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SOUNDTRACK: PHISH-Vegas 96 (2007).

This show was recorded at the Aladdin Theatre in Las Vegas, Nevada, on December 6, 1996.  The set also includes a DVD.

The show has a great amount of classic songs, a few big rarities, some cool covers and a whole lot of surprises.

Wilson has a really rocking beginning (everyone is going nuts during the can you still have any fun) until just before the “blap boom” part when it slows to a halt with about 20 seconds of squalling feedback.  Then they launch into an excellent non-jamming version of Frank Zappa’s “Peaches en Regalia.”  It is followed by a fast romp through “Poor Heart”—one of the fastest I’ve heard.  It ends really noisily and then segues into a funky jam that’s mostly keyboard.  After 5 minutes it resolves into “2001,” which also ends noisily with scratchy guitars that segue into a very fast “Llama.”

This has been a simply rip-roaring show thus far.  And then they settle down for a 26-minute “You Enjoy Myself.”  The “Boy Man” section is very funky and the following jam stays funky with a lot of high-pitched bass soloing from Mike and a lot of percussion thrown in as well.  The song ends with a vocal jam but instead of doing weird sounds and screams, trey starts singing “doh doh doh donuts, I like donuts.”

I tend to think of “YEM” as set-enders (since that’s my experience with them), but this is still mid-set and they follow up with a synth and piano version of “Cars Trucks Buses” which seems like it’s going to morph into “Kung” but instead it becomes a loud, brash “Down with Disease.”  The set ends with a rocking “Frankenstein.”  I tend to thing they play this and “YEM” a lot because they seem to be on a ton of official live recordings.

Set 2 opens with a funky “Julius” (a song I always assume is a cover but which isn’t), and a nice version of “Sparkle” (with a super fast “laughing laughing” section at the end).  “Mike’s Song” runs about 10 minutes with a really noisy middle section and then segues into “Simple.”  There’s a lengthy piano section that turns into a rocking jam that goes on for quite a while (the whole song is over 18 minutes).  It winds down eventually and returns to a lot of piano.  It is followed by a noisy and raucous “Harry Hood” that feel really raw.  The song is 15 minutes and there’s a long solo before the “you can feel good” part.

Then comes a big, 11 minute “Weekapaug Groove.”  About midway through the jam the whole band stops dramatically and perfectly. They run through a bit again and stop perfectly again (except for an extra snare hit).  It’s amazing how tight they are.  The end grows very quiet as the band prepares for a quiet a capella “Sweet Adeline” (it’s so quiet all you hear is the crowd shushing everyone–this is the major downside to them doing these barbershop songs).  They come out of that with a set-ending, totally rocking cover of Led Zeppelin’s “Good Times Bad Times,” with Fish singing the “I know what it means to be alone” part.

The encore proves to be about 35 minutes long.  There are lots of guests and surprises.  And the band walks through a version of the “Harpua” story.  Ler and Les from Primus come out to start the song.  The chorus is done in half time—which is rather unsettling.  The story leads to Les singing Don Bowman’s “Wildwood Weed.”  I had assumed he made up but he obviously didn’t.  Then it’s back to “Harpua.”   In this version of the story, Jimmy walks to Vegas with his cat Poster Nutbag (Trey tells everyone to put all their money on 17).  As they get “closer to Vegas” they hear voices singing “I Want to Be a Cowboy’s Sweetheart” (a song by Patsy Montana).  It is sung by the Yodeling Cowgirls.  (There’s some “Happy Trails” in there as well).  Then there’s more of the “Harpua” story and as they approach Las Vegas they see Four Elvises.  Which leads to a singoff of “Suspicious Minds.”  This contest was between four Elvis impersonators with Fish joining in at the end.  Unmentioned (as far as I can tell) are John McEuen of the Nitty Gritty Dirt Band (on backing vocals) and actor Courtney Gains (on percussion). And then everyone launches into a wild “Suzy Greenberg” including the Elvises.  During the jam at the end, one of the Elvises turns the song into “Susie Q.”

