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Archive for the ‘Culture Shock’ Category

SOUNDTRACKSHE AND HIM-A Very She & Him Christmas (2011).

I don’t really know all that much about She & Him.  I know it’s Zooey Deschanel and M. Ward.  I don’t really know M. Ward at all and I know Deschanel from New Girl (which we love) and because she is in Elf.

I loved how quirky and weird she was on New Girl and how she sang a lot (in the beginning).  She has a wonderful voice (as evidenced in Elf).  I assumed this would be a kind of quirky, retro-feeling Christmas album.

But it isn’t.  It’s not quirky at all.  The instrumentation is incredibly sparse, sometimes shockingly quiet.  Deschanel displays her voice well.  But the whole thing feels kind of stiff and tightly compressed.  It’s pretty but not really inviting.  Occasionally the album gets bigger with M. singing a few backing vocals and even a lead.

Most surprising is that I didn’t  even know the first two songs on the record.  I didn’t expect non-standards.

“Christmas Waltz” is her singing to quiet jazzy guitar.  It’s possible that since I don’t know the song, I feel like it didn’t set up the album well.
“Christmas Day” has her voice heavily echoed with even gentler guitar.  Although near the end of the song, the full backing vocal (all Zooey, I think) helps her out.
“Have Yourself A Merry Little Christmas” is finally a song I know and I feel like she does a great job of it with a smokey delivery.
“I’ll Be Home for Christmas” also works very well, even if it’s kind of weird to have the jazzy acoustic guitar playing on this relatively emotional song.
“Christmas Wish” is a duet it feels incredibly loud compared to the earlier songs.  There’s even drums.  It’s just kind of surprising to hear M.’s voice five songs in.  I wish he had been introduced earlier.
“Sleigh Ride” also works pretty well.  The music is kind of countryish, but the two of them together make it work well.
“Rockin’ Around The Christmas Tree” has piano and electric guitar and backing vocals.  It doesn’t really rock, but at least the guitar is electric.
“Silver Bells” is her on a ukulele and she accompanies herself perfectly.  It’s a bit spare, but the song is quite lovely.
“Baby, It’s Cold Outside” is wonderful for the way it twists the gender roles.  But I feel like the song might be too fast–Zooey in particular seems kind of rushed singing it.
“Blue Christmas” is a song I don’t really like, but her version of just her and the acoustic guitar is very pretty.
“Little Saint Nick” brigs back the ukulele with lots of echo on her voice.  It’s bright and happy.
“The Christmas Song” is too slow and stiff and kind of a sad way to end the record.

This album is fine for a safe Christmas record.  It’s just not that inspired.

[READ: December 13, 2017] “Secondary Memory”

Once again, I have ordered The Short Story Advent Calendar.  This year, there are brief interviews with each author posted on the date of their story.

Hello. Welcome. It’s finally here: Short Story Advent Calendar time.

If you’re reading along at home, now’s the time to start cracking those seals, one by one, and discover some truly brilliant writing inside. Then check back here each morning for an exclusive interview with the author of that day’s story.

(Want to join in? It’s not too late. Order your copy here.)

This year I’m pairing each story with a holiday disc from our personal collection.

Some of the stories in this collection have been pretty dark, so I enjoyed the relative lightness of this one.  “Relative” because although it starts as kind of a funny anthropomorphized laptop story, there’s some interesting things going on underneath the frame.

It takes about a paragraph to reveal that the narrator s a laptop.  Its owner, Vicki is “experiencing a runtime error…in your language she is little uptight.”  They are out and about.  It assumes they are going to the cafe (where the laptop sees its usual and preferred table).  But they walk past the cafe–are they going to the greasy spoon (the laptop would have shown its displeasure by not connecting to the Wi-Fi).  But no.  It’s even worse. (more…)

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SOUNDTRACK: MAYBE THIS CHRISTMAS TOO? (2003).

This second installment of this Nettwerk Christmas series is much darker than the first.  Perhaps this is indicated by the tree being on fire.  In fact, of the three it’s the one I listen to the least, despite the fact that it has a couple of my favorite Christmas songs on it.  The downer songs are labelled [NSFC] Not Safe for Christmas.

RUFUS WAINWRIGHT-“Spotlight on Christmas”  I love this song.  It’s actually quite sad and stands up for poor little rich people at Christmas, but the chorus is so pretty.  And i really love Rufus’ voice.

EISLEY-“The Winter Song”
I’ve never heard of this band outside of this song (they are still active).  The song is terrific and their voices and harmonies are really wonderful.

AVRIL LAVIGNRE & CHANTAL KREVIAZUK-“O Holy Night”
This version of the song has stuck with me for years.  I simply cannot decide if Avril has the most pure and unmodified voice when singing his song or if she is just totally flat (which I don’t think she is).  I find her delivery is haunting in a very strange way.  Krevizauk, on the other hand has and absolutely incredible voice and her parts are amazing.

