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Archive for the ‘Spiders’ Category

SOUNDTRACK: CHILLING THRILLING SOUNDS OF THE HAUNTED HOUSE (1964).

The cover during Phish’s 2014 concert was of this album.

Apparently many people grew up with this record.  I personally didn’t know it, but if you read the comments (don’t read the comments!) on any YouTube clip of the album you will see how popular it is.

Wikipedia describes it as  intended for “older children, teenagers, and adults” released by Disneyland Records (now known as Walt Disney Records). The album was mainly composed of sound effects that had been collected by the sound effects department of Walt Disney Studios. The album was released in several different forms. The album was first released in 1964 in a white sleeve, with a second release in 1973 with an orange sleeve. In both versions, the first side contained 10 stories narrated by Laura Olsher, complete with sound effects. The second side contained 10 sound effects meant for others to create their own stories.

Despite the title, most of the cuts had nothing to do with haunted houses or witches or ghostly spirits. Featured were such situations as an ocean liner hitting rocks, an idiotic lumberjack, a man crossing an unsafe bridge, someone lighting a stick of dynamite and a spaceship landing on Mars. Also, there are tracks with several examples of cats, dogs and birds (similar to “The Birds”) becoming enraged for some reason, as well as a skit about Chinese water torture. In addition, some of the screams were taken directly from the scene where Miss Havisham catches fire in the 1946 David Lean film Great Expectations.

The full track listing is

  • “The Haunted House” 3:00
  • “The Very Long Fuse” 1:28
  • “The Dogs” 1:13
  • “Timber” 1:45
  • “Your Pet Cat” 0:49
  • “Shipwreck” 1:39
  • “The Unsafe Bridge” 1:21
  • “Chinese Water Torture” 2:02
  • “The Birds” 0:46
  • “The Martian Monsters” 1:41
  • “Screams and Groans” 0:57
  • “Thunder, Lightning and Rain” 2:01
  • “Cat Fight” 0:37
  • “Dogs” 0:48
  • “A Collection Of Creaks” 1:54
  • “Fuses and Explosions” 1:11
  • “A Collection Of Crashes” 0:45
  • “Birds” 0:33
  • “Drips and Splashes” 1:18
  • “Things In Space” 0:53

Nothing is especially scary–although maybe for a kid, as many adults claim to have been really frightened by it.  Everything is quite over the top, especially the screams and cat howls and dog snarling.  Even the stories are a little silly, although having them in the second person is pretty genius.

But things like “one night as you lie in your lonely room in your stone hut on the moors…”  (What?).  And the Martian one.  Just keeping with continuity: if “you,” meaning me, went on the trip, then I couldn’t hear the crunching as it ate me.  Or the silly voice saying “I wonder what that was.”

And the less said about the horribly racist Chinese Water Torture the better.  I mean, the opening is bad enough: “The ancient Chinese were a very clever race” but the end of the song is really awful.  But if we can look past that, the rest of the record has fun with sound effects and is generally pretty enjoyable.

During the John Congleton interview, he also talks about this album and says (at 40:28) “the speakers are 180 degrees out of phase to make it sound extremely stereophonic.”  He says now as an engineer it is totally painful to listen to.  Bob says it sounds like it comes from the back of your head.

[READ: October 15, 2017] Half-Minute Horrors.

The premise of this book (edited by Susan Rich) is simple: how scared can you get in 30 seconds?  To me, the answer is actually not very.  I guess for me fear builds over time.  It’s hard to get genuinely frightened over something that just suddenly happens (unless it is just trying to frighten you quickly, of course).

Having said that, I enjoyed this book a lot (look at the list of authors!).  I liked the arbitrary goal of writing a scary story in a paragraph or two (or more).  And some of them were really quite creepy.

I was originally going to point out which ones I felt were the most creepy, but there are so many stories, I kind of lost track.  So instead, here’s a rundown and a brief summary. (more…)

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SOUNDTRACK: RHEOSTATICS-Penguin Club, Ottawa ON, (March 13, 1993).

This is the only show from 1993 on Rheostatics Live and it is a really good one.  The sound quality is excellent and there’s a fantastic selection of songs.  The author of the show is listed as the CBC, and at the end of the show Dave mentions the CBC, so I’m assuming this was broadcast on the radio.

They open with “Who” the beginning of which is cut off, but only a little.

Martin says he wishes people could move closer because he can’t see them–move your tables up.  And then he sings a beautiful, mellow “Northern Wish.”  The guitars are gentle and echoing and the backing vocals are truly wonderful.  As the song ends a complicated clapping rhythm begins, which can only mean the introduction to “Rain Rain Rain” a song I feel they don’t play that much and which is really fun to hear–that wild guitar riff combined with those lyrics–“I’m feeling really down.”

“Soul Glue” opens with some great guitar sounds from Martin and with Tim playing the main riff on the bass.  “Greensprouts” has a rollicking wild middle section and is quite fun.  There’s a quiet section of the song as Dave Clark “brushes it up.”  During the quiet Dave Bidini says “if you know how it goes you can just start singing” and soon you can hear people shouting it in the back.

For “Fan Letter to Michael Jackson, Dave introduces it: “This is a love letter to Michael Jackson.  Honest.”  There’s a “Sweet Child of Mine” intro (even way back then).  Bidini says, “If Axl Rose wrote a letter to Michael Jackson, wouldn’t the world be a better place?”  It’s a rocking version that segues right into “RDA.”

Then there’s a few oddball songs in a row, like the one Martin says is “Only Beginning, The Sickening Song.”  This is played on accordion and has a great heavy riff (this one isn’t played too often either).  It’s followed by the decidedly weird and jazzy “Full Moon Over Russia.”

