff while the band keeps going.  The middle slows down and gets noisy before ending.

The rest of the tracks are from Madison Square Garden.

“Tube” (12/29/97) starts off quite angular and harsh but grows funky with a cool keyboard sound and solo from Page.   Moving back to (12/30/95) they play a spirited “It’s Ice” which segues into a rather mellow “Kung.”  Most of the nonsense from “Kung” is spoken, including the runaway gold cart marathon. But then they start screaming “Stand up!  STAND UP!”

I love that “It’s Ice” has the kind of vocals that are done in something of a round or a fugue.  It’s followed by “Piper” (12/30/11) that also has that kind of vocals in the round.  Its a nice pairing.  This version is pretty grooving and eventually gets really rocking.  Although the last five minutes are trippy and chill.

There’s a surprise (to me) “Icculus” from 2013. (12/31/13).  Trey has a lot of fun with the story of the helping friendly book.  He talks about how when they first started playing they had a message to impart.

Some of you are not getting the message and it’s pissing us off.  We’re here tonight in the middle of Madison Square Garden to give to the fucking message!  I’m looking around and I’m thinking a lot of you haven’t read the fucking book.  Up next is the fun segue of “Mike’s Song > Swept Away > Steep > Weekapaug Groove” from 1996 (10/22/96) is a large 20 minute block. There’s a good jam that lasts almost ten minutes before “Swept Away” comes in quietly for a minute. It stays quiet through “Sleep” until they launch onto the “Groove.”

The next song is from 2016 (12/30/16) , I think the most recent Live Bait.  “Light” sounds “mature” until the jam plays on for a while and its drifts all over the place until Fish pulls it back around 16 minutes to a wholly unexpected “Party Time.”

I love this version of “Carini” (12/28/98).  It is dark and angular with a really dark and moody jam.  At 8 minutes its gets kind of trippy but by 12 Page takes it into a dark place with synth sounds> Wolfman’s Brother (12/28/98 Madison Square Garden, New York, NY) 37:23

Ghost (12/31/10( is groovy with a half time solo while “Tweezer” (12/30/94) is fast and peppy for nearly the whole 20 minutes. The “Ebenezer” part comes at around 4 minutes with a lot of prolonged nonsense after the word.  “You Enjoy Myself (12/4/09) is a full 20 minutes as well and they seem to stretch it out with the second part coming at 3 minutes and the lyrics starting around 6 minutes in  there’s some great solos by Page and Trey as well.  There’s a funky watery bass solo around 17 minutes before the final vocal jam which is mostly a series of rising and falling yells until they grow quiet by the end.

“No Men In No Man’s Land” is a newer song and they play it nice–stretching it out with a grooving sound and jam.  By 10 minutes it chills down, but it picks up again by 11:30.  At 15 minutes it gets angular and dark and around 20 minutes they start the countdown to Auld Lang Syne.  They come out of ALS with a wonderful “Blaze On,” a fun welcome to the new year.

Nothing could prepare anyone for Phish playing a no repeat 13 night series, but this was certainly a fun reminder of the great shows they’ve played at MSG.

[READ: February 7, 2018] “August”

This story is a slice of life at a lake in August.

The family went to the lake for five seasons over he years.

The narrator says he primary memory is of his father reading intently.  He could read for hours without moving.  Sometimes he would pick up a drink and there was the possibility that he would not drink it before getting to the bottom of the page and then simply put it down, forgotten.

His mother would not read until she picked up a book and then would read intently for a couple of days and then seem to just give up.

It was the second season that his father shot the dog.  Yup, its one of those stories, but not as bad as all that. (more…)

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SOUNDTRACK: BORN RUFFIANS-Live at Massey Hall (October 14, 2017).

Born Ruffians are a trio who plays fairly punky music but with a surprisingly high-pitched singer Luke Lalonde.

When the show opens, he says I don’t think I ever considered that I would play here–it wasn’t even something …it seemed out of the realm of possibility.  Look at all the people who have played here (waves at pictures) Bassist Mitch Derosier says that these are employees of the month.  And t here is silence.  Drummer Steve Hamelin says do we have to laugh for that?  Mitch: I wanted someone to.

Lalonde says “it feels cool as hell when you’re on that stage.”  Hamelin: “hopefully it is the first of more.”

“Ocean’s Deep” has a loping bass and mostly high chords until the chorus when they burst forth more.  Lalonde’s guitar is almost rockabilly sounding (because it is a hollowed body?)  The drums totally pound (and Hamelin is up front facing the other two).

