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Archive for the ‘Sherman Alexie’ Category

SOUNDTRACK: DONKEY-“Memory Haunts Me” (Moose: The Compilation, 1991).

Back in the 1990s, it was common to buy a compilation or soundtrack or even a band’s album based on one song.  Only to then find that you didn’t really like anything else on it.

Maybe that single sounded like nothing else on the album.  Maybe the movie was almost entirely one genre, but they had that one song that you liked over the credits.  Or maybe the compilation was for something you didn’t know, but a song you really wanted was on it, too.

With streaming music that need not happen anymore.  Except in this case.

I bought this compilation, used, recently exclusively for one song, Rheostatics’ “Woodstuck.”  It’s a goofy song and this is the only place you can get the studio version.  The actual compilation was not well documented, so I didn’t know what the other bands on it might sound like.  It turns out to be a compilation for Ontario based Moose Records which specialized in Rock, Folk, World & Country.  They put out another compilation in 1992 and that’s all I can find out about them.

Donkey is NOT the Donkey from Atlanta.  This is a band from Toronto founded by Alex Radeff (the band now goes by Alex Radeff & Donkey). It’s a shame this song is buried so far down on this album, because it’s really great.  It’s got a cool Byrdian sound, but with a slightly darker feel.  This song sounds mildly sinister.  And then with chorus of “memory haunts me every single day,” you can tell why the tone works.

It’s got a guitar solo that sounds like it was recorded in a tinny room, with the rest of the band dropped down somewhat so it really stands out.  It’s certainly a peculiar song.  Like his website says: Founded by singer/songwriter/guitarist Alex Radeff as a vehicle for his eclectic songs.  The song even ends with a bit of backwards guitar solo.  Cool stuff.

[READ: July 20, 2019] “Indian Country” 

This is a story about Low Man Smith, a Coeur d’Alene Indian and successful writer.

He was returning to the Reservation (which he said was always horribly monotonous until some horrible violence interrupted the monotony) to meet up with Carlotta.

But when he arrived, she had sent someone to meet him because she had just run off and gotten married to Chuck.  She wasn’t planning on it, but Chuck showed up a couple days ago, eleven years sober and they ran off together. (more…)

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SOUNDTRACK: RHEOSTATICS-The Horseshoe Tavern, Toronto Ontario (August 11 1994).

This is a monster show.  Nearly three hours long!  I’ve said before that I’d love to have professional recordings of certain shows and this would absolutely be one of them. Most of the show sounds pretty good although near the end the audience starts talking a little too loud. But man, what a set list.

This is one of the last shows Dave Clark played before leaving the band. This show was on the same day Introducing Happiness was reviewed as a new release in Now Magazine. (See the review below right).  The Setlist was a carefully constructed chronologically arranged 36 song, 2-set night.

They open the showing by thanking everyone for coming out on short notice, whatever that means.  Dave says they had 35 songs on the list  (they play 36 in total).

The first four songs are from Greatest Hits
Higher & Higher, Crescent Moon, Canadian Dream (which hasn’t gotten much play in the available shows) and Ditch Pigs.  They joke about their older songs: because we play some older music sometimes, like now, we forget the words, right Tim?  They also thank “anybody who helped us last night to cut our live track and video of Claire.”

The next song is “Royal Albert (Joey II)” which never appeared on an album, formally, so who knows how old it actually is.

Then there are five from Melville  (+1 later on)

A slow “Saskatchewan” builds very big by the end with Dave taking some of the last verse.  Tim observes that it’s a rough start tonight, although it all sounds quite good.  “Chanson sans Ruelles” has a quiet middle with a brushed section on drums.  When the song is over, because it is sung in French, Clark chimes: Tim Vesely for Governor General.  Bidini agrees saying, “he is Ray Hnatyshyn of rock.”  Upon assigning the rest of the cabinet: Bidini would be minister of sport; Tielli would be Finance Minister (of course) and Clark would be Minister of National Resources he is a national resource unto himself.

They start “When Winter Comes” and then they state:   at this point in When Winter Comes we’d like to express individually what the review in Now Magazine meant to us (if you click on the image it seems to come out a little more clearly).  Each of the four sings something.  Bidini: “nothing sweet nothing.”  Clark recites to the rhythm of his drum beats: “you know, Dave, I really like the things that they say all day but I got to know so I can tell you.”  Giving up he says, I love that Sloan album they gave one N–it’s better than the last one it’s better it’s cooler… why be mean to such a good band?  Bidini chimes in: “So the reason our album sucked is because Dave Clark listened to Sloan too much, obviously.”  Martin kind of mumbles his response but it’s something along the lines of, “I guess it mad me sad but it’s just another thing for a shirt.”  Tim says 1) we have to work really hard to complete that hoser rock opera.  The other thing is that its my weekly paycheck … 120 bucks?”  The rest of the song sounds great.

