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Archive for the ‘Squirrels’ Category

SOUNDTRACKKING PRINCESS-Tiny Desk (Home) Concert #6 (April 8, 2020).

I’ve heard a lot of buzz around King Princess–that she’s fun and puts on a wild show.

This home Tiny Desk is not wild in any way.

“Welcome to the quarantine shed!” King Princess exclaims. She’s in jogging pants and sitting on a fluffy white chair, with two guitars, an amp and a tiny keyboard at her side. “I’m in Hawaii and brought as much gear in the carry-on of my plane ride as possible.”

She calls herself KP, which I rather like.  These songs are really quiet. She plays “the three songs from her late 2019 album, Cheap Queen, in ways I never would have imagined.”

“Isabel’s Moment” is played on a quiet keyboard.  She says it’s an homage to people experiencing quarantine thirstiness–texting their exes and ex friends and everyone.  It’s my least favorite of the three because I don’t like the keyboard sound she chose.  But her voice is excellent.

“Prophet” is played on one of her guitars (with lots of echo and slightly out of tune she admits).  The chorus turns surprisingly bright. She says it’s about the entertainment business and it is now more relevant than ever.  We’re all out of jobs right now.

She says this is back to making music in my room, trying to find that creative spark we had as children, when I could sit in my room and make things for hours.

“Homegirl” is also on that guitar and sounds really pretty, too.  I really like her singing voice quite a lot. It holds up well in this quiet setting–so if Bob says that it’s very different from what he’s used to, I’m very curious about what her live show is like.

But I really don’t like her speaking voice, I must admit.

[READ: February 2020] Burning Bridges to Light the Way

Evidently I asked S. for a book by David Thorne a few years ago.  I don’t know what book it was, I don’t recognize any of his titles and I didn’t even recognize his name when I saw this book.  She didn’t get me the book then, but she did get me one this past Christmas.

Turns out that David Thorne is an Australian smart ass.

As the foreword from Peter Goers puts it, this book is full of “barely coherent rants about friends, family, and colleagues.”  He continues,

David isn’t a dreadful human being all the time.  He has to sleep and I know he cares a lot about squirrels.  There are parts of this book that even hint at a certain degree of empathy for other human beings.  Some human beings, not all of them, maybe three.

I’m not sure who Peter Goers is, but his introduction is very funny.  Don’t skip it:

I once asked David if he’s autistic and he replied, “It’s pronounced artistic and no, not really, I can draw a cat though.”  I assume he was joking but it’s hard to tell with David.

In the first essay, David says that every year when he releases a new book friends and associates say that they are going to sue him if he says anything derogatory about them in his book.  But he’s not worried. Nobody he knows has enough money to hire a lawyer. (more…)

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SOUNDTRACKRHEOSTATICS-Sugar, Victoria BC (November 17, 2005).

Lucky’s Notes: [Lucky recorded this show and gets a song dedicated to him]:
This was to be the last time the Rheos played in Victoria, though we had no idea at the time. We will all really miss you guys out here!!

Given that information, it’s particularly sad when they say, “we’ll see you hopefully in the spring.”  But despite that future sadness, the show itself is great.  It begins with a wonderful “Easy to Be with You” which sounds terrific: the “do da” part is really rich in harmonies.

It’s followed by a quite raw “CCYPA” and then a fun, romping “Garden” which ends with: “Hugh Syme’s dance party for your pleasure”–Martin making an electronic racket with his guitar.

“Fat” has some interesting echo on Dave’s voice that I wonder if it could be bouncing off the room or not.  The “don’t even know who you are” is pretty wild with many different vocal from the guys.  It’s a great version overall–the bands is really into it.  Having more fun with “PIN” Dave seems to be really enjoying himself with the backing vocal nonsense.

Dave says, “It’s great to be here in Victoria, the Queen’s city, once again.”  When they start the poppy and delightful “Mumbletypeg,” Martin acknowledges “the amazing rhythm guitar playing of Dave Bidini.  Very rhythmic.”

“We’d like to thank Shane Koyczan for opening tonight–one of the sexiest men in Canada–another Neruda.”