RILO KILEY-“Xmas Cake” [NSFC]
This is the first of many depressing songs.  Five and a half minutes of bad news and sad tidings.  Good grief.  The melody is nice and maybe in another context it would be powerful, but holy crap, no one want to hear this at Christmas.

DAMIEN RICE & LISA HANNIGAN-“Silent Night” [NSFC]
This is a really dark song that turns Silent Night from a song of hope to one of despair.

GUSTER-“Donde Esta Santa Claus?”
This is perhaps my favorite Christmas song, ever.  It’s fun and lighthearted and super catchy.  I can’t believe it is wedged in between these really dark songs that I always skip.

THE BE GOOD TANYAS-“Rudy” [NSFC]
This is a sweet, catchy song until you hear the words and that its about a red-nosed wino who dies.  Good grief.

DAVE MATTHEWS BAND-“Christmas Song” [NSFC]
This song has a pretty decent melody but Matthews sings it really quietly and, man, it just never goes anywhere. It’s five and a half minutes long and has no energy.  Gah.

OH SUSANNA-“Go Tell It on the Mountain”
I always forget that this is a Christmas song, but it certainly is.  It’s full of gospel tinges, as it should be.  Apparently new lyrics have been added but I don’t know all the words so it was news to me.

BARENAKED LADIES-“Green Christmas”
BNL has recorded three versions of this song.  It was written for the 2000 film How the Grinch Stole Christmas and appeared on the soundtrack.  It also appears on Barenaked for the Holidays.  Each of those versions is different and they both differ from this one.  It’s a bit of a downer but only as much as BNL can be downers.

MARTINA SORBARA-“It’s the Most Wonderful Time of the Year” [NSFC]
Never has anything wonderful felt so sad and mopey.  This bluesy version is kind of interesting but man is it ever at odds with the meaning of the song.

BADLY DRAWN BOY-“Donna & Blitzen”
This is another terrific song.  Its got a  great melody, some terrific piano and a super catchy chorus.  Its not exactly Christmas although it sort of is and certainly works for the Christmas season

THE FLAMING LIPS-“White Chritsmas” [NSFC]
Despite my love for the Lips I really don’t like this version of the song at all.  It’s subtitled that it is a demo for Tom Waits which might explain why it is sung in such a crazy way, but Waits would do it so much better.  He just sounds mocking all the way through.

SIXPENCE NONE THE RICHER-“It Came Upon A Midnight Clear”
This band used to be pretty huge back in the day.  This song is very pretty–played on a kind of Spanish-sounding guitar with some neat and kind of spooky keys playing single notes at the end of each verse.  It’s a really cool version and ends the disc on a good note.

[READ: December 12, 2017] “Kings”

Once again, I have ordered The Short Story Advent Calendar.  This year, there are brief interviews with each author posted on the date of their story.

Hello. Welcome. It’s finally here: Short Story Advent Calendar time.

If you’re reading along at home, now’s the time to start cracking those seals, one by one, and discover some truly brilliant writing inside. Then check back here each morning for an exclusive interview with the author of that day’s story.

(Want to join in? It’s not too late. Order your copy here.)

This year I’m pairing each story with a holiday disc from our personal collection

This is a story about D.H. Lawrence and his life in Kandy, Ceylon in 1922.  I don’t know anything about Lawrence, so I assume this is all based on research.  As with most fictionalizations of real people’s lives, I don’t get why it was written.  But it was quite interesting and enjoyable, so maybe that’s why.

He and his German wife had exiled themselves from England immediately after the war.  They met an American, Brewster, who invited them to Kandy, nicknamed Little England.  But it was a sad trick, that name, for it was all jungle.  Lawrence suffered from tuberculosis and the jungle heat did not help. (more…)

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SOUNDTRACK: RHEOSTATICS-Fall Nationals, Night 8 of 10, The Horseshoe Tavern, Toronto (November 18, 2004).

The Rheostatics, live at the Legendary Horseshoe Tavern in Toronto, November 18, 2004. This was the 8th night of their 10 night Fall Nationals run at the Horseshoe.  Featuring a crazy 17 minute medley followed by Neil Young’s Powderfinger.

Kevin Hearn played keyboards for much of the show and they played a number of songs from the Group of 7 disc and Harmelodia.  The show ran for 2 and a half hours.  There’s only one recording of this show, and it sounds great.

The show opens some what mellow-ish with “Digital Beach.”  It’s a pretty version of this unexpected song and it’s followed by an awesome “Boxcar Song” with Kevin Hearn on keys.

“P.I.N.” sounds lovely.  Midway through, you can hear bongos playing and Martin sings “I’m in the snow / playing bongos.”  He’s quite growly through the song.  After the song, you hear people shouting: “Come on let Martin sing!” Dave: “I think he is for hire, sir.”  Mike: “But only as a mohel.”