“Don’t Live Up” has an interesting guitar melody with rather unexpected notes

“& On & On & On” has a cool bass line and a catchy oh oh oh oh oh oh verse melody.  Then he tells the crowd that they just recorded a record and its out soon so they’re going to play some songs off it. (Which this last song was but he next song isn’t).

“Fade to Black” has punchy drums and a fast punky bass. The chanted backing vocals give it a real punk edge.”  After the song someone shouts, “you guys fucking rock, man,” to which Mitch responds: “that was my mom.”

“Miss You” has a great call and response punk feel “with your head held high–with your head  held high” it sounds great.

“Love Too Soon” opens with gentle echoed guitars a weird-sounding whistle from Luke–echoed or processed and rather eerie, but very compelling.

“Forget Me” is a song about dying.  It starts acoustically followed by a kick drum with Hamelin encouraging everyone t clap along with him.  The song dramatically changes pace midway through–slowing down with big thumps until it slowly speeds up again.

Lalonde switches to electric guitar with a heavy echo for “Needle”.  This was my favorite song and I wondered if I’d heard it before, the vocal melody was very familiar and catchy.

The final song, We Made It” has some cool fast plucked guitar chords (from bass and guitar) and some great triplets on the drums.  It’s a powerful punky thrasher with a big, loud, crashing (very satisfying) false ending.

[READ: February 2, 2018] “Patrols”

I really enjoyed the way this story began.

Marty Mason was staying at a place which housed a dog, Murphy.  Each night the dog left his owner’s room, snuffled around and came to settle by Marty.  He would settle by Marty’s bed, alert, for the night.  If Marty looked at the dog, it would slap its tail against the floor.  If he tried to lock the dog out it would scratch and whine.

This prevented Marty from sleeping, but also prevented him from getting up.

Then the story flashes back to a military scene and I kind of lost focus. (more…)

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SOUNDTRACK: GZA & The Soul Rebels-Tiny Desk Concert #738 (May 2, 2018). 

GZA is the latest rapper to come to the Tiny Desk with a live band.  He had a six piece brass band Manuel Perkins (Sousaphone), Julian Gosin (Trumpet), Marcus Hubbard (Trumpet), Erion Williams (Saxophone), Corey Peyton (Trombone), Paul Robertson (Trombone) and two percussionists Lumar LeBlanc and Derrick Moss.

It turns out that on a recent tour The Soul Rebels were actually the headlining band and GZA was a special guest:

This set was recorded when The Soul Rebels were in Washington, D.C. for a performance at the 9:30 Club that featured GZA and Talib Kweli. It was one of just a handful of live concerts GZA has done with the group.

I was surprised to hear than GZA (or frankly anyone from Wu-Tang Clan was “notoriously introverted.”  Also that “Most rap fans would name RZA as the head of the Wu-Tang Clan. But Wu purists know that GZA, or The Genius, is the crew’s unspoken elder statesman.”

Once they stepped behind the desk they got right down to business, opening with the sparkling “Living In The World Today,” from GZA’s 1995 solo album Liquid Swords. These 23-year old lyrics and metaphors felt timeless.

After the song he smiles, “That was cool.”

GZA continued his onslaught of poetic precision with another beauty from Liquid Swords, “Duel of the Iron Mic.” “I ain’t particular,” he spat, starting to break into a sweat behind the desk. “I bang like vehicular/Homicides on July 4th in Bed-Stuy.” At one point, GZA even channeled his cousin, the late great Ol’ Dirty Bastard, who provided the hook on the original version of the track.

By the third and final song at the Tiny Desk, driven by unbridled passion and his command of the room, GZA was soaked in sweat as they broke into the title track of Liquid Swords. The Soul Rebels perfectly recreated the track’s seamless horn hits while adding on a bit of their own flare. The cherry on top arrived when GZA used his final minutes to tell the story of how the hook originally came together. In RZA’s basement, smoking and drinking with fellow Wu lyricist Masta Killa, RZA was sold on a routine he, GZA and ODB used to perform as teens.

I don’t know GZA’s solo stuff.  I don’t really know his flow.  He sounds a bit old and a little rusty, but his delivery is strong (even when he “forgets his own verse” in “Liquid Swords”).   I love the way The Soul Rebels play the eight notes over and over in an almost menacing holding position.

And the tale he tells about the final song is pretty great.

 

[READ: April 10, 2018] “The Mastiff”

This is one of those stories (translated from the French by Linda Coverdale) that to me just seems endless despite its brevity.

The Master has never seen this thing before.

He releases the howling mastiff.

He follows the dog.

For the rest of the story. (more…)

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olymmpSOUNDTRACK: LOGAN RICHARDSON-Tiny Desk Concert #734 (April 23, 2018).

