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Archive for the ‘Fish’ Category

SOUNDTRACK: RHEOSTATICS-Fall Nationals, Night 4 of 10, The Horseshoe Tavern, Toronto (November 14, 2004).

The Rheostatics, live at the Legendary Horseshoe Tavern in Toronto, November 14, 2004. This was the 4th night of their 10 night Fall Nationals run at the Horseshoe.  It was an all ages show and ran about 90 minutes.

There are two recordings available for this show.  The Sloggett version is from the soundboard, but the Clarkson recording sounds a bit bigger with more bass and stage noise.   Although you can’t hear the spoken word part of “Mutilated World” at all.  You can hear Dave’s daughter Cecelia chatting you can hear her at one point say “Hi, Tim!”

The start off saying they’ll do a coupe of songs from The Story of Harmelodia to start us out, get us in the mood.

They open with “Home Again” which sounds appropriately cute–Martin has fun with it.  Then for “It’s Easy to Be with You”, they “invite Don Kerr up on stage for this next number on the tenor guitar.  A man of many talents, above all growing a handsome mustache (MPW: or perhaps partially shaving a fanatic beard).  Don says: “Somebody called me papa smurf the other day because I had a cap on.” Dave: “I think Papa Smurf was a little rounder around the middle.”  The song sound nice with that extra guitar.

You can hear on the Clarkson recording “When is my song?”  Dave: “Gonna be maybe in about 5 songs?  Maybe in about 4 songs?  Wanna do it now?  well.  alright.  Does your brother wanna sing too?”  Cecilia (who is like 4 years old, maybe) does an amazing job with Dave Edmund’s “Almost Saturday Night.”  She has a great sense of melody and really gets the feel for the song.  At the end Mike says, “It’s a perfect song to sing on a Sunday.  That’s optimism.”  As she walks off you hear Dave say, “Good job, Cees.”  And she replies, “Good job, dad.”

Then it’s on to a solid version of “Claire” which they send out “to Paul Quarrington, Gillar nominated, should have won.”  Tim says, “co author of this song.”  Mike: “At least on the SOCAN form.” Dave: “A man who launched 1,000 careers.”

“Aliens (Christmas 1988)” opens with a kind of rocking rhythm.  Martin starts singing a weird version of Split Enz ‘ “I Got You” before doing the “whoo hoo hoo” and launching into an incredibly fast paced version.  When it slows down in the middle, Martin says, let’s bring it to normal speed.

For “Try To Praise This Mutilated World,” they also shout out to Chris Stringer on keyboard “bringing down the mean average age of the band.”  I normally can’t hear the spoken parts, but you can hear someone speaking polish I believe.  Each version of this song sounds better and better.

To continue this mellow middle section, Jen Foster is back on accordion for “Who Is This Man, And Why Is He Laughing?” and then comes “Making Progress.”  However, they start in wrong key.  As they get situated, Martin asks Dave why no one is showing minor league and jr league hockey.  Dave says that the CBC is complicit with the NHL in holding back younger players.  Once they get the song going, it sound perfect.

As an introduction to “Take Me In Your Hand,” Martin plays a quick guitar lick from one of his solo songs (“Waterstriders,” I think) and then segues into a very delicate version of the song.

Dave asks if any of the horn players from the Hebrew School Dropouts are still around (they opened the show).  Up come Adam and “Fedora guy” to play horns (including solos) for “Legal Age Life At Variety Store.”  Dropping out of Hebrew school is the best thing you guys ever did.

“Northern Wish” is a very pretty, very mellow version.  It’s followed by a really lovely slow version of “Stolen Car.”

After the encore break, Tim comes out to play a special request “all the way from California.”  He starts “Row” and asks if it’s the right song (it is).  He forgets a few lines but is otherwise quite pretty.  When it’s over, the requester shouts, “Thank you!”  Someone else shouts “Saskatchewan” but Tim says the Hebrew School Dropouts are going to school in Etobicoke so we’ll do a good Etobicoke song for them.  That song is “Self Serve Gas Station.” Martin changes a line to “What went wrong with little Jimmy, is he dumb?”