“Marginalized” sounds great–dark and angry with a lot of echo on Tim’s voice.  That sounds weird but cool.  There’s a quiet middle section where Dave is playing a gentle acoustic and Tim is keeping that bassline.  It goes on and then the final verse is sung quietly with little accompaniment.

Someone in the crowd shouts “Record Body Count,” and Dave says “yes we got records, what about it?”

But Tim says, “we’ll do another apocalyptic number for you.”  They play “Here Comes the Image” with lots of great synth from MPW including an awesome solo.  Some really cool backing vocal from Martin make this one of the best versions I’ve heard.  Then MPW sits back at the drums: “good now I can relax.”

“Christopher” starts with an interesting guitar chord structure intro before they get to the song proper.  There’s an intense soloing section and a terrific quiet ending.  It’s followed by “King of the Past.”  It’s not my favorite version of it but there’s a lot of interesting stuff going on in it.  It’s followed by a wild “Rock Death America.”

When they get to “Satan is the Whistler” Dave says they’re going to try this one “coz we hope to play it [well] in two days in Vancouver.”  Martin sings some verses pretty slowly and then later he plays the fast part much more slowly and sloppily than usual.

He also adds to these lines:

bouncers came and snuffed the fucking fire out / there’s no smoking in the parking lot / “I hate this fucking place” / some punks in the windy peaks

After the song Dave concurs: “You gotta keep those parking lots clean.  For parking.  And loitering.  Gas huffing [Martin: “pathetic addicts”] nefarious activities.”

“Claire” is a little sloppy from everyone, even Tim’s singing is a bit mumbly.   But there’s a great long solo from Martin.  Martin continues the solid work on “California Dreamline which is slow and trippy with lovely weird keyboards.  While singing, he whoops after “sand in my tequila” and rolls his r’s after the “escondido” part.

The song segues into what sounds like “Horses” with Tim chanting “do it do it do it do it ; do it do it don’t you do it” but then Martin plays a rocking guitar for the intro of “Feed Yourself.”  It is noisy and aggressive and amazing, perhaps the best version of this song I’ve heard.  They play a riff of “Hey Hey, My My”  then Dave starts getting really intense: “what’s in his head?”  he starts screaming “open it up.  “Look inside.”  (The loudest screaming I’ve heard him do).  The intensity is undermined somewhat by Tim’s ending backing vocal of “trunk trunk… what ‘cha gonna do with all that junk / all that junk inside that trunk.”

They go for an encore break and Dave says, At this point in the gig Martin usually has a cigarette, so I felt required to write a smoking song.  It’s a new song about Martin smoking.  It’s called “Smoking Song,” but how on earth is it about Martin smoking when he references Joseph Stalin and Hitler?  he doesn’t say, but when it’s over, he says, “uh oh looks like a 2 smoke break.  He might never come out.” so they play “My First Rock Show.”  During the first verse, Dave stops and asks, “What’s so funny sir?  That must have been the laughter of pure joy.”  You can’t hear what they’re talking about, but Dave mentions NoMeanasNo and agrees that “they sent a lot of us on the wrong road.  In the best way.”

When Martin arrives, Mike asks, “Where to, lads?”  After some mumbling, you hear Mike say “boogers?”  Dave says “vetoed! songwriter gets veto.”  He then says they “support the locked out Telus workers.  Telus is the shittiest service. They just got so big and fat there sitting on themselves.”  More quiet discussion then Mike says “that’s good, Martin you had a smoke and now you’re asserting yourself.”

Perhaps they agreed to the earlier request, because they play “Record Body Count” which sounds great.  When the song is more or less over, Martin starts playing a riff and begins singing “I’ve Been Thinking of You” and the crowd cheers.  They jam that song and afterwards, Martin says “What was that song we did in the middle was it April Wine or something?”  No one knows.  It was a band called Harlequin.

Dave says, “We were in Nanaimo last night.  Home to two of the greatest record stores.”  Someone shouts: “Home of the Nanaimo Bar.” To which Dave replies: “Home of the Naniamo Bear.  That bear likes them dead salmon.”