Kevin Hearn is on the organ for “It’s Easy To Be With You” and he sings on “Yellow Days Under A Lemon Sun.”  Actually everyone seems to take a verse on this song (but I think they’re making them up as they go along).  At the end, Tim says, “We started off with no keyboard players and now we have two.”

Mike asks if he can get more of Kevin’s sampler?  Dave: “Careful what you wish for–he’s got some Buddy Hackett in there.”

It’s followed by three more from Harmelodia: a sweet “Loving Arms,” a fun “Home Again” and a romping “I Am Drumstein.”  Tim says he is disappointed because he missed a perfect bongo opportunity in that last song.

After an introduction of Chris Stringer on “the organ and effects and other stuff,” they move toward 2067 with “Marginalized.”  There’s a sweeping, trippy keyboard solo in the middle.  And then some guys start shouting “Whale Music” and other things.  Dave says “Loud guy crowd.  Every Fall Nationals there’s a loud guy crowd.”

Introducing “The Tarleks” Dave says, “Dr. Johnny fever was here last night in the flesh, it was rather exciting.”  (Did they really not mention Howard Hessman the night before?).

Over the entire run there’s been constant requests for monitor sound level changes, especially by Mike.  Mike says he could use less of Martin’s vocal (groans from the audience) and says he can’t hear Martin’s guitar.  Martin asks if his guitar sounds okay out front.  There is much applause.  Mike: “you’re just fishing for a compliment.”

Before “Pornography,” someone asks where the bongos are.  They are put to good use in the song.  After saying how proud they are of the new album the  opening of  “Shack In The Cornfields” sounds a little off.  But it is quickly righted and off they go.  The song ends with what sounds like a skipping record and very quiet percussion playing as the s song slowly segues into “Try To Praise This Mutilated World.”  Martin says, “I like that song.  Dave wrote it.  We’re the Rheosatics.  Are you having a good night?”  Someone shouts something and Martin snarks: “You wanna hear our older, funnier stuff?”

They go old, but stay mellow.  Tim is “gonna serenade you with a song.”  “All the Same Eyes” is one “we don’t do anymore.  And now one we just started doing, ‘Here Comes the Image.'”  Tim introduces it by saying “This is a lesson for all you drummers out there.  Never be late for a rehearsal or you will be banish-ed to the keyboard.  Because everyone else wants to play those drums, including me and Dave.  This next song takes place in 2067, so best of luck to you all.”  It’s followed by another mellow song “Who Is Than Man, And Why Is He Laughing?” with Jen Foster on accordion.  After the song, Dave says, “I don’t know if I was dying back there or if someone is cooking but I smelled pancakes.  Kevin, you got a griddle back there?”  Mike also says, “Shameless plug.  Jennifer has her CD for sale at the merch booth.”  Tim: “It’s called Shameless Plug.”

Dave notes that they are “just entering the ‘shang’ part of the evening, folks.”  Whatever that means, the first song is a rollicking “Stolen Car.”  It feels a bit shambolic, but never out of control.  There’s some cool keyboard sound effects during the middle jam.  There’s a pretty “Little Bird, Little Bird”and then a powerful “California Dreamline.”  It segues somewhat oddly into a grooving “Horses” (the only time they’ll play the song during the nine nights).   Kevin gets a wild keyboard solo in the middle of the song.

Dave says there are here the next two nights and the Loud Guy says “we’re coming tomorrow.”  Dave: “Thanks for the warning.”  Dave seems a bit tired of the bozos.  But he does seem to like the fans up front: “You guys have great looking twin shirts there.  I can’t read what’s on the second bus though.  Nowhere and Boredom.”   Mike says he’d choose Nowhere over Boredom, but Dave’s not so sure.  “Boredom gives you something to work with.”

Tim says, “Bear with us while we do this song for our friend Ron Koop.  He is having a hard time right now and hopefully he draws something from this.”  It’s a lovely version of “Making Progress” which is followed by an upbeat and rather silly “Monkeybird.”

And then comes the above mentioned 17 minute medley.  I’m glad Darrin wrote all the songs down, because it’s hard to keep track:

The Horseshoe Medley (The Pooby Song / The Hockey Song / Devil Town / The Ballad Of Wendel Clark Part II / Bees / Folsom Prison Blues / Ring Of Fire / Old Vancouver Town / War Pigs / Human Highway / Rockaway Beach / Walk On The Wild Side / So Long Farewell / Who Stole The Kishka / Let’s Go Skiing In The Morning).