It segues into a wild, upbeat “Song Of The Garden.”  It’s rollicking and crazy and sort of segues into a slapdash cover of XTC’s “Radios In Motion.”

And that’s it.  It’s short show for the band, but probably perfect for an All ages crowd.  Speaking of All-ages, it’s pretty kid friendly, but not entirely (with some of Martin’s songs).  It would have been really fun to see though.

[READ: July 7, 2017] Animal Crackers

The origins of this story are confusing to me.  It was originally written in 2011 (and published by a different publisher (with a different cover, of course).  But there’s not much you can find out about it.  There’s also a prequel (also originally released in 2011) which came out by First Second around the same time, but that’s for another post.

This book bears the sticker that says “Now a Major Motion [Animated] Picture (due out in Fall 2017).”  Given how short this book is, I wonder if the movie is based on both books or what.  Guess we’ll see.  Since I first wrote that, I have seen that the film has been released, but not in the States.  And, it has major stars associated with it.  I still can;t imagine how they stretched this premise out to 94 minutes.

This story is cute and fun with some good humor.  The problem is that the entire plot is given away in the blurb on the inside cover (so don’t read that). (more…)

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SOUNDTRACK: NATE SMITH + KINSFOLK-Tiny Desk Concert #665 (November 3, 2017).

Nate Smith is a jazz drummer, although much of the music in this Tiny Desk is quite rocking.

The jazz is evident in the complexity of the tunes.

Just try to discern the multiple time signatures in the first tune, “Skip Step” Syncopated yet steady, its rhythmic motifs bolster Jon Cowherd’s keyboard riff and the song’s melodic statement, played in unison by saxophonist Jaleel Shaw and guitarist Jeremy Most.

The song opens with a great chugging riff on the bass (Fima Ephron) and guitar.  The keys play a drifting melody as the sax take over a solo (followed by the guitar).  Smith’s kit is fairly small but he makes great use of the various drums, putting in all kinds of interesting rhythms.

The quintet slides right into “Retold,” a beautiful song with a nostalgic melody that suggests a quiet moment for personal reflection and self-discovery.

This song instantly feels more jazzy because of the lead saxophone.  The drums are primarily cymbals (and brushes) and a lot of keyboard soloing in the middle.

After that song, Nate introduces the band and then says, “Jeremy noticed–the desk is not that small.  I was expecting a smaller desk.  I don’t know how I feel about his.  But I’m going to move past that because it’s not about me.

On the next song, “Pages,” Smith welcomed vocalist Amma Whatt to the “stage.” She wrote the lyrics for Smith’s 2017 album Kinfolk: Postcards From Everywhere.  I don’t care for this song as much.  Her vocals are a little too R&B for me (and I don’t like soprano sax).

It’s a very gentle song, though and probably fits nicely into the album.  It’s followed up by the final tune, “Rambo: The Vigilante” which he describes as “it’s short but it’s angry.”

Hypnotized by its shifting time signatures, this fusion jam is punctuated with a haunting rock lick played simultaneously by the entire band, and seamlessly aligned with Smith’s dazzling display of dexterous genius.

Smith’s drumming is phenomenal on this track–with lots of action on the high hat and some fast drumming on the bass and snare.  It’s not all fast though, there is a mellow middle section with gentle keys and a mellow sax solo.

I do like jazz with crossover appeal, and this certainly has it.

[READ: March 21, 2017] Fish Girl

David Wiesner has drawn some of the most gorgeous picture books ever.  And several of those books don’t have any words–they are just amazing stories, beautifully told and wonderfully illustrated.  Seriously, look up Sector 7 and Flotsam and be blown away.

Well, his pictures are in full force here (I recognized his octopus immediately).

This is his first graphic novel and his first pairing with Donna Jo Napoli (who I am unfamiliar with).

The story is a fairly simple and fairly familiar one, but they have put some wonderful twists into it.

