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SOUNDTRACK: RHEOSTATICS-The Siboney Club, Toronto, ON (November 17, 1988).

I thought I had listened to every show on Rheostatics Live and then I saw today that Daron had posted this new (very old) show.  This show is from before they released their second album Melville.  Most of these songs would appear on Melville, but a couple wouldn’t be released until their third album Whale Music.

This is a live cassette recording of Rheostatics at The Siboney club in Toronto November 17 1988 provided by Tom Parry. It is the earliest live versions I’ve heard so far of Christopher, RBC, The Royal Albert, Greensprouts, Horses, Chanson, What’s Going On, Queer and a one off song which I’m not even sure what it is called. Something about Space? The sound quality is rough but it is an interesting document due to the early nature of these songs – Queer in particular.

This show starts off with a TV show (I guess) about the history of hockey with a story that Bobby Hull has signed a contract with the new World Hockey Association and then a clip of Canada v Russia.  I can’t tell if the reaction to the Canadian goal is from the TV or the people in the room.  It goes for about three minutes and then the ripping guitars come in to start “Christopher.”  The first part of the guitar solo is very different from the sound that Martin would eventually get–although the second half of it is pretty raging.

“RBC” is quick and to the point.  Someone (Dave?) starts the intro to “Dope Fiends” but Tim slaps some bass as Dave says they’re going to play “The Royal Albert (Joey 2)” which I didn’t think was written for a few years.

“Dope Fiends” feels faster than usual.  In fact the whole show feels kind of fast.  Is the tape sped up or did they just play faster back then?

Martin starts playing the Green Sprouts Theme Dong with a crazy hopped up vibrato which actually sounds like munchkins.

Dave: Welcome folks!  Hot dogs only $1.75 Dijon mustard is an extra 30 cents.  It’s hand carved by Dave’s Irish grandmother.

I don’t love the song “Ditch Pigs” (from Greatest Hits) but I always like when they play it because by now it’s such a novelty.   There’s a jamming end section in which someone (Bidini?) is singing about the good food “I want an egg salads sandwich and a box of popcorn”.

DB: It’s poetry time from Clark.  Will it be a winsome poem or a lonesome poem.
Clark: It’s not necessarily a poem.  This is more of a lyric than a poem.  I wrote for a friend and it about if you’ve ever worked for somebody who is kinda dumb and they’re mean to you because they feel threatened by you when you just want to be their friend.

It begins: Don’t call me pal or buddy when your not really my friend…

“Horses” is remarkably slow with a thumping bass.  The chorus is almost painfully slow.  But the ending is really intense.  Martin does some great soloing as Dave screams the end, but there’s very little in the way of horse sounds.

“Chanson Les Ruelles” is loose and fun–Tim’s “French” is quite good.   Dave rambles about some kind of voodoo that he put on the Baltimore Orioles pitcher.  And it worked!

Then out comes Tim with the accordion for “What’s Going On Around Here.”  It all sounds quite good even though the tape is sounding worse.

The last three songs sounds pretty bad (in quality).  The song that Daron says he doesn’t know sounds like Dave calls it “Space Arm.”  It’s a stomping heavy song with some ripping guitars.  Wonder whatever happened to it.

“Queer” sounds very different in so many ways.  It has a really long introduction and a decidedly honky-tonk/country feel to the verses.  The verses end with a kind of old-timey rock n roll bah-bah-bah-bah.  And there’s no ending part.  I’m so glad they fixed it up.

The final song is cut off.  It’s a slow song that I recognize but can’t place called “Seems Like.”  I see that it was only ever released on a Green Sprouts music compilation.

This is a great find–one of their earliest shows where you can hear what their new sound is going to be like.

[READ: May 8, 2019] So Much Longing in So Little Space

Karl Ove Knausgaard just never stops writing.  And he never stops exploring the world around him–through words or, in this case, art.

This book is divided into three parts, although unlike his massive tomes, this one is only 233 pages (with pictures).  Before the parts, he offers a little introduction about how he sees art and how he has always been moved by an (admittedly) simple painting by Edvard Munch called Cabbage Field.

There is a longing in this painting of the cabbage field, a longing to disappear and become one with the world.  And that longing…fulfilled the painting for him.  That is why the painting is so good, what disappears re-emerges in what comes into being as he finished the painting, it is still represented in the picture, which fills us again and again with its emptiness.

In Part One he gives a brief biography of Munch.  Everyone knows The Scream of course, but that represented only one brief phase of Munch’s life-long career as a painter.  Indeed, he started painting when he was a teenager, making small pictures of potted plants and interiors and he continued painting until he was eighty years old.

The years are divided somewhat into phases.  First was the apprentice years during which he painted his first masterpiece, The Sick Child, when he was twenty-two.  In the second phase he was searching and trying many styles–from realistic harbor scenes to Impressionist street scenes.   Then comes the period for which he is most famous (The Scream and more).  The final phase was less abstract and more painterly. (more…)

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