It begins with Dave playing the acoustic guitar and singing “The Pooby Song.”  “Take one, Kevin” and Kevin gets a simplistic guitar solo.  Dave shouts “take it to C” and they start Stompin’ Tom’s “Hockey Song.”  After the “second period” Dave notes: “last game of the lock out season that didn’t exist.  Doesn’t matter, we got enough hockey stored up in our heads that we’re skating all the time anyway.”  The songs ends, but that isn’t the key from the first tune, we gotta go back to the first tune.  Tim: “Take it to B flat.  I love B flat.  Now, back to D.  You got any chords you like?”  Kevin starts singing Daniel Johnston’s “Devil Town.”  Up to E sharp (or F, whatever you want to call it).  Back down to D take it to C.  They start “Wendel.”  Kevin’s got one.  “‘There are bees, there are bees, everywhere’  you know this one, right?”  Tim: “Does this take place in the devilish town?”  Take it to C, for Dave to sing Johnny Cash’s “Folsom Prison Blues” then Kevin switches it to “Ring of Fire.”  Tim picks up with Stompin’ Tom’s “Bridge Came Tumbling Down.”  Kevin resumes with a hilariously upbeat and folksy “War Pigs” with Martin doing some suitably metal guitars sounds.  They even try to do the heavy staccato part before resuming the bluesy part.  “Go to G.”  Dave sings Neil Young’s “Human Highway” but messes it all up, “Okay, never mind go back to E again.”  Tim: “Take it up to A” for “Rockaway Beach.”  Then it’s Kevin with an amusingly upbeat take on “Walk on the Wild Side.”  Mike jumps in with a goofy stab at “So Long, Farewell” and then Dave takes over with “Who Stole the Kishka.”  Tim is yelling “someone call the motherfucking cops.”  The medley should end there but someone keeps it going “a two-step nightmare.”  Dave sings Frankie Yankovic’s “Let’s Go Skiing” while about three other songs go simultaneous.  Someone chants “four more years” and then Dave starts “Powderfinger” in the medley.  He kind of screws it up and as it fades, Martin asks, “What’s the next verse?”  “Something about hunting” and then Martin takes it over for real. He knows some of the words, and they kind of salvage it.”

At the end Dave even says “Thanks, I think.”

But after 8 days in a row, you’re allowed a bit of a fun meltdown.

As they walk off, Martin asks, “Hey Dave what’s a kishka? A sausage type thing?”  A fans shouts, “a small donut.”  Dave: “It’s not a small donut.  But that’s funnier.”  It’s a great and funny end to a wild show.

[READ: July 11, 2017] Real Friends

I’ve enjoyed Shannon Hale a lot recently, so I was pretty happy to read a new book by her.  Sarah had told me that it was a really excellent portrayal of girl friendship in grammar school.  It is also biographical and makes me think that it’s pretty amazing that Hale made it through to high school at all.

The book is divided into sections with friends’ names, and each of these sections is basically how she met these friends.

Shannon was the middle child between a pair of older girls and a pair of younger siblings.  She was kind of alone and was very clingy to her mom.  But on her first day of kindergarten, despite being nervous and sad, she made friends with Adrienne.

They were soon inseparable.  Shannon made up games for them in which they fought off bad guys (boys who just seemed to want them in whatever capacity a five year-old girls thinks boys might want them).  I love that their game was utterly feminist and yet they were portraying Dallas Cowboy Cheerleaders because that’s who was popular and everyone wanted to be one.  And yet these cheerleaders had pet saber toothed tigers and sharks and they beat up ghastly boys. (more…)

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SOUNDTRACKRHEOSTATICS-Fall Nationals, Night 6 of 10, The Horseshoe Tavern, Toronto (November 16, 2004).

The Rheostatics, live at the Legendary Horseshoe Tavern in Toronto, November 14, 2004. This was the 6th night of their 10 night Fall Nationals run at the Horseshoe.  It was a free night and they still played for over 2 hours.

Two versions are available – Mark Sloggett’s soundboard recording and 8 track files provided by Steve Clarkson once again the Clarkson download is crisper and louder but with more crowd noise.

Not a lot of unusual stuff happens in this show.  “P.I.N.” is perfect.  On “Mumbletypeg,” Dave plays a new opening with some sliding notes. It’s a nice changeup, but it seems to mess up Tim–although he falls into place pretty easily.  After the song, Martin notes: “one guitar down, four to go.  Good thing we have a reserve.”  Then he introduces “this next song we’re gonna do is called “Marginalized” by Tim Vesely.”  Dave says,”And we have Chris Stringer on keyboards for the duration.”  Mike: “He’s on everything, it just looks like keyboards.  He’s just as equally on Jews harp.”  Dave: “And very close to being on drums tonight.”

Once again, Martin really into “The Tarleks” especially the loud ending part.  Then he says “More songs about invasions,” as they play “Aliens (Christmas 1988).”  In the quiet part Dave starts singing “Artenings Made of Gold” and then Kevin Hearn comes up on stage to sing “Monkeybird.”  There’s some wild noises and guitar nonsense in the middle.  And as “Monkeybird,” ends as Dave is introducing Kevin Hearn, Martin finishes up “Aliens” right where the song left off.