In a building on a pier is Ocean Wonders.  It is a fully functioning aquarium inside a small warehouse.  On the outside is a big sign that says “see the mysterious Fish Girl.”  As the story opens, there is a narration by Neptune, god of the seas and storms.  He tells the spectators that in every room of this house you will see the most amazing creatures of his kingdom. (more…)

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SOUNDTRACK: RHEOSTATICS-The Casbah, Hamilton, Ontario (November 6, 2004).

This was a Hamilton show between the 2004 Western Fall Nationals and the 10 night Fall Nationals at The Horseshoe Tavern the following week. The band attempted to play all of 2067 succeeding apart from “The Latest Attempt On Your Life” and “Try To Praise This Mutilated World.”

The recording opens with some wild jazz playing–rather incongruous opening music.  But it quickly fades and you hear the guys plucking away as their noodling solidifies into “Easy To Be With You.”  They seem to be having a lot of fun with the hoo ah hoo ah middle part–making it a bit more rocking, perhaps?

Martin: “This is for Yod’s sister.”  Mike: “And Daryl from Niagara Falls, Happy Birthday.”  Tim: “We couldn’t download the lyrics to ‘Edmund Fitzgerald’ so we’re gonna do this one instead.  Mike: “All the teleprompter rentals were eaten up by the U.S. election.” Martin: “And Velvet Revolver are on tour.”  They play a  stompin “Record Body Count.”

So we have a new record out.  It’s called “twenty one twel–“.  It’s called 2067.  Tim: “It’s our 2,067th release.”  Martin: “We’re a very prolific band.  And we’re gonna attempt to do it top to bottom.”  Mike: “And you know what they say, there’s a fine line between flagship and guinea pig and you’re it.”

The first song is “Shack in the Cornfields.”  Martin introduces it: “This song had a large head. But Mike and I got down to it and made sure it was born.  In the corn.” It sounds good and has a really long percussion ending and then opens up into Dave’s quiet “Little Bird,” a song they have played a lot over the  last year.

Next up is “Marginalized,” which is a bit softer and less angry than some other versions.

Dave says, “We’re gonna do a song we just shot a video for.  We do a video every couple of years.  We got Frank Bonner to co-star in this video with Martin. It’s called The Tarleks and it’s about Herb Tarlke from WKRP in Cincinnati from the late 1970s and 1980s, the heyday of modern American sitcoms.  And one day it will be done and you will see it. But until then you just have to fantasize what it might look like.”  It’s a little slow an angular.  Like much of the show it feels either tentative or like they want the audience to be able to experience the songs fully.

“Power Ballad for Ozzy Osbourne” has the opening stanza which they hadn’t been playing live.  This is slower than usual, I think–although it feels like a real ballad the way it builds.  There’s a buzzy wire as well, which I’m sure bugs the band.  “I Dig Music” is a little goofier and less rocking than other versions.  On the way after the middle section MPW plays the drum fill for Rush’s “Lakeside Park” but not quite right.  For “Here Comes the Image” Mike plays a playful almost bell-sounding keyboard solo–although it does cut out a few times during the lengthy solo at the end.

Dave notes: “The worst part of switching instruments is not knowing which beer is yours.”

Mike says, “This song [“Who Is This Man and Why Is He Laughing?”] has no words.  It’s drifting and mellow.  Next up is supposed to be “The Latest Attempt on Your Life” which they have played live before.  But you hear Martin say he doesn’t want to do it: “Let’s skip that one and do ‘Polar Bears.'”  Mike agrees, “If we were doing Dark Side of the Moon or something we’d stick to it but we’re going to deviate.”  It’s a spare but romping version of “Polar Bears” with some loud “hey hey ho hos.”

Dave: This next song is about yesterday’s football game that Tim wrote, uh, four weeks ago. Two days ago?  Friday night?  What day is it?  That was yesterday I was talking Tiger Cats.
Mike: “Making Pierogies.”  It’s a slow mellow song.  Very pretty, especially the guitar parts at the end

Next week is our 4th annual Fall Nationals at the Horseshoe Tavern in Toronto (corner of Queen and Spadina).  Ten nights in a row this year starting next… the coming Thursday.