This is one of my favorite shows.  The inclusion of the Primus guys and the crazy version of “Harpua” is just spectacular.  And by the end, everyone is having a great time.

[READ: April 1, 2017] “Las Gaviotas”

I enjoyed the way this story seemed really unsettled, just like its protagonist.

Finley is a in a relationship with Neil.  But she is currently hanging out at Brace’s apartment.  Brace is Neil’s old roommate.  Neil is in the other room with Brace’s girlfriend Alice.  They are all pretty drunk.

Brace is everything that Neil is not: he is big–not fat, just big–with a voice and presence to match.  And while Finley loves Neil–she keeps telling us that–there’s something about Brace (that name!) that she is drawn to.  She also hates Brace’s girlfriend Alice who has “otherworldly beauty.” (more…)

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SOUNDTRACK: RHEOSTATICS-Calgary Folk Fest, Calgary, AB (July 1996).

1996 is an interesting year for Rheostatics Live recordings.  In addition to this Folk Festival show, there’s a show they do at their old high school.  And then there are many shows with them supporting The Tragically Hip.

This is an acoustic set from July 1996 at the Calgary Folk Festival – don’t know exact date. It features Martin Tielli, Dave Bidini and Tim Vesely. There is no drummer though Tim does play a bit on My First Rock Concert. Dave Allen plays violin on Shaved Head and RBC and Dan X of the Rhinos and played drums on RBC. It’s available here.

The introduction is a nice one: “My favorite eastern band… the Rheostatics.”  Dave jokes, playing like you’ve never seen them before.

Teh show (which is fairly short) sounds very different.  It’s all acoustic and they seems to have created special arrangements for the songs.

For the first few songs it’s just Martin, Dave and Tim.  They open with “Introducing Happiness.”  There’s a few sloppy moments near the end but otherwise it’s a very interesting version.  Tim says it’s “a song for my cats back home.”

Dave dedicates the second song (a delicate “Digital Beach”) to Graham James and his wife who drove out here “from somewhere in Saskatchewan to come and see us play and to take in the weekend and the festivities.”  He asks, “any other people from Saskatchewan?  We love that place.  We love Melville.

There’s a long intro for a mellow “Dope Fiends” that features some really great harmonies.  It’s very loose and fun with the guys shouting out lines. It feels like a real campfire version.

After the song Martin says, “It’s hard to sit down.”
Dave: “You like sitting down?”
Martin: “Not particularly.”
Dave: “Me neither”
Martin “I’m squirrely as hell.”
Dave: “We thought if we sat down for once it would be a whole new thing and catch on.  But we plan to get up later for the show-stopping finale.”

Dave plays “My First Rock Show” (one of the earliest times I’ve heard it played live).  He says, “This is a song about attending a rock festival.  This is folk festival.  The song is the first time I went to a rock festival.  It was at the CNE (Canadian National Exhibition).  As the song starts he says there’s a Janis Ian kind a feel happening.

After Dave sings the “Took away the car keys” he says, “Timmy, get on the drums there, brother.”

After the song Dave says that earlier today we saw a young fellow with a tattoo.   A Rheostatics tattoo! It’s not real, it’s magic marker.  But you gotta show it off!  You rubbed it off?  Aw!

“Clarie” goes out to James Meritetch (?)  There’s a kind a classical opening and after the solo Martin segues the song into Neil Young’s “L.A.”

And then the guests start coming.  Dave says “A friend of ours from Kingston Ontario, a noted member of the drinking band The Mahones,  Dave Allen the doctor is in the house….  well …park.  We haven’t played with Dave for four years–he was on Whale Music.  He says they didn’t expect to see hm but he showed up at the festival and “they lassooed him, as you do.”  They play great, moody acoustic “Shaved Head.”