They play “Making Progress” which opens with a buzzy staticky guitar and big echo on Tim’s voice.  When they get to the synth part it’s all messed up and someone apologizes, saying “don’t let me near that thing again.”  Then it gets fixed and the synth is back on.

They end the show with “Dope Fiends.”  There’s a big echo on Martin’s voice.  Someone else sings some great falsetto along with him.  During the slow part, Dave stars singing “Legal Age Life” but the music doesn’t change–it’s rather disconcerting but cool.  The melody starts playing a keyboard that sounds like “Norwegian Wood” and at the end Tim does backing humming to “Norwegian Wood” before Martin’s loud and wild guitar ending.

Despite the odd echo, it’s a really great show.  The band sounds in great form and they are having a really good time.  It’s hard to believe they broke up so soon after this.

[READ: February 15, 2017] The Unbeatable Squirrel Girl

Sarah and I have really enjoyed the Squirrel Girl graphic novels.  She was really excited to see this actual novel about Squirrel girl from Shannon Hale.

This book is part of the Marvel Universe.  And what I’ve learned recently is that while I enjoy the Marvel Universe, I far more enjoy the peripheral characters of the Marvel Universe–like those of S.H.I.E.L.D. (even if I don’t watch the show anymore–it got a little crazy).  So I find myself enjoying Ms Marvel and Guardians of the Galaxy and now Squirrel Girl–characters who reference The Avengers but are not actually part of the team.

There’s some thing so much more enjoyable about these characters where the stories can have fun of the major Marvel figures.  And this one has a ton of fun with that conceit. (more…)

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spowerSOUNDTRACKRHEOSTATICS-Stan Rogers Folk Festival, Canso, NS (July 3, 2005).

stanBack in 2005, the Rheostatics played two days at the Stan Rogers Folk Festival. The first day’s show was a kind of mash up of the Rheostatics and other bands.  Indeed, the recording includes some other artists along with the Rheos.

This second day it was apparently raining.  But it’s just the Rheos doing their best folk band impression, but not being afraid to totally rock out.

The recording opens very echoey and with a woman who is having a different kind of fun screaming quite a bit really nearby.  But after a minute or two, I assume the recording device is moved because you can no longer hear her. It’s jut Martin singing “California Dreamline.”

“Fan Letter to Michael Jackson” is particularly rocking, especially the “Michael!” part.  It’s a great version of the song, with lots of interesting bass work from Tim.  The whole band seems really into it.

Dave says, “The first European settlers stopped at Guysboro so we feel honored to do the same.  I went to the cairn…. I read the cairn.”

Mike: “Was the plaque about golfing?”

Dave: “No, it was about settling by the Mi’kmaq.”

They play a terrific, rocking “Marginalized,” a song that they seem to always play great.  It’s followed by a grooving intro to “Horses.”  Dave is really into it and the song ends really really loud and aggressive for a folk festival–Dave is screaming.

It’s followed by a terrific “Stolen Car.”  The “Kill a cop” line is really intense with a big drum roll.  And Martin is in great form throughout, especially that ending “drive away” section.

Mike: Thanks, we’ve got one more for you
Martin: Thanks, we’ve got one more for you
Dave: As a great man once said, Thanks, we’ve have one more for you

After all of that intensity, they end with a slow, pretty “Making Progress.”  Martin says, the composer of this next number in the middle: Timothy Rabbit Warren Vesely.  So that’s two songs by each singer.  As the song ends, Martin plays some interesting echoing guitar lines as the other guys leave.

The announcer says: “Rheostastics.  These guys were nominated for 3 Junos and one Genie and the Barnenaked Ladies and The Tragically Hip are constantly singing their praises and we got to hear them tonight.

[READ: April 25, 2017] The Unbeatable Squirrel Girl: Squirrel Power

This is the reboot of The Unbeatable Squirrel Girl.  This edition collects issues 1-4 and a special comic from Marvel Super Heroes #8.