Clark: the next song [“It”] is one of my favorites and we don’t play it enough.  It’s followed by a fairly slow version of “Record Body Count” that gets the crowd really riled up.

“Woodstuck” is also not on a record.  But it’s a great song which they introduce as an “ode to a friend of ours who was really really into the hippie culture.”  1994 is the 25th anniversary of Woodstock (and the Woodstock ’94 concert).  Dave says to someone “you got that at the original Woodstock at the Pizza Pizza kiosk. Woodstock ’94 is brought to you by Pizza Pizza and their new… herbal pizza.”   In the “intermission” of the song Bidini throws in the lyrics to “Blitzkrieg Bop” with the same melody as the main song.

Referencing something, Bidini says Dan Aykroyd walked by and he was really polite, he said “excuse me,” which is pretty nice.  Clark jokes, “Did you say Ghostbusters?”

Next there’s 8 from whale music (+2 songs later)

“Sickening Song” sounds great and bright.  Afterward Dave sees “Matthew” and says “You got engaged?  Cool, congratulations young lovers. It’s our second Green Sprouts anulmen….no engagement.”

“Who” sounds good but they have a little trouble with those last few thump thump notes.  Soul Glue adds a heavy rocking coda to it.

Dave starts “Queer” by chanting “We’re here, we’re queer, we will not go away.”  At the end, Dave recite sa poem that ends, “Acceptance, forgiveness, and love.” which he says is from Broadway Danny Rose.  They also throw in a verse from “Good Guys and Bad Guys” from Camper Van Beethoven.

During he first verse of “Self Serve Gas Station,” the tape gets a little wonky.  And Martin’s changes the line: “What went wrong with Martin?  Is he stoned?” Someone shouts “yeaahh” and there’s the retort: “how do you know?”

Martin plays the blistering riff to RDA a few times before they take off with the song.  And then it’s time for a short break.

Clark announces, “we’re back.  This song is called “You Shook Me All Night Long with a Shaved Head.”  “Shaved Head” is quite pretty and slow.  They introduce James Gray of Blue Rodeo on keyboards and Tim plays accordion for “What’s Going On?”

They play 2 from the Whale Music Soundtrack.  About “Song of Flight” Dave says, “we played that song in Kingston and a smallish college student did a bird dance in 7/8.”  And then for those who got a free single at the Bathurst Street Theater, they play “Torque, Torque.”

Then there’s 10 from Introducing Happiness (+1 song later).  They introduce “Claire” as “Wet Home Alabama.”  After Fan Letter to Michael Jackson, they say, “The king is dead long live Lisa Marie and Michael.  Congrats to Michael on his wedding… that’s three Green Sprouts weddings.”

After mentioning a convoy, Bidini asks Clark “What was your CB handle?”  “Fuzzy Wuzzy.  I played CB with my best friend–it was strictly platonic.”

As Earth/Monstrous Hummingbird opens, you can hear a lot more crowd noise.  Talk of “I’d like to hear that recording.”

After “Me and Stupid,” Dave says “I’m afraid that when we go to England and play in front of  packed house of 150 British screaming Moxy Fruvous fans and we get up there to play California Dreamline” this is all that’ll come out  (some crazy nonsense noises) and they’ll love us and we’ll be on the cover of all the music magazines and we’ll never be able to face anybody in Canada again.”  Clark disagrees: “bullshit don’t believe your own mythology.”

“The Woods Are Full of Cuckoos” is “about a great Canadian band.”  And “Artenings Full of Gold” is weirder than ever, the “digging a hole” section sounds very much like Zappa (with high-pitched laughing whoooos).

Really fast PROD after which Clark asks, “how’s it feel to be in Ontario after the legal drinking hour?”

In the beginning of “California Dreamline,”Martin messes up and has to start over.  And then they all mess up…hold on false start.  Someone jokes, “Sounded like the Stones alright.”  They resume mid-song.  Martin says, “Stop.  Fuck this song let’s move on.”

So they pick right up with “Horses.”  Its fast and powerful and at the end he chants: “help break the owners of Major League Baseball, boycott professional sports.”  Speaking of sports, “Might as well award the Montreal Expos works series champion right here and now, ok.”  Then Dave says, “to my friend Steve from Hamilton…that didn’t count the CFL in that boycott of professional sports, all teams except the Hamilton Tigers.”

Bidini continues, “You braved the cold and blizzard conditions… oh it’s August, sorry.  So our record came out Tuesday with general release in October when they’ll play the Bathurst Theater.  He gives a plea to “Help Canadians music dominate worldwide in the 1990s.”   Clark, “And don’t forget those condoms when they’re at the Commonwealth Games.”