Tim: Thanks to Wayne Omaha for playing tonight.  They’re selling their new album back there and if you wanna get their other one Can the Maps. Go For the Beauty, bug them, and they’ll sell it to ya.
Dave: I think those guys should tour prisons. I think it would be really good for the country.  As long as they’re on the right side of the bars.

They skip “Try to Praise This Mutilated World” and go into “P.I.N.”  They play the coda at the beginning and then the songs starts.  Martin sings his verse in a kind of flat deadpan and Dave says Martin Stop rapping and Martin seems to get annoyed or something–he starts singing crazy–more deadpan and then he screams a punky style and then redlines the volume with a scream on the mic–it’s a little disturbing.  They jump into a poppy “Mumbletypeg” and after the first line Dave says “That’s a lot of beer.”  It gets pretty wild by the end.  It segues into a dark “Stolen Car,” with Martin singing “Goodbye suburban motherfuck.”  The middle has a lengthy instrumental section with Tim getting to mess around on bass a bit.

After a relatively long encore break, the come back with “Pornography.”  “We wish that song wasn’t relevant; however, it is.”

Then there’s a slow “California Dreamline.” And they end with a long “Feed Yourself” with a really creepy section of Dave whispering all kinds of things like “me and you in his head.”  The song ends with some wild effects from someone–almost a minute of pinging sounds after which Dave says, Sorry.

[READ: February 21, 2017] Furry Logic

This book came across my desk at work (I’m still bummed that they changed the way we get books at work so I don’t see as many interesting ones as I used to).  It looked interesting, so I brought it home and read it over the weekend.

This is a pop-science book that looks at how animals use physics to their advantage:  “If you’re scared of physics, don;t worry, we’ve kept things simple.”  I enjoyed that the book states right up front that the authors are anthropomorphizing the animals because that makes for a much better story. Even though, in the end, they dismiss this idea.

Chapter 1 is called Heat: The Warm Up Chapter.  In which we learn about gender-swapping snakes, floppy skinned dogs, mosquitoes that wee blood, killer bees, hot-tailed squirrels, vipers that see heat and beetles that hear infrared.

The chapter looks at (using the research of others) how snakes in Manitoba keep warm by piling together in a big clumps.  But more interestingly, there are certain snakes which swap genders (temporarily).  Male snakes secrete female pheromones to attract males for body heat.  We learn that dogs shake the water off of them because the energy they expel from the vigorous shaking is actually far less than the energy they would have to use to keep warm if they were so wet.  The authors talk a lot about just how interesting it is to see their skin flip back and forth (this goes for all mammals since they all seem to shake in vaguely the same way. (more…)

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SOUNDTRACK: PHISH-A Live One (1995).

Phish has released virtually every show that they have played in some recorded format (not to mention all of the shows that have circulated as tapes).  But before all of that, it took them five studio albums before the released their first official live record.  And while it is not one show, it is a great collection of their more popular live songs.  There’s some really long jams (30 minutes for “Tweezer”) but also some normal length songs (several under 5 minutes).

If you ever want to know anything about Phish, they are probably the most well-documented bands around.  Their fan base is encyclopedic (if they didn’t follow Phish, they would be really into sports stats, clearly).

So a cursory search will tell you

Each track on the album was recorded at a different live show in the United States during Phish’s 1994 summer and fall tours. Several of the songs have never appeared on studio albums and the track “Montana” is not really a song, but actually a two-minute excerpt from the longform improvisation that followed “Tweezer” during the band’s show in Bozeman, Montana.  On A Live One, “Montana” serves as a prelude to the epic “You Enjoy Myself”, one of the most well-known versions of that song.