Then Dan Michell, Dan X of The Rhinos from Guelph and Kitchener–everyone here from Ontario is on stage now.  They play an interesting folkie “Record Body Count” with a violin. There’s an electric guitar solo.  Interestingly, they end with an extra chorus. And then they are gone.

The announcer says, “The Rheostatics!” …   “A drum stick!” … “The Rheostatics!”

It’s one of their more interesting shows and quite fun.

[READ: July 6, 2017] “Caring for Plants”

This was a rather dark story translated from the Korean by Sora Kim-Russell.  At first I thought that there was no way this story could be as long as it was–it seemed almost over when it started.  But then by the end, I wanted it to go on for many pages more.

The story opens with Oghi in the hospital.  He has been there for 8 days since the car accident.  His wife died in the accident and he was badly mangled.  He cannot speak, he is in incredible pain and is clinging to life thanks to an IV drip.  His face looks like a waffle stuck to the iron–that’s how his wife would have described it.  And worst of all is that he accident was his fault.

It took six months before he could go home. His mother-in-law had been taking care of his wife’s garden (the only thing his wife loved taking care of).  Since he cannot speak, his mother-in-law is more or less doing whatever she wants in the house–going through the jewelry and taking what she wants–things he doesn’t even recognize. (more…)

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SOUNDTRACK: CHANCE THE RAPPER-Tiny Desk Concert #632 (July 5, 2017).

I first heard about Chance the Rapper from NPR–what Robin is talking about in the blurb below. I downloaded his free album and liked it enough.  But I didn’t think much about him beyond that.

So I was really surprised a year or sop ago to see him in a Kit Kat commercial and then to discover that he was apparently huge.  Like mega huge.  I know many people who have gone to see him with their kids, he’s that big.  I’m puzzled because his album Coloring Book is the one that came after the free one I downloaded.  How did he become famous?

Well, good for him.  He seems like a really nice guy.  He’s wonderfully calf and understated as he comes out.  He introduces everyone nicely, with special attention to the drummer, “my good friend, Stix.”

He says “I’m a big fan of the series.”  Bu then admits “I didn’t know it was actually actually in an office.”  How?  But he later mentions some performances that he likes, so maybe he just never thought about it.

The night before arriving for his Tiny Desk set, Chance performed for more than 23,000 people at Jiffy Lube Live, an outdoor theater in Bristow, VA. The sold out arena and amphitheater shows of his current tour offer a stark contrast to the first time I saw Chance in concert back in 2013. Then, he was a 19-year old upstart rapping and singing for a handful of people at a tiny club in Austin, Texas. A lot has changed since then, and quickly. Chance’s most recent mix tape, Coloring Book, was widely ranked among the best albums of 2016 (some called it a masterpiece) and featured collaborations with a cast of hip-hop luminaries, from Kanye West to Lil Wayne and T-Pain.

Maybe that’s how he got so famous.

He plays two songs.  The first is “Juke Jam.”  It’s got a cool 70s sound on the keys and some popping drums–I’m really taken with the drummer.  I didn’t notice until about half way through the song that the only instruments are the keys and a trumpet, which is pretty interesting.  Chance has an infectious smile as he raps/sings.

I didn’t love the song on first listen–it’s a little too smooth/r&b for me.  But on the second listen I rot to appreciate the words.  and how it’s kind of a sweet (but dirty) tribute to roller rinks.  I enjoyed this section:

All the kiddies stop skating
To see grown folks do, what grown folks do
When they grown and they dating

And the backing vocalists really bring it all home nicely.

Chance The Rapper knew he wanted to try a different approach for his Tiny Desk performance, so he decided to do something he said he hadn’t done in a long time. He wrote a poem. More specifically, he wrote a poem in the short time it took him to ride from his hotel in Washington, D.C. to the NPR Music offices. Calling it “The Other Side,” Chance debuted it in the middle of his remarkable set, reading from his notes written out in black marker on sheets of typing paper.

I really liked this poem.  It was real and it was funny.  He also didn’t read it in that awful coffee house style of reading that poets love these days.  And before starting, he says, “Forgive me, I haven’t written a poem in a long time.”