For the reboot, Erica Henderson has re-imagined the appearance of Squirrel Girl from the rankly really creepy and ugly early version (as seen in the Marvel issue included) into a new much cooler looking hero.  Although I find her face really distractingly strange-looking.  I suppose it’s meant to invoke a squirrel somewhat, but since I read the Shannon Hale book first, I imagined her looking less odd.  But I have since gotten over that and I find her personality is too great to care.

There are several things I love about this story line.  It is so very funny.  Every bit and piece is great.  I also love that she is, as her name suggests, unbeatable.  This is not a spoiler exactly, but she really can’t be beaten–it’s pretty great.  I also love that there is running commentary along the bottom of the page (essentially the footnotes).  Sadly in some issues it is really hard for these old eyes to read, but if you can read them, they are worth it.

But really it’s the tone that I love,  It’s so lighthearted and fun.   (more…)

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SOUNDTRACK: RHEOSTATICS-Sam The Record Man, Toronto. ON (November 13, 2004).

The Rheostatics played live at Sam The Record Man in Toronto, during the afternoon of the 3rd night of their 10 night Fall Nationals run at the Horseshoe.

The recording level is really quiet.  In fact the first track called “crowd” is virtually all silence.  I gather they were supposed to start earlier but Martin was delayed.  So they eventually note: “we’ll press on in absentia.”

Dave continues, “We’ve given martin 50 [or 15, I hope] minutes.  He’s a in a cab so it’s just the three of us.”

Just as they start, the store announcement is made to join everyone in the video room for the show.

Without Martin, they play the more acoustic songs.  “Little Bird” sounds great, and as he begins “My First Rock Concert” he says,”This is ironic.  This song… many of the events happened not too far from here.”

“Marginalized” sounds really different without the rough guitar.  The bass is funkier and the overall song is much more acoustic.  It’s a little unnerving.

And then Martin arrives: “Ladies and gentlemen, Mr George Jones.”

Dave: “Okay we are complete.”

Martin: “I made the mistake thinking I could hail a cab and they decided not to exist.”

Dave: “Nobody’s buying that, Martin.”

Tim: “I think you have to get out of bed to hail a cab, they don’t see you in bed.”

Michael: “It was international ‘Don’t pick up Martin Tielli on the street day.'”

Introducing “Power Ballad for Ozzy Osbourne,” Dave says, “This is a song we were commissioned by Health Services Canada to write for their 2004 testicular awareness program.”  After the song, “That song is from our new album 2067, on sale for the remarkable price of $9.99.  Back to 1978 prices.”  he remembers back to the “Old Sam’s Boxing Day–not to sound like a big old geezer or anything but….  you could get 14 albums for… $9.99 in the late 80s.”

In the opening section yo can hear some kids talking and chatting.  I wonder if it’s Dave’s kids.  When “P.I.N.” starts, someone says it’s a “Big toy throwing number.”  Martin’s voice is strained and crackly.  The whole song feels a little restrained.

Dave introduces “Easy to be With You” as from “our psychedelic children’s album.”

Martin still sounds a little rough during “Christopher.”  He speaks the first line and kind of flubs a later line.  It’s followed by “Horses” which is acoustic and rollicking but not too intense.

Martin’s voice breaks a bit and he seems to mock himself on “Saskatchewan.”   It’s really unusual to hear this as an acoustic number and he sounds kind of aggressive during the “farm and the work to be done” line.

It’s not an especially great show, but it is an interesting peek at the band during the day.

[READ: May 1, 2017] The Unbeatable Squirrel Girl Beats Up the Marvel Universe!

Amid all of the Unbeatable Squirrel Girl books (there are currently 6), done by Ryan North and Erica Henderson, this book is a one-off and is considered  graphic novel unto itself.   I don’t entirely understand why it is done as a single book rather than as part of the series, but I don’t really care, because it’s great.

Of course, the title is confusing as all get out, right?

Well, as the book opens, we see that the main characters are going to be Doreen Green aka Squirrel Girl, Nancy Whitehead (Doreen’s roommate with no special powers (boo)), Tippy Toe (Doreen’s faithful squirrel sidekick), Ken Shiga, (Koi Boi), Tomas Lara Perez, Chipmunk Hunk and, The Rest of the Marvel Universe. (more…)

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