In the second version, you can hear a request–a big shout “Shaved Head” and a smaller shout for “Record Body Count.”

Dave says “Try To Praise This Ordinary World” which “features a poem by Ken Babstock.”  There’s no accordion this night and once again, you can’t hear the poem n version 2.  Then a surprise of “The Midnight Ride Of Red Dog Ray” which features Chris Stringer on the mandolin with a nice solo mid-song.
Time says “Here Comes The Image” is a song from 2067.  The year.” There seems to be a little trouble with the keyboard at first but it comes back and there’s a lovely solo.

Dave says “here’s a plaintive reading of ‘My First Rock Concert.'”  he also ups the line to “Michael Stipe was distant, he was nice (he wouldn’t let me touch his dog).”  Then he commends: “totally a Saturday night crowd on a Tuesday.  That’s was the Argos going to the Grey Cup will do to a Toronto crowd, I tell ya.”

Whether you listen to our new album in the comfort of your own home or a car or … a boat.”  Tim: “the comfort of your own boat.”  “For those of us who have boats.”   This is the first song you’d hear.  Tim says canoes the best boat.  Dave: “I don’t t know if it’s safe to have a portable CD player in a canoe or kayak.  Tim: “I took my canoe to Hot Rod Jimmy’s and had it decked out.  The subs are so… the ripples are just you don’t want to be camping next to me.”  The first song on that album is “Shack In The Cornfields,”  During the middle Dave says, “Stringer, stop stealing my tambourine or Jews harp.”  Mike: “Crank it” (Jews harp solo).  “Little Bird, Little Bird” has some slide guitar on it and “Pornography” is short and sweet.

Dave says “‘Loving Arms’ was sung by Sarah Harmer on the album and then she went on to be a big star.  So we take full credit for her career.  How many people were here for Jessie Harris and Justin Rutledge?  Thanks for donations tonight for Tim’s childrens’ and my son’s school Alpha Alternative Public School.  Mike: “Martin and I’s unborn children get nothing.”

“Saskatchewan” “reprising his starring role in Green Sprouts Music Week 1980 something: Justin Rutledge.” Justin: “It’s my first time playing the Shoe it’s very cool.”  He sings it with a nice drawl although the song is incredibly slow.

“Dope Fiends And Boozehounds” has a middle section of “Alomar” after which Tim says “wow, I think the sun shone for a minute there.”  After Martin sings “dark side of the moon,” the audience does the howling for him.”  Towards the end, Martin starts playing a lovely “Song of Flight.”

Dave says, “we don’t want to keep you out too late.  It’s a Tuesday night.  We all have cartoons to watch in the morning.”  And then they play almost 30 more minutes of music.

“Making Progress” opens with spooky trippy keys to open.  It’s followed by a really harsh and aggressive “Feed Yourself.”  There’s a long solo section with some spooky keyboards and them Mike says “play the big thing, frighten us, make it do scary shit.”  And there’s this huge build up.  “This is gonna be good. Wait for it.”  Martin:  “I hope it doesn’t blow up.”  Someone jokes: “Can you do any Tragically Hip on that thing.”  But there’s no pay off to whatever was happening.

During the encore break you can hear someone enunciate “Sweet.  Rich.  Beautiful.  Mine.”  But instead, Tim comes out to do “First The Wheel” solo.  Tim says, “personally I’d like to hear “Satan is the Whistler,” Dave if you’re listening.  “When he finishes, he says, “I’d like to welcome back the Toronto cast of Rheostatics.”

Dave mentions “the special guest vocalist night tomorrow with 28 different singers.  And Kevin Hearn & Thin Buckle opening.”  Tim: “That’s definitely worth coming for.  Martin: “Rheo-oke.”  Dave says more like we’re the Blues Brothers band backing up these great people.

Thursday night, Danny Michel is here for a double bill and Mike’s brother John Wojewoda and Bluegrass Nightmare.  Friday night The Imponderables and The Buttless Chaps.

They honor Tim’s request and play a Rocking “Satan Is The Whistler.”  They do it justice and the ending really rocks. The night ends with “Soul Glue.”  Martin still has his robotic voice thing and keeps saying “Soul Glue” as an intro and they play a fun, spirited version of it, with Tim really vamping by the end.

[READ: April 22, 2017] The Time Museum

The story opens with a man traveling through time.  He is with a group of people whom he tells to flee when he sets off the machine.  Cut to 8 months later as the crew is looking for evidence of the man’s success or failure.  They don’t see anything.  Until the man (known as The Earl) appears from behind a rock with a glowing object which he declares “is TIME.”

Then we meet the main character, Delia Bean.  Delia loves science and is a nerd.  The other kids don’t love that so much.  But summer is coming so that’s okay.  And the summer means a trip to Uncle Lydon’s place.  He is the coolest because he is curator of the Earth Time Museum–a place outside of normal time where Earth’s wonders are displayed.