They come back for an encore with “Row.”  It’s sweet and quiet—not a really exciting encore, honestly.  But it’s followed by a romping “Legal Age Life,” which gets everyone really moving.

Such a great show.  It’s shows like this that make me wish that a) I knew about the band back then and b) I had actually seen them live.

[READ: June 5, 2017] Clean, Cleaner, Cleanest

This short story is a brief description of an older woman’s life.  Not a lot happens in terms of plot, but it is a wonderful story full of detail and character with a satisfying ending.

Marie is a maid at a motel.  She has worked there for nearly 30 years.  She is Catholic and goes to confession often.  But “she was more flexibly Catholic than strictly Catholic, so she did believe in birth control.”  The condoms she found stopped bothering her because safe sex was better than abortion.

Over the years she had seen the drug users go from needles to pipes to meth and now back to needles.

She also learned to be clinical about the messes she cleaned up: feces and urine to made it sound like she was helping people rather than dealing with the worst of them. (more…)

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thrilignSOUNDTRACK: ADIA VICTORIA-Tiny Desk Concert #545 (June 30, 2016).

adiaAdia Victoria has a rough, raw voice that goes well with her simple, exposed guitar sound.  The blurb says her music “carries the singular perspective of a Southern black woman with a Seventh Day Adventist upbringing, who never felt like she’d fit in.”

She sings three song, mostly in a great, raspy voice.  For “Stuck in the South” she actually seems to be gritting her teeth as she sings: “I don’t know nothing ’bout Southern belles / but I can tell you something ’bout Southern hell.”  When the first verse ends, and her band kicks in, it adds such interesting textures.  a distorted bass and a lead guitar playing quietly distorted sounds.  This song is really captivating.

“And Then You Die” with its swirling sounds and keyboards has a very distinctly Nick Cave feel–gothic in the Southern sense of the word.  Indeed, the first verse is spoken in a delivery that would make Nick proud. This is no to say she cribbed from Cave but it would work very well as a companion song  I really like the way it builds, but the ending is so abrupt–I could have used some more verses.

After the second song the band heads away and Bob says “They’re all leaving you.”  She looks at them and growls, “Get off the stage!” to much laughter.

She sings the final song “Heathen” with just her on acoustic guitar.  It is a simple two chord song.  It’s less interesting than the others, but again, it’s the lyrics that stand out: “I guess that makes me a heathen, something lower than dirt / I hear them calling me heathen, ooh like they think it hurts.”

I’m curious to hear just what Adia would do with these songs when she’s not in this Tiny format.  I imagine she can be really powerful.

[READ: November 23, 2016] McSweeney’s Mammoth Treasury of Thrilling Tales

For some reason or another I have put off reading this McSweeney’s volume for many years.  This is technically McSweeney’s #10, although it was also released in this printing from a  major publisher. Sadly for me, my McSweeney’s subscription had expired sometime around here so I’ve never actually seen the “official” Volume 10 which I understand has the exact same content but a slightly different cover.

One of the reasons I’ve put off reading this was the small print and pulpy paper–I don’t like pulpy paper.  And it was pretty long, too.

But I think the big reason is that I don’t really like genre fiction.  But I think that’s the point of this issue.  To give people who read non-genre fiction some exposure to genre stuff.

Interestingly I think I’ve learned that I do enjoy some genre fiction after all.  And yet, a lot of the stories here really weren’t very genre-y.  Or very thrilling.  They seemed to have trappings of genre ideas–mystery, horror–but all the while remaining internal stories rather than action-packed.

Which is not to say I didn’t enjoy anything here. I enjoyed a bunch of the stories quite a bit, especially if I didn’t think of them as genre stories.  Although there were a couple of less than exiting stories here, too. (more…)

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CV1_TNY_06_10_13Schossow.inddSOUNDTRACK: GAUNTLET HAIR-“Bad Apples” (2013).

stillsThis was the third song that NPR played in their summer preview show and I was a little concerned about the state of summer music because I didn’t love any of the first three songs.

Gauntlet Hair (what a crazy name) plays a kind of early-sounding Depeche Mode music with rather sedate and uninspired vocals.  I liked the second half more than the first half, probably because there was more instrumental music.

Indeed, as the song ends and the Depeche Mode-vibe comes to the fore, I rather got into it.  Especially the pianos at the end.

Shame about the vocals.

[READ: June 18, 2013] “Happy Trails”

I haven’t read a lot by Sherman Alexie, but I have enjoyed what I’ve read.

This story was quite short and was all about the disappearance and presumed death of his Uncle Hector.