Logan Richardson is a jazz saxophonist.

I’ve been down on saxophones lately, but I do really like the sound he gets.  I’m a bit more impressed by the rest of his band, though.

Since I don’t know Richardson, I’ll let the blurb speak for me, with some of my comments.

Richardson ‘s latest project, Blues People,  … was derived from the early slave calls that inspired the earliest American jazz and blues musical traditions. Here at the Tiny Desk, the saxophonist revisits that history with four remarkable songs from the album, all performed with a hope that our country’s future will be less painful than its past.

“80’s Child” is a reflection on the decade Richardson was born. Its colorful melody complements the band’s energetic fusion groove. Continually pushing forward with momentum and anticipation, its 8/8 time signature moves seamlessly into 10/8 to create an intensity that is both focused and free.

I love the opening guitar work (by Igor Osypov) which sounds very un-jazzy to me–you could hear an alt-rock sound being built out of that.  While Igor is doing a simple but pretty guitar solo rhythm guitarist Justus West keeps the rhythm work with some interesting whammy bar bending.   About three minutes in, drummer Ryan Lee gets some great little improv moments.  I really enjoy the song even if I find myself tuning out the sax and listening to the guitar.

Richardson notes, “The desk is tiny but it’s mighty.  I have a tiny saxophone that I forgot to bring.”

The next groove, “The Settlement,” maintains a similar tone and features DeAndre Manning slapping on his funky bass.

This song feels more jazzy to me–prominent sax with jazz guitar chords.  But I do love the jazz/prog rock section with the slap bass and the guitars following suit.  I definitely tune out the sax to listen to the great riffage from the strings

While the band is ringing out the last notes of the song, Richardson introduces the next

The song gently segues into the only vocal piece, “Black Brown & Yellow,” a lovely reminder that racial diversity is something to celebrate.

They do a short chant of “Black, brown and yellow is beautiful.”  It’s a pretty, almost sensuous song sung first by West and then joined by everyone else.

I love that I am now quoting someone quoting some else about this last song:

“Anthem (To Human Justice)” ends with brilliance best described by my colleague Nate Chinen, “By design, too, Richardson’s alto saxophone often functions more like a lead vocalist than as a virtuoso solo instrument. He’s a good conduit for soaring, plaintive melody…. And however the band surges or thrashes around him, there’s a feeling of urgent communion in this music.”

The backing music is once again excellent and interesting, with cool time changes a nifty guitar solo (while the second guitar is doing some other cool stuff too) and some great bass work.  I really like the way the whole band jams it out at the end–the band sounds great and Logan’s sax is right there with them soloing the whole time.

I feel like this is jazz for people who don’t like jazz.

[READ: March 17, 2018] Olympians 10

I’m still not sure how many books O’Connor has planned for this series, although in his introduction he talks about saving his favorite books for the end, so I assume there are at least two more (although 12 seems reasonable).

Here’s the summary of the man himself:

George O’Connor is a massive geek and Greek scholar.  He has done lots of research for these books, including going to Greece and visiting sites and antiquities as well as comparing all manner of ancient stories to compile the most interesting pieces. He explains that since these stories were orally passed down, they were modified over the years.  He doesn’t change the myths, he merely picks the story lines that are most interesting to him.  And then he adds a lot of humorous modern touches (and dialogue) which keep it from being at all stuffy.

O Connor’s drawing style is also inspired by superhero comics, so his stories are presented in a way that seems much more like a super hero than a classical hero, which is also kind of fun.

Each book ends with an author’s note which is hugely informative and gives plenty of context.  It also has a bibliography, but more importantly, it has a list of notes about certain panels.  Do not skip these notes!  In addition to providing a lot of insight into the myths of the characters themselves, there are a lot of funny comments like “Greeks raced in the nude (point and laugh)” which really bring new depths to the stories. (more…)

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SOUNDTRACK: KING CRIMSON-The Elements Of King Crimson – 2017 Tour Box (2017).

The (so far) final Tour Box (although the band is still touring in 2018) is notable for having what might be the definitive collection of live “Lark’s Tongue in Aspic” recordings–Parts I to IV (and more) from different eras.

But that’s disc two.  Disc one continues with the sampling of the band’s career.

Disc 1 opens with “Wind.”  Although each “Wind” extract seems a tad different.  This one is all talking, no wind.”   (extract)  talking no wind.

Next comes an a capella first verse of “21st Century Schizoid Man.”  It’s just Greg Lake singing really loud before seguing into the rest of the song, this time from 2015.  It’s a great version.

Continuing like the other boxes, there’s an instrumental edit of “In The Wake Of Poseidon,” which is quite lovely.