When they get to Uncle Lyndon’s house Delia is in heaven (her brother not so much).  He winds up going to the town pool but Delia does some research in the neighborhood.  While walking round she discovers a (quite frankly adorable) kiwi bird.  It licks her and then runs off.  By the time she catches it (and names him Tammany), it has led her right to the Museum.  The museum is amazing with sights and sounds and smells from the history of the Earth.  And that ‘s when Lyndon reveals a secret.  Yes, he is from Hoboken, but he is actually from the year 5079.  He’s a time traveler. (more…)

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SOUNDTRACK: RHEOSTATICS-Fall Nationals, Night 5 of 10, The Horseshoe Tavern, Toronto (November 15, 2004).

The Rheostatics, live at the Legendary Horseshoe Tavern in Toronto, November 14, 2004. This was the 5th night of their 10 night Fall Nationals run at the Horseshoe.

Most of the shows they played a lot of the same songs, but this one has a lot of unique shows for this Fall Nationals.  About four or five that are only played tonight (and maybe on guest vocalist night).

The show begins with the only instance of “Onilley’s Strange Dream,” a long mellow jamming intro with Tim playing bass and Dave strumming while Martin plays some melodies and then begins the song properly.  Its slow and quite pretty and it’s nice to hear.  It’s followed by the crazy squealing guitar melody intro of “When Winter Come.”  Martin has to play the whole intro three times as it seems like they’re messing with him.  Mike says “that’s a big matzo ball hanging out there.”  The band sounds great playing this (although lyrics are certainly messed up).  Martin: “That was a memory test.”  Dave: “Indeed, a middling grade.”  Then Mike jokes: “That’s a nice shirt, Martin, did you and Selina go shopping at the same time?”  You can hear them talking about Valu Village “There’s an umlaut over the U at the one in Yorkville.”

Then they play the only version of “Superdifficult.”  It sounds great because Tim is certainly reliable.  As evidenced by the greatness of “Marginalized,” too.  “Polar Bears and Trees” is rocking and fun.  And then he introduces the opening track from our new album, “Shack in the Cornfields.”  As with many of these longer songs, each night’s show makes the song sound even better.

Even though I tend to like the sound quality of the Clarkson download, you can hear a lot of chatter in the background during the quiet parts.  You also can’t hear the poem during “Try To Praise This Mutilated World.”

For “Pornography,” Dave plays a different opening, which is nice.  And Chris Stringer is on the tambourine.  Dave says that Chris should take a solo next time.  On the tambourine?  No the guitar.   There’s some strange whooping in the crowd and Mike acknowledges the “pack of bonobo monkeys.”  Then comes
“Who Is This Man, And Why Is He Laughing?” written by “Michael Alexander Wojewoda “a direct descendant of Czar Nicolas” and Jennifer Eveline Foster on the accordion.  The song sounds wonderful with the accordion.  You can hear Mike talking in Polish.  It’s followed by the mellow “Here Comes The Image” with two keyboard solos full of synth trippiness.

For “Power Ballad For Ozzy Osbourne” they are going to play the intro this time.  They sing it–Dave says he hasn’t sung it in so long.  “I think you sing it higher.”  They futz their way through it and then get to the main song.

Dave starts talking to the crowd after the song: “No I haven’t smoked weed in a long time.  A little bit of hash every now and again.”  Mike: “It’s like your shift from beer to Fine Scotch.”  Dave: “But formerly lots of dope.”  The crowd goes crazy.  Dave: “oh, you like me, now.”

You can really hear the lyrics on “In This Town,” which gets two plays during the series, as does Christopher.  You can hear Martin say “we haven’t played Christopher.”  So they do.  It’s kind of slow but Martin is really into it and  he plays a cool echo-filled solo.

After yesterday’s karate discussion, there is no trouble during “Little Bird, Little Bird” and only one hoo and one ha.  But the song is surprisingly intense for such a mellow piece.  Dave thanks everyone for coming out on a Monday night.  He talks merch an Martin gets mad because he sang the song with Dave’s book title, but he forgot to plug it.  Dave says from now on he could sing “On a cold road {by Dave Bidini} somewhere in the south of Ontario.”  Someone in the audience shouts, “Dave, your books are great.” Dave: “Thank you, ma’am, should not everybody have a copy?”  Mike: “Shameless.”  Martin: “I read your new book too.  It was way more ambitious than I thought.  You said it was just teaching kids how to play music.”  Dave says he just pulled it out of his ass.  Mike: “you just pulled that out of your ass?  You’ve got a great ass!”  Dave: “All the girls in Vancouver wanted to touch my bum.  I wanted to ask Claudia if that was a trend.  The band starts playing a jazzy riff: “Merch music!”  It’s not like its going to be half off on Friday or Saturday because we want to get rid of it,  It’s already half off.  You know that place in Yorkville, Value Village with the umlaut over the u?  It’s way better than that.