“I still have all the keys that are of no use to me,” he began. “They used to, though. On the other side was a mansion on a hill, complete with L.A. pools and fireplaces and a rim made specifically for people that lie about being six feet to dunk on.”

Chance didn’t get much further before he was interrupted by one of the hazards of performing in an actual, working office: a building-wide page for someone to call the mailroom. But Chance rolled with it, cracking a quick joke before starting over again.

After the announcement, he paused and said, it’s all right, I’ll start again.  Then he smiled and covered his mouth and said, “he’s like shut the fuck…no more poetry!”  He also tells everyone, “There’s humor in this poem so you can laugh at it. Unless it truly offends you.”

Chance’s poem “The Other Side” was sandwiched between an opening version of “Juke Jam” from Coloring Book and another special gift just for his Tiny Desk appearance, a moving cover of Stevie Wonder’s 1974 song “They Won’t Go When I Go.”

“They Won’t Go When I Go” (written by Stevie Wonder) is gorgeous.  He has Stevie’s vocal stylings down, but he makes them his own.  The music is really lovely-minimal and spot on.  And when the backing singers kick in, it  elevates his own singing even more.

I kind of thought he’d do more, but he really did a lot of interesting things in those 12 minutes.

As the credits roll, he says, “Give it up for Third Story.  Give it up for the Players of the Social Experiment and the beautiful Rach Jackson on vocals

Not sure which people are in which “group”. but here’s everyone: Chance The Rapper (vocals); Nico Segal (trumpet); Peter Wilkins (keys); Rachele Robinson (background vocals); Ben Lusher (background vocals); Elliot Skinner (background vocals); Richard Saunders (background vocals); Greg Landfair Jr., aka “Stix” (drums)

[READ: May 1, 2017] “My First Car”

I just don’t see the appeal of Joy Williams’ stories. This one absolutely feels like it is an excerpt and yet I am fairly certain it isn’t.  It also feels like a couple of stories wedged together, and I’m pretty sure it isn’t that either.

In one part of the story, the narrator is asked by the caretaker of Mrs B’s Baby Village Day Care to look after the babies there.  She has no experience (except that she was once a baby) but agrees anyway.  Mrs B (Mr B is dead) needs to go pray for the world.

Mrs B had for some time wanted to go visit the great barrier reef.  To see it in its full bloom.  But then she found out that it was mostly dead.  She was made about that of course, so she was going to pray for the world. (more…)

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SOUNDTRACK: HELADO NEGRO-Tint Desk Concert #631 (June 30, 2017).

It’s unfair that I have recently really enjoyed songs by Chicano Batman because Helado Negro sounds so much like Chicano Batman that I would certainly have guessed that’s who this was (although Chicano Batman is a bit more catchy and groovy).

Helado Negro is a band: [Roberto Lange (vocals, guitar); Nathaniel Morgan (sax); Angela Morris (sax, violin); Ben Lanz (bass guitar); Weston Minissali (synthesizer); Jason Nazary (drums)] and this is what Felix has to say about them

The artist Helado Negro (Roberto Lange) made a very big impression on me when I first experienced him almost eight years ago. It was a sound I had never quite heard, and I was immediately drawn in; there were layers of synths, percussion that percolated rather than pulsed, vocals that epitomized the world ethereal and lyrics in Spanish and English that floated amidst the music like wisps of smoke.

But that’s not what you’re getting here — instead of tinsel, we get Roberto standing behind Bob Boilen’s desk in a t-shirt that says “Young, Latin and Proud,” the title of his most recent single. That’s the essence of the songs he chose to play (and really, his entire catalog), music about being a young American with Ecuadorian parents, singing about life in here in the U.S.