“Bouncing Around the Room” is light and fun, a great start to a show.  I was really happy when I finally got to see it live.  It segues into a a rather quiet “Stash.”  There’s a lot going on in the solo with the chorus repeating and then a solo resuming.  It’s followed by a slow Gumbo with The Giant Country Horns: Peter Apfelbaum – tenor saxophone; Carl Gerhard – trumpet; Dave Grippo – alto saxophone; James Harvey – trombone; Michael Ray – trumpet.

“Montana Jam” is a short instrumental segue into “You Enjoy Myself.”  As stated above, this is a killer version of “YEM.”  There’s a funky bass solo, there’s many elements to the jam including a section where they chant “ahhh way um way um.”  After 15 minutes, the end is a five-minute “voice jam” with them making crazy sounds.  It devolves into a lot of clicking and other weird noises.  “YEM” would normally end a set but this one it’s followed by a rousing “Chalk Dust Torture” (a song that I really wanted to see).  The disc ends with a really rocking “Slave to the Traffic Light,” that has a mellow solo until everyone builds it up hugely at the end.

Disc two opens with “Wilson” (I was really excited to see that one live).  The “Tweezer” on this one is a much darker version—with lots of weird solos and crazy sounds including keyboard sirens.  The song kind of thuds and lumbers along and then turns into what sounds like a heavy metal riff—distorted guitars and bass–until it eventually returns to a rocking jam.  They start doing the “Tweezer” riff again but it segues into a new jam with noisy guitar and funky keys.  There’s a whole lot more going on in these 30 minutes).

“Simple” is rocking fun and ends with them singing in a whisper.  This version of “Harry Hood” sounds great with all three parts connected by lengthy jams.  The drums are quite prominent in this song with Fish doing all manner of drums fills.  The disc ends with Squirming Coil which is primarily a long and pretty jam, with some really nice solos.

Since it’s a well curated live album, it’s really a great place to start exploring their love shows.  And the sound is fantastic.

Some people care about this sort of thing, so these songs come from:

  • “Stash,” July 8, 1994, Great Woods Center for the Performing Arts, Mansfield, MA
  • “The Squirming Coil,” October 9, 1994, A. J. Palumbo Center, Pittsburgh, PA
  • “Harry Hood” October 23, 1994, Band Shell, University of Florida, Gainesville, FL
  • “Tweezer,” November 2, 1994, Bangor Auditorium, Bangor, ME
  • “Chalk Dust Torture,” November 16, 1994, Hill Auditorium, University of Michigan, Ann Arbor, MI
  • “Slave to the Traffic Light,” November 26, 1994, Orpheum Theatre, Minneapolis, MN
  • “Montana,” November 28, 1994, Field House, Montana State University, Bozeman, MT
  • “Gumbo,” December 2, 1994, Recreation Hall, University of California, Davis, Davis, CA
  • “You Enjoy Myself,” December 7, 1994, Spreckels Theater Building, San Diego, CA
  • “Simple,” December 10, 1994, Santa Monica Civic Auditorium, Santa Monica, CA
  • “Wilson,” December 30, 1994, Madison Square Garden, New York, NY
  • “Bouncing Around the Room,” December 31, 1994, Boston Garden, Boston, MA

[READ: March 10, 2017] “Jack and Jim Who Lived by the River”

I tend to not really like the stories in Lucky Peach.  That’s not entirely fair, because some of them are quite good.  But many of them, like this one, are just kind of weird an unsatisfying.

Jim doesn’t like to each much fish in the morning, but Jack sure does. He eats fish because “we are Jack and Jim who live by the river, and we are excellent fisherman.”

Jack smokes his fish while he drinks a beer and then he goes over to see Jim who has just woken up. (more…)

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SOUNDTRACK: TUXEDO-Tiny Desk Concert #635 (July 17, 2017).

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

So the blurb fills me in

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

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

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

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

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

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

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

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

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

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

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

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

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

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SOUNDTRACK: DAKHABRAKHA-“Kolyskova” NPR’S SOUTH X LULLABY (March 21, 2017).