They finally get to “Fat” which has a lot so synth in the intro with staticky washes.

They leave for an encore break that’s about 2 and a half minutes of Martin’s guitar echoing.

When they come back Dave plays Memorial Day.  Dave says they’re going to do a Rheostatics song from a long time ago that he was thinking about.  We have people from America and we’ll play this for our American visitors.  Someone shouts “Kill George Bush.”  “Me?  I’m not the man for that job.”

You hear people shouting requests.  Dave says, “You’re not just reading song titles off the CDs over there?”  The guy retorts, “Don’t make me say ‘Claire.'”

Then comes the only “Shaved Head” of the run.  It’s suitably slow and intense.   The slow twinkling guitar at the end segues perfectly into “One More Colour” which totally rocks.  There’s no coda ending on it, it’s just done and so are they.

The End.

[READ: April 14, 2017] Decelerate Blue

The only other story I know from Adam Rapp was a violent one called Ball Peen Hammer.  The art in that story was really dark and violent.

This book is very different from that one.  There’s a different artist first of all–Mike Cavallaro whose style is great: really sharp black and white images with a lot of expression in the faces.  But the story is very different as well, and I thought it was great.

Set in the not too distant future when speed is everything.  People read abridged versions of stories, they sleep standing up (it’s more efficient) and they say “Go” at the end of their sentences.

The story starts out with people putting go on the end of their sentences, which is puzzling.  But it really works–it lets people know that you are done talking and it is their turn to speak. (more…)

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SOUNDTRACK: RHEOSTATICS-Fall Nationals, Night 2 of 10, The Horseshoe Tavern, Toronto (November 12, 2004).

The Rheostatics, live at the Legendary Horseshoe Tavern in Toronto, November 12, 2004. This was the 2nd night of their 10 night Fall Nationals run at the Horseshoe.  This show was exactly 13 years ago!

I compared all of the setlists from the nine shows and was somewhat surprised to see just how much repeating they did. Most of the repeated songs are new ones–they played a lot from 2067, which makes sense.  But for a Fall Nationals, there’s really not a lot of “popular” or “rare” stuff.  But the band is in terrific form for all nine shows and the recordings are consistently great.

They open intensely with “Christopher.”  It’s a great version and Martin is in very good voice.  Similarly, “King Of The Past” sounds terrific.  Once again, “Pornography” opens a lot like “Bread, Meat peas and Rice,” but the backing vocals sound great .  At the end, Dave notes: “a bit of folk disco there for ya.”

Introducing “The Tarleks,” Dave says it’s “from our new album called 2067.  It’s the year of Martin’s 100th birthday and Canada’s bicentennial and the year we get a hit single.  We’re having a party and you’re all invited.  Martin: “Unfortunately so are these guys, the Tarleks.”  The song is perfect and segues right into “Marginalized” which is also great.  The whole band is in great form and I love the guitar sounds as it segues to the chorus.

“Power Ballad For Ozzy Osbourne” is slow and fine.  And Dave says, “and you doing the super tokes you are…. from the country.  Tim: “Mmm smells good. Smells like grade 12 math class.”  MPW:  Shop class.  Dave: Back in the 70s they let you do that sort of thing …80s.  Tim, snapping fingers: “It’s cool.  Foosball is like soccer crossed with shishkabobs.”

“Fish Tailin'” rocks and then comes “Me and Stupid,” which hasn’t been played in a while.  Tim plays the riff and sings “Dave is tuning, tuning his guitar, Dave is learning how to use a tuner on his guitar.”  Dave starts the song and after the first verse he stops the song “I gotta re tune.”  Tim: “He’s just leaning.”  MPW: “That’s okay my hands hurt a little.”

“PIN” and “Mumbletypeg” sound terrific and mid song Dave says, “We’re the Rheostatics were from Etobicoke, it’s west of here.”

Dave: “We’re gonna take it down a bit.”  Tim: “We’re gonna take it down but its gonna become very heavy” with “Here Comes the Image.”  While waiting Tim pays the bass riff to “Tom Sawyer.”   Tomorrow at 2 o’clock we’ll be at Sam the Record Man.”

“Shack In The Cornfields” sounds quite different with Dave’s bass backing vocals.  It takes a while for the song to start really rocking but once it does it’s so much fun.  I like the chorus of “Try To Praise This Mutilated World” more and more.  I’m assuming by now that the spoken part is prerecorded.

“In This Town” starts quietly but martin sings a big growly ending.  “Dope Fiends and Boozehounds” slows down in the middle with a drum solo and a clapping solo.  After the solo, Selina Martin comes out and sings the end with Martin.

Martin: “Dave Alexander Herschel Bidini wrote that in 1972.”
Dave: “Hell of a year.  What with Ian Sunter’s field goal and everything.   This refers to the 60th Grey Cup in which Hamilton ran the clock down while getting close enough for Ian Sunter to kick a 34-yard field goal on the last play of the game to win.]