Our little concert here also shows off an acoustic treatment of Helado Negro’s vision, and it’s just as compelling without the electronics. In fact, it’s as if the songs reveal a different aspect of themselves, the lyrics intimate and laid bare. Personally, I loved the sound of the alto and tenor saxophones playing harmonies in place of a bank of keyboards. As you’ll see, the entire band perfected that delicate balance of intensity and low volume, letting the music and ideas breathe.

They play four songs.  They are all mellow

“Transmission Listen” opens with Lange singing and playing guitar and then the full horns kick it, and that’s when it sounds like Chicano Batman (in a good way).

“Young, Latin and Proud” is very catchy.  This song reminds me of Sandro Perri–mellow and gentle with his smooth voice rising above it all.  I like at the end that he mentions his audience: “Felix is young Latin & proud, mi abuela is young Latin & proud.”

For “Run Around” he doesn’t play guitar.  There’s a nice use of violins instead of strings in the beginning and some cool synth sounds.  I liked the squeaky violin noises at the end.

“It’s My Brown Skin” is a happy song–indeed I love that he loves who he is and where he comes from: “My skin glows in the dark / shines in the light / its the color that holds me tight.”  The ending melody is really pretty (played on sax and violin) “I love you and I can’t miss anything about you / you’re stuck on me and all this time I’m inside you  / And its your brown skin… it’ll keep you safe.”

[READ: April 4, 2017] “Necessary Driving Skills”

This story was, wait for it, all over the map (ha) in some ways.  It is all about driving, (see, ha).  But it is about much more than driving.  It is about relationships, friendship, business and of course, driving.

It even starts: “This is the story.”

It continues: “Kim Le Bouedec and I run the Finchley Mint.  And I’ve just kissed his wife.”

The narrator, Neil, and Kim were friends in college.  And it follows that thought with this: “You see, this is the paradoxical thing about my age group (and yours–if it hasn’t happened yet, it will.) The more we settle, the more opportunities there are for disruption.”

Neil details: Simon and Maxine are married with a ten month old daughter.  Luke is married to Helen (who worked with the Neil’s wife Jill), there’s Kim and his wife Sasha.  “My circle of friends, turning square.”

Neil and Kim work at this Mint. It’s a business in which they sell “die cast model cards by mail order. Don’t laugh.” (more…)

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SOUNDTRACK: AVERY*SUNSHINE-Tiny Desk Concert #615 (May 1, 2017).

I had never heard of Avery*Sunshine and had no idea that she was a “soul maven.”  But boy did I enjoy this set.  She is a lot of fun, vibrant and playful and she really gets the crowd singing along.  Her lyrics are fun and improvisations are really fun.

Here’s what the blurb says:

When the soul maven visited NPR headquarters to perform her first Tiny Desk Concert, she gifted us with the story of her own redemptive love. And a whole lot of laughs in between.

Avery*Sunshine knows what love will make one do: Give up your favorite ice cream. Break up to make up. Even swear off of holy matrimony for good, only to fall head over heels again.

Newly married to her musical partner, guitarist Dana “Big Dane” Johnson, Avery*Sunshine broke down the meaning behind the title to her latest album, Twenty Sixty Four. But it was her playful charisma and those heavenly vocals that won us over, the same way she’s turned such legends as Aretha Franklin and Smokey Robinson into fans. Press play and prepare to fall in love, too.

And her band The Trustees is tight and hot: Dana “Big Dane” Johnson (guitar); Demonterious “Detoxxx” Lawrence (bass); Quinton “Q” Robinson (drums)

“Come Do Nothing” has a cool funk start and Sunshine’s sweet soulful voice.  It’s an interesting song of get away/come back, with the get away part being funky and cool and the come back being a bit treacly and sweet.  I loved this lyric: “I heard you found a girl.  I saw her pic online.  Yes I looked her up on Face Book (thump thump on Face Book).  She gets everyone to sing along “Come on Over here with me ; come do nothing here we me” before playing a joyful keyboard solo.

When the song ends, somebody jokes that “Big Dane” is not the one guilty of cheating.  There is much laughter as she explains that she and Dane got married a year ago.