This disc has a number of Mel Collins flute improvs taken from various Lark’s Tongue recordings in 2016.  Each one is wonderful and I could listen to his flute all day.

Another recording of “Peace,” this time with in a rehearsal that ends with Jakko cracking up because of something that Gavin has done (with lots of bad words bleeped out).

It’s followed by a stellar recording of “Cirkus” from 2016.  This is the first time played since 1972 and it sounds much more intense and complex than the version on the previous box.

It’s followed by an abridged instrumental recording of “Islands” and a 2015 live recording of “Easy Money” (complete with sound effects–I loved hearing this live the first time.

“Suitable Grounds For The Blues” is a 2015 rehearsals that ends when someone calmly says “It was Harrison, sir.  He made me laugh, sir.  He did the drum fill out of Hawaii 5-0 twice.

“The Great Deceiver” from 1974 sounds tremendous and I hope this means they might be busting it out for the 2018/19 tour.

“Asbury Park” is a live recording. It’s a fast and rollicking instrumental edited down to fit nicely with a terrific 2016 recording of “One More Red Nightmare.”

There’s a 2015 rehearsal of “Meltdown” and then a jump to an alternate (instrumental) mix of  “Thela Hun Ginjeet.”  I normally love these instrumental mixes, but i find that this song really uses the words wonderfully and I miss them.

The only other track from this era is a 1982 recording of “Heartbeat” which is insanely catchy and I can;t believe wasn’t a hit.  The disc ends with a 2008 performance of 1984’s “Sleepless” which sounds really 80s (the bass in particular) even though it was recorded in 2008.  I’ve often thought that Adrian Belew makes King Crimson sound like The Talking Heads, and that seems to be true with this song.

The disc ends with the intermission and photography announcement from 2016 concerts.

Disc 2 is the Lark’s Tongue disc, but it doesn’t start with it.  It opens with 2004’s “Form No. 1” with strings guitars and a Tony Levin groove.  Then there’s a version of “THRAK ” from the Thrak sessions.

The disc has several tracks called “Keep That One Nick” which are some early recordings and dialogue.  Each one is about 4 minutes long of guitars or drums or the whole band recording primarily parts of LTIA.

When the series starts, we’ve got a

2015 recording of “Larks’ Tongues In Aspic Part I” followed by a
1974 recording of “Larks’ Tongues In Aspic Part II.”

after a Nick recording of percussion (in which the drums sound like child’s toys and like Bruford is hitting everything in the studio, they continue the series with a

1984 recording of “Larks’ Tongues In Aspic Part III.”  This is my least favorite Part–I can;t get over how much I’m disliking the 1980s recordings, especially since  Discipline is one of my favorite KC albums.

after a recording jam of Part II (keep that one, Nick) there’s a

1999 recording of “Larks’ IV ConstruKction” where you can see the connection to the LTIA series in this song.  Then comes a

2003 recording of “Larks’ Tongues In Aspic Part IV” which sounds great once again.

It’s followed by a 2016 recording of “Level Five” which is sort of an unofficial Part 5 to LTIA.

Presumably these are Fripp’s favorite versions of the series. So there.

The disc and set ends with a radio advert for the Larks’ Tongues In Aspic album because who even knew they made radio adverts for albums.  It’s a great piece of history.

I imagine there will be a 2018 box, as the band has taken a few months off and is getting ready to start touring Europe and Japan through the end of the year.  And who knows, one more trip back to the U.S. in 2019?  Yea, I’d be ready to see them once more time by then.

[READ: February 1, 2017] Multiple Choice

I have really enjoyed Zambra’s stories a lot.  As with most of Zambra’s work, this one was translated from the Spanish by Megan McDowell and I thought it was terrific.

As it turns out almost half of this book has been previously published: “Reading Comprehension: Text No. 1” (New Yorker, July 6 & 13, 2015) and “Reading Comprehension: Text No. 3” (Harper’s, July 2016).  In total, there are three Reading Comprehension texts in the book, as well as a few other types of “test questions.”

The original of this book was called Facsímil, and it uses “the structure and questions of the Chilean Academic Aptitude Test as its organizing principle. Called both a work of parody and poetry, Multiple Choice examines the role of the education system and standardized testing in promoting compliance to authoritarian rule.”

Since this book is set up like test there are 5 parts to work through.  (more…)

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CV1_TNY_06_08_15_09.inddSOUNDTRACKLUCY DACUS-“Historians” NPR’S SOUTH X LULLABY (March 21, 2018).

I’m looking forward to seeing Lucy Dacus live in a few weeks.  Her music is often spare but grows very intense.  For this particular song it is just her and her guitarist who is creating textures and sounds as Lucy sings clearly and starkly.  She plays the (almost) title track from her new album Historian.