Bidini would like to dedicate this night to “our four Juno nominations.”  Tim Vesely for home gardening and would-e fashion plate posturing.  Clark chimes in: “Dave Bidini for best athletic supporter.”  Martin Tielli for most bizarre bone structure (up against Gowan… a real tight race) and Dave Clark for spreading garlic soup to the peoples republic of Ireland.  Later, Dave thanks Gowan, who is Lawrence Gowan, formerly of Rhinegold currently the singer and keyboardist of Styx.

Martin introduces “Record Body Count” as “this is an interesting song.”  It’s followed by their cover of Jane Sibbery’s “One More Colour.”

They give a little talk about the Green Sprouts music fan club.  But first Clark jokes, “We’re about to embark on a song that requires a lot of tuning, it’s a kind of Indian raga.”  Then Bidini says, “You can buy a sticker for a dollar… or maybe we’ll give you one (they only cost us a nickle to make). I don’t care if you buy anything, just write to us.”

Palomar sounds great on a an echoed (12 string?) guitar.  And then “King of the Past” opens with some strange guitar tuning and then it settles into beautiful version of the song.

“Self Serve” lopes along, and when he gets to the line, “What went wrong with Martin, is he dumb?” (someone shouts NO!) and you hear Clark go (enh?).  It’s followed by stellar versions of “California Dreamline” and “Horses.”  Martin makes some great sound effects and Bidini shouts a refrain of “are you bitter?”  As the song nears its end Bidini asks, “Does someone want to be on CBC radio singing the last verse of “Horses” by the Rheostatics?”  And someone (unnamed) does.

After the encore there’s  great verse version of “Queer” with fantastic harmonies.  Dave Clark takes a drum solo at the end of Queer which segues into a spritely version of “Alomar” that segues back to the end of “Queer.”  He ends it by singing
I hope you enjoy my new box set” a line from Barenaked Ladies.

“Edmund Fitzgeraldd” is a slow menacing version with great effects from Martin’s guitar.  During the middle of the ending chord, someone sings “I wish I was back home in Derry,” the Christy Moore song.  The song slowly fades out and they end the whole show with the lullaby “You Are Very Star,” a sweet song with whistling and everything and the saying Good night, everybody.

It’s one of the best recordings around.

[READ: December 26, 2016] “The Pet”

This is a very short piece (translated by Rachel Careau) from a collection of short fiction.

The story focuses very specifically on one thing–a spider in the narrator’s room, but I love the fascinating almost throwaway backstory to it.

One evening in August, as I was going to bed in the northeast room, which I had decided finally to use–the connecting wall of the other apartment had been broken through two years earlier…

Now this story is four paragraphs long, and half of the first is dedicated to that.  I found that fascinating. (more…)

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2016-12-05-21-06-09SOUNDTRACK: LAURA GIBSON-Tiny Desk Concert #200 (March 5, 2012).

I’d published these posts without Soundtracks while I was reading the calendars.  But I decided to add Tiny Desk Concerts to them when I realized that I’d love to post about all of the remaining 100 or shows and this was a good way to knock out 25 of them.

gibsonLaura Gibson performed the first Tiny Desk Concert in 2008.  The whole enterprise was started because of her.  Bob had seen her in a club and her quiet music was overpowered by the audience.  So he invited her to play in his quiet office.  And now, here it was 200 shows later and Gibson is back–the first person to headline twice.

Things have certainly changed since then.  There was one camera on her face and another on her guitar.  There was minimal editing and the sound was fine.

Since then they have stepped up the game–multiple cameras, professional lighting and, as Stephen Thomspon writes: Bob’s desk “permanently houses a microphone that’s worth more than my car. (Three hundred dollars!).”

2006 was the release year of her debut album.  She had put out her third album in 2012.  She was quite back in 2006 and is still quiet in 2012.  But for this show she has brought along some help:  Brian Perez – Vocals, Percussion; Matthew Berger – Drums; Johanna Kunin – Vocals, Piano, Flute; and Jill Coykendall – Clarinet.

The songs are very quiet.  “Feather Lungs” begins with some lovely harmony vocals and then Gibson on keyboard.  The flute and clarinet add layers of music which really fleshes out this quiet song. The thumping drum that opens “La Grande” really sets the tone of a much heavier song.  This proves to be a romping song with Gibson on guitar and a lot of intensity behind her.

“Milk-Heavy, Pollen-Eyed” slows things down again, with quiet percussion and Gibson’s delicate guitar and vocals.  She says that the last time she was there it was a Monday morning and there was not much enthusiasm to sing along with her.  But since it’s a Friday afternoon, she invites eveyone to hum a long to “The Rushing Dark.”  Of course, she has backing vocalists so it’s unclear if anyone else joins in, but this a capaella song sounds lovely.

[READ: December 6, 2016] “Bestiary”

Near the end of November, I found out about The Short Story Advent Calendar.  Which is what exactly?  Well…

The Short Story Advent Calendar returns, not a moment too soon, to spice up your holidays with another collection of 24 stories that readers open one by one on the mornings leading up to Christmas.  This year’s stories once again come from some of your favourite writers across the continent—plus a couple of new crushes you haven’t met yet. Most of the stories have never appeared in a book before. Some have never been published, period.

I already had plans for what to post about in December, but since this arrived (a few days late for advent, but that was my fault for ordering so late) I’ve decided to post about every story on each day.

“Bestiary” is an interesting “short story” because it is not exactly a short story.  It’s not even exactly fiction.  Rather, after an excellent epigram from Robert Kroetsch “We are the animals who talk the fables in which the animals talk.  We are talking animals, claiming that animal’s don’t talk.”  The piece consists mostly of factual stories about animal behavior.

Each one opens with a title that ties into the piece beneath it. (more…)

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