Then she describes the song as a can’t live with you can’t live without you song:

“Go on, get out.  I put all your stuff out and you can come pick it up.   But when you come… ring the doorbell coz… I’ll be making gumbo.”

Then she talks about their marriage:  they were both married before and they swore that they would never get married again.  And then he proposed some time later.  And she prayed: Just give me until 2064 with this man.  I’ll be 89 and he’ll be 91. I won’t cuss anymore. I’ll eat all my vegetables.  I will be good.  That’s why the album is called 2064.

After they got engaged, she wrote “Ice Cream Song” as their wedding song.  It’s  sweet soulful ballad: “I’d give up ice cream just for you / I’d open my bag and sell my shoes.”

As she introduces the final song, Dane says, “You need to change the piano.”  “Will you do it, you’re so good to me.  He changes my keyboard sound for me, he’s so sweet.” And while he’s fiddling, she says, “The people are waiting, honey.”

She says that “Used Car” is a metaphor for divorced people.  Her mama said, “There;s nothing wrong with a used car.”  She says I’m not encouraging anyone to get divorced–but if you are, there’s no reason to not try again.  Just make sure its a certified pre-owned.

The song is bright and bouncy and  ton of fun with funny enjoyable lyrics.  There’s a cool break down with  funky bass line and she gets to talk about her cars, with the Trustees shouting : “a car payment is overrated.”  And man when she gets into it at the end she really shows off her pipes–boy she can sing.

They start chant at the end “used car” and she throws in lines like “I’m taking a selfie in my…”

The whole set is fun It’s a pretty great way to spend 17 minutes.

[READ: March 10 2017] “Solstice”

The story opens with a man in Dublin looking for his car.  It has gotten dark in mid-afternoon–it is the twentieth of December–and he can’t remember what floor he was parked on.  It felt like the longest night of the year, because it was.

And he marveled that at 10:44 AM the next morning the solstice “the event” would happen:  “Somewhere in that moment whether he believed it or not, the sun would pause in the sky above him, or seem to pause.  It would stop its descent and start its slow journey back to summer and the middle of the sky.”

I love that the next line undermines the wonder: “or this year, he thought, it might not bother.”

He drives home out of the city into the country where the night was very big. (more…)

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SOUNDTRACK: ANDERSON .PAAK & THE FREE NATIONALS-Tiny Desk Concert #557 (August 15, 2016).

I had heard so many great reviews of  Anderson .Paak but I didn’t really like his album.  But I love this Tiny Desk—there’s something great about this live set.  First off, I love that he’s on the drums–and I love Paak’s drumming—all high hats and rim shots and total funk.  Especially when he starts tapping with his fingers on the snare.  And I really love the funky sound of the keys and the bass.

For this Tiny Desk, they reworked three cuts from Malibu,

Guitarist Jose Rios and bassist Kelsey Gonzalez inject a hard-rock edge into the Hi-Tek-produced “Come Down.”  He opens this by saying, “This song is appropriate since its like a sauna in here right now.”  (The opening lyrics are: Y’all niggers go t me hot.”  It is fun and funky and a great opener.  At the end, he asks the bassist: “What is that song about, Jose?  Coming down off of what?  Substances?  That’s what you into?”  “No. Naw.”  “I like water myself.”

The second song “Heart Don’t Stand A Chance” features a lot of keyboards.  It’s a slow, groovy song.  Much more soulful than funky.

“Put Me Thru” is really funky.  He says “This song is about Jose’s ex-girlfriend.  She still your ex-right?”  “Yea.”  When it ends he jokes Tiny Desk, Big Heart.

Normally bands play 3 songs, but everyone is so into the set that they get to play one more.  “What else y’all wanna play?  Should we do requests?” Someone shouts, “Suede”  And he shouts, “OH!  I though this was a more cultured, mature….  So you all like being called bitches over here?”  He cautions, “I talk a lotta shit on this song, is that okay?”  We’ve never done this song like this.  He asks Jose, “Go over the notes. You know the chords?”  “It’s only a loop—only two chords.”  They all laugh.