The idea behind our South X Lullaby series was to offer intimate moments with musicians as an antidote to the commotion and deluge that is the SXSW music festival. When we met Lucy Dacus for her Lullaby and found out she’d perform “Historians,” a most somber song from her deeply personal and triumphant album Historian, it felt just right. It’s a song of reflection, the story of two intertwined partners and the way they document one another’s lives and preserve each other’s memories.

With simple but compelling swirls of sound, Dacus begins singing clearly with a bit of softness on the edges of her words.  It’s fascinating to watch her face illuminated by the video around her (the same video that Stella Donnelly performed in front of).

The song is warm despite the sadness inherent in it.

The setting for this performance, by Lucy Dacus and guitarist Jacob Blizard, is an interactive art installation by the multidisciplinary Israeli artist Ronen Sharabani that’s part of the SXSW Art Program. This work, titled “Conductors and Resistance,” explores human-machine interaction in our ever-evolving technological world. The images projected behind Lucy and Jacob are two coffee cups, one empty and one that’s been almost drained, both tangled in and tugged at by a complex series of wires, representing what I think is human communication and miscommunication.  This is just one of three walls onto which images are projected in this installation — you can see another wall behind Stella Donnelly in her South X Lullaby video.

[READ: April 13, 2016] “The Magic Mountain”

Back in June of 2009, The New Yorker had their annual summer fiction issue.  Included in that issue were three short essays under the heading of “Summer Reading.”  I knew all three authors, so I decided to include them here.

This essay was about Aleksander Hemon’s childhood in Sarajevo.

He says that (not unlike Angell) his family had a cabin on the mountain called Jahorina.  His family would spend winter breaks there skiing and partying.  His parents thought it was heaven up there.  But he and his sister hated to go there in the summer. (more…)

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SOUNDTRACK: BETSAYDA MACHADO Y PARRANDA EL CLAVO-Tiny Desk Concert #707 (February 16, 2018).

How can you not love a band that is decked out in wonderful colors and whose only instruments are percussion?

I love the first song, “Santa Rosa.”  The chorus is super catchy and when they raise the note in the chorus on the “Oh! Santa Rosa” the song just soars.  Although Betsayda Machado sings most of the songs, this one opens with one of the men (in yellow) singing and I really like his voice, too.  I could even figure out the gist of the words.

And the percussion?  Two floor drums, 2 hands drums, shakers and that friction drum.  So cool.

So who are these folks?

The roots of the music of Betsayda Machado y Parranda El Clavo extend to the Venezuelan slave trade, and while the vocals are in Spanish and not an African dialect, the instruments the group plays date back more than 500 years.

The large bamboo cylinders, the djembe-like drums and the large friction drum together create a symphony of interlocking polyrhythms that was unlike anything I’d heard. Machado’s vocals soar over the unrelenting rhythms, and when she harmonizes with the other singers, it creates a choir-like display of African call-and-response vocals.

When discussing African-influenced music from the southern hemisphere, we often focus on countries like Brazil and Cuba, places where the folk music eventually made its way into popular music. Afro-Venezuelan culture and music is rarely featured or even acknowledged outside of the country. As you’ll see in this video, that should change once music fans take in the beauty of Machado’s voice and the power of her historical message.

“Alaé Alaó” is much more somber, but the percussion is incredible–three men playing bamboo sticks against bricks–the details of what they do are fascinating.  The song starts to pick up with bongos and other hand drums as the guy starts singing again.  During the middle of the song one of the women goes out dancing on the main floor with some of the crew.  This can only lead to more dancing.

“Sentimiento”  The guy in yellow sings the beginning of the song and then Betsayda comes in.  The friction drum is back along with all the shakers and percussion.  I love the way they all stop perfectly at the end.

The band includes: Betsayda Machado, Nereida Machado, Youse Cardozo, Blanca Castilo, Adrian “Ote” Gomez, Jose Gomez, Oscar Ruiz.

[READ: November 20, 2017] Science Comics: Dogs

I have enjoyed every Science Comic that has come out, but this might have been my favorite.

In addition to being about a great topic: dogs, it was also updated with a ton of new information that I had no awareness of.  On top of that there’s a ton of scientific information about genetics, evolution and natural selection.  To top it off, it’s narrated by an adorable pup named Rudy who loves a tennis ball.

Once Rudy drags his owner to the dog park, Rudy can tell us all about dogs.

He explains that all dogs are from the species lupus, and yet look at how different all of the breeds are.  So Rudy rushed back to 25000 BP (before present). (more…)

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