I loved DakhaBrakha’s Tiny Desk Concert.  It was mesmerizing and beautiful.  And so the performers came to SXSW and did a lullaby.  And as the blurb says, they brought their “cello, keyboard, accordion – and tall, wool hats! — to the balcony of the Hilton Austin hotel.”

This lullaby of “Kolyskova” quiets things down a bit.  The song opens with simple keyboard notes.  One of the women sings, and when they reach the end of the verse, the male accordionist sings a falsetto that matches the women’s tone.  The woman on drums makes a strange sound–like a baby crying or animal yelping.

Then he winds up singing lead on the second verse in that falsetto with the women singing backing vocals.  Then the cello and drums kick in to build the sound.   The third verse is sung by the cellist as the keys play a pretty melody.

The song is upbeat with lots of bouncy vocals, even though the lyrics seem rather dark.  ‘The band only ever calls it “Lullaby.” It’s a quiet, contemplative song that the band says is a “connecting of several lullabies” with “philosophical lyrics that [say] we have time for everything — time to laugh and cry, time to live and die.’

I love at the very end as the song slows down to just the keyboardist singing because the drummer adds a very cool breathing as a kind of percussion accompaniment.  And then as the camera pulls back the two attack the keyboard making a cacophony of fun notes.  I bet they’re a lot of fun live.

[READ: June 2 2016] Explorer: The Hidden Doors

This is the third (and I assume final) in a series of graphic novel short stories edited by Kazu Kibuishi, the creator of Amulet.

I really enjoyed the first one a lot and was pretty excited to read the rest. As with the other two I was delighted by the authors involved and the quality of these stories.

The three books are not related to each other (aside from thematic) so it doesn’t matter what order you read them in.

This book revolves around the theme of “hidden doors.”  I like the way each author takes a concept that seems like it would be pretty standard and turns their stories into things that are very different indeed. (more…)

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SOUNDTRACK:  NINA DIAZ & Y LA BAMBA’s LUZ ELENA MENDOZA-“January 9th” & “Living Room” NPR’S SOUTH X LULLABY (March 20, 2017).

I was intrigued by this pairing because Luz Elena Mendoza has a shirt buttoned up to her neck and, from the angle of the first song, it appears that she has her long sleeves down, while Nina Diaz (originally from Girlfriend in a Coma) is wearing a sleeveless T-shirt with tattoos showing up and down her arms.  They seem somewhat mismatched.  Until they sing.  (And also during the second song when it becomes obvious that Luz Elena’s arms are covered in tattoos as well).

The two have never played together, but after NPR Music paired them in the courtyard of St. David’s Episcopal Church for a late evening performance, we’re beginning to wonder why not. They’ve both played the Tiny Desk (Diaz twice, once with Girl In A Coma) and both navigate complex emotions and notions of identity in their music. Also, they just sing beautifully together, Mendoza’s yodel swirling in Diaz’s gritty croon.

Luz Elena’s song “Living Room” is first.  She plays guitar and sings. It’s a short song with Nina’s nice high harmonies over Luz Elena’s deeper voice.  The blurb also notes: Mendoza shares a brand-new song here, “Living Room.” When the two harmonize its confession — “I feel like I’ve been undressing all my thoughts in front of you” — it is, in tandem, starkly intimate and separate.

Nina Diaz’ song “January 9th” is a bit more fun (partially because I know it from her Tiny Desk Concert, but also because it’s a bit more upbeat).  I like Diaz’ singing quite a bit.  Mendoza’s backing vocals add nicely to the “bad one/sad one” part of the chorus.  The blurb adds: “It’s a bluesy ballad with a through line of ’60s pop, a tribute to her late grandmother, cooed and howled into a warm Austin evening.”

Future collaborations should be called for.

[READ: June 27, 2016] Explorer: The Lost Islands

This is the second in series of graphic novel short stories edited by Kazu Kibuishi, the creator of Amulet.

The three books are not related to each other (aside from thematic) so it doesn’t matter what order you read them in.

This first one is all about “lost islands.”  What was neat about this book was that since the premise of an island is so broad, the stories were all very different. (more…)

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