“Suede” is a super funky, pretty vulgar song.  But .Paak is so charming, it’s hard to criticize.  Especially at the end of the show when he says, “That actually my mom’s favorite song.”

[READ: September 5, 2016] “Let’s Go to the Videotape”

This was a fascinating story about a widow who submits a video of his child to Americas Funniest Home Videos.  His son, Gus, was riding a bike for the first  time.  As he was going along, he hit a rock and flew over his handle bars into the bushes.  His helmet pulled down over his eyes.  Nick kept filming, seeing that he wasn’t hurt.  And then Gus looked up and said “Daddy, am I okay?”

Nick sent the video to some friends and they all thought it was very funny.

The video had made it to the finals and they were in the studio watching the other finalists’ videos.  And then it was their turn.

Gus was very uncomfortable–mostly because of his clothes but also because of the attention. (more…)

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2010 SOUNDTRACK: ANTIBALAS-Tiny Desk Concert #243 (October 4, 2012).

antibAntibalas (Spanish for “bulletproof”) is a Brooklyn ensemble.  Eleven members turned up for the Tiny Desk.  And they are quite the ensemble.  There are trumpets, saxophones, two guitars, a bass and a ton of percussion.  There’s a percussionist/keyboardist wearing a lucha libre mask (!) and the lead singer (singing in English and some other language) has what looks like tribal paint on his face. (He also plays conga and cowbell).

The blurb states:

There just aren’t many bands like Antibalas. These are jazz players making dance music: Their music is big and fun, and their guiding spirit is Fela Kuti, the brilliant big-band leader and Nigerian Afrobeat pioneer. Afrobeat is a musical style featuring nearly endless songs, mixing funk and jazz, grooves and riffs, with the rhythm carried by not only the drums, but everyone. Everyone — horn players, bass players, guitarists — plays rhythm in Afrobeat music.

It’s one thing for a big group to make a big sound — and, sure, Antibalas does that — but what stands out is the subtlety of this ensemble; the way the horns weave in and out of each other, sometimes complementing and at other times inspiring and creating musical conversation between players. That extends to all the players, from vocals to guitar. When you start to listen to that conversation and you hear that build in a rhythm, it’s so powerful, so full of joy. If they come to your town, drop what you’re doing and go see them. Wear dancing shoes.

They play two songs, but they are long and full of rhythm.  “Dirty Money” runs just under 6 minutes. I really like the way the horns seems to echo and answer each other during the slow sections.  While the whole band sings the backing voices.  And when the masked guy switches from percussion to keyboards, it’s got a  groovy 70s sound coming out of that machine.   All of it is anchored by the bass, keeping a steady rhythm.  One of the trumpeters switches to trombone for a solo as well.

“Him Belly Go No Sweet” has an even funkier feel–lots of percussion and staccato horns slowly working with each other to create a big sound.  Even though there’s plenty if music in this song it’s impressive how much they use silences—things are never quiet (there’s always a bass line or percussion) but for such a big outfit they can really get things to quiet own.  The end half of the song sees the band singing “go up  go down” while the lead singer seems to improvise a whole bunch of stuff.

It is, indeed, hard not to dance to this.

[READ: July 10, 2016] “Baptizing the Gun”

This was a very dark story and, if nothing else, it made me never want to go to Lagos, Nigeria.

The story is told in first person by a priest.  He is not wearing his collar and is driving a borrowed VW Beetle through the traffic of Lagos.

As the story opens, a woman is screaming because a thief just pulled an earring out of her ear–tearing her earlobe. He is caught and, astonishingly, “ringed with tires, doused in petrol, and set ablaze.”  Even though there is barely any fuel to be had “there’s always enough for the thief.”

The priest believes his trip was a success and many parishes have promised his parish in the Niger Delta money and materials.

But on his way back (at 18:03) the car dies in traffic. (more…)

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