One day Hector said he was going to hitchhike to Spokane.   He walked out the door and was never head from again.  The narrator says that Hector was his favorite relative (although he later says that he really wasn’t that great of a guy).

As the story picks up, it is four decades later and the narrator has decided to have a funeral for him.  His mother says that she doesn’t think he’s actually dead but the narrator says that it has been forty years, he could have come back or written a letter.  Or called. (more…)

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SOUNDTRACK: SUPERCHUNK-The First Part (1993).

The First Part opens with a guitar riff, very different from the chugga-chugga songs that they’ve played on the other tracks.  In fact, at the end of the verses, the bass backs out entirely leaving an interesting and unexpected sound for the song.

The second song, “Connecticut” is similar in that it also has a guitar riff (and a kind of solo) in the introduction.  The surprise comes at about a minute thirty-five when the guitar solo kicks in and the song suddenly shifts into an all out rocker.  This change is especially surprising since the song is just over 2 minutes long.

“Foolish” plays with a distortion-fueled repetitive riff that keeps the song moving.  It’s really quite infectious and something of a departure for the band.  This whole EP shows quite a leap forward in terms of Superchunk singles.

[READ: September 30, 2010] “The Toughest Indian in the World”

Sherman Alexie is the third author in the New Yorker’s 1999 20 Under 40 collection.

I have read a few Sherman Alexie pieces, and I’ve enjoyed what I’ve read.  And yet, for some reason, he’s not one of the authors I keep a look out for.

This story is about a newspaper writer. He is Spokane Indian.  We learn a little about his past.  And one thing–his father only ever picked up hitchhikers if they were also Native–is a tradition he follows today.  Even though his girlfriend doesn’t want him to pick up anyone.   We also learn a little about his previous girlfriends (like the white woman who only dated non-white men).

Alexie’s writing style is wonderfully fluid and relaxed during this background information. It’s a very easy read, and quite funny too.  But things change when he meets the titular toughest Indian. (more…)

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While I was looking around for Jonathan Franzen pieces in the New Yorker, I stumbled upon the first 20 Under 40 collection from 1999.  Since I had received so much enjoyment from the 2010 version, I decided to read all of the 1999 stories as well.  It was interesting to see how many of the authors I knew (and knew well), how many I had heard of but hadn’t read, and how many were completely off my radar.

I initially thought that they had published all 20 authors in this one issue, but there are five stories (including Franzen’s) that were just excerpted rather than published in full.  And I will track down and read those five in their entirety.  But otherwise, that’s a lot of fiction in one magazine (a few of the stories were quite short).  And it features a cover by Chris Ware!

So here’s the list from 1999.

**George Saunders-“I Can Speak™”
**David Foster Wallace-“Asset”
*Sherman Alexie-“The Toughest Indian in the World”
*Rick Moody-
“Hawaiian Night”
*A.M. Homes-
“Raft in Water, Floating”
Allegra Goodman-
“The Local Production of Cinderella”
*William T. Vollmann-
“The Saviors”
Antonya Nelson
-“Party of One”
Chang-rae Lee-
“The Volunteers”
*Michael Chabon-
“The Hofzinser Club” [excerpt]
Ethan Canin-
“Vins Fins” [excerpt]
*Donald Antrim-
“An Actor Prepares”
Tony Earley-
“The Wide Sea”
*Jeffrey Eugenides-
“The Oracular Vulva”
*Junot Diaz-
“Otra Vida, Otra Vez”
*Jonathan Franzen-
“The Failure” [excerpt]
***Edwidge Danticat-
“The Book of the Dead”
*Jhumpa Lahiri-
“The Third and Final Continent”
*Nathan Englander-
“Peep Show” [excerpt]
Matthew Klam-
“Issues I Dealt with in Therapy” [excerpt] (more…)

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ny1It took me going to Seattle to learn about The New Yorker magazine.  I was visiting my friend Rob and he was really surprised that I didn’t read the magazine all the time (my reading always seems to surprise people, see The Believer.)

Upon my first read of the magazine, I was surprised to see that the first twenty pages or so are taken up with upcoming shows: films, concerts, sports, everything.  I actually wondered how much content would be left after all that small print.

Since then I have learned that Sasha Frere-Jones writes columns in here quite ofuiten.  For reasons known only to my head, I was convinced that Sasha was a black woman.  Little did I realize that he is not.  And that he was in a band that I have a CD of called Ui.  He is an excellent resource for all things music, whether I like the artist he’s talking about or not.  Some entries are here.  This audio entry about Auto-Tune is simply fantastic.

But of course, there’s a lot of content.  And the first thing you get are letters.  I don’t think I have EVER looked at the letters section. (more…)

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