Tim plays a great “Bad Time To Be Poor” and Dave says “We will conclude with a song from 2067.”
Someone in the audience shouts: “what do you mean conclude?”
Dave: “what do you think I mean?  We’re fucking right off after this one.  The limo is idling, baby.”
Tim: “conclude the first set.”
Martin: “it’s really just a smoke break for me.”
Dave: “oh we got rail and hoo-ers waiting, don’t worry.”

“Making Progress” is lovely as always.  “Feed Yourself” starts off a little rocky but it sounds great.  Dave gets a little crazy with the “inside his head” bit at the end (and someone is manipulating his voice to echo and process in one way or another, which is cool).

After a quick encore break, they’re back with a Dave song while Martin smokes.  In “My First Rock Concert” he changes The Ramones to Johnny Winter for some reason.

Someone keeps shouting “Saskatchewan” and you can hear a rhythm guitar playing the melody.  Mike says this ones for the greasy wheel, but then the guitar switches to “Self Serve Gas Station” and Mike says “make up your mind I’m trying to decide which way to adjust the chair.”

Before “Desert Island Discs,” Martin notes: “We stayed in the same hotel as Van Halen a week ago.  (Those hookers in the lobby were not for us).

Desert Island Discs is sloppy and fun with people picking these discs:

Dave: Ramones-Rocket to Russia; Cars-Cars; PiL-Metal Box.
Tim: Bob Marley-Survival; Tom Waits-Closing Time (huge cheer); Pavement-Crooked Rain, Crooked Rain.
MPW: It’s his first time.  He says it’s like ordering last in a restaurant.  Anything by Gino Vanelli; Music for a Large Ensemble; Steve Reich (Tim: try to follow the groove) Metal Machine Music-Lou Reed.
Martin: my first record is (plays “Tom Sawyer”); Second Mary Margaret O’Hara-Miss America; Third uh… uh… uh… uh…  Mood Music for Beer and Pretzels
audience members
first one has a hard time: Led Zeppelin, Martin Teilli-Operation Infinite Joy; Rheostatics, of course.
second one: Weakerthans-Left and Leaving; The Beatles-Rubber Soul  and… [Dave: you don;t want to hear the E minor chord] Weezer-Weezer.
As they wrap up the song Mike keeps going after the final chord.  They bust his chops and say he is in the legion hall trance.

The set ends with a great “Legal Age Life At Variety Store.”

They take an encore break and Martin comes back out with  a ‘suede banana’ jacket “Very Century 21–he sold the most houses in the band.”

For the encore, they play “Rain, Rain, Rain” and Martin introduces “Mister Dave Bidini on lead” (it’s sloppy but fun).

This show runs about 2 and a half hours and it sounds great.

[READ: April 6, 2017] Star Scouts

Boy I loved this book.  I loved everything about it, from the understated to the perfectly stated.

The book opens with an alien creature getting yelled at.  Her name is, humorously, Mabel.  Mabel is scanning planets to collect a new species.  It turns out that she is doing this for a badge for scouts.  She selects a newt.  But she accidentally switches from Newt to New Kid (an amusing joke if not a little strange) and the teleportation begins.

The New Kid is Avani.  Avani speaks Hindi (which in itself is pretty awesome).  She and her dad (there is no mention of a mom) have just moved to a new place.  Avani has no friends.  She thinks everyone thinks she’s weird.  Even though she feels like an outsider she is also keeping people away, determined to feel sorry for herself.

The only social activity she has is Flower Scouts. Back home he Scouts were awesome, but here they just talk about make up and boys.  When Avani tries to talk about rodeos, the other kids laugh at her.  And they are equally horrified when she doesn’t swoon over Chaz Wunderlip the boy band sensation.  She would like nothing more than to get out of Scouts but her dad won’t let her quit. (more…)

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SOUNDTRACK: NATALIA LAFOURCADE-Tiny Desk Concert #662 (October 27, 2017).

I’d never heard of Natalia Lafourcade , so here’s what the blurb says:

Natalia Lafourcade is a successful singer-songwriter whose voice and music live on the edge of pop, but maintain a distinct independence.

A few years ago, while Lafourcade was traveling Brazil, she felt a great nostalgia for her native Mexico and its folk music. When she finally returned home, she immediately called some friends for the kind of party that is ubiquitous in Latin America: lots of social drinking, lots of food and lots of guitars and singing. Classic folk songs were on the playlist and a good time was had by all.

Someone recorded the informal jam session and Lafourcade’s management team heard the tapes. “This is your next record!” they told her.

That record, Musas: Un Homenaje al Folclore Latinoamericano en Manos de los Macorinos, Vol. 1, [Muses: A Tribute to Latin American Folklore in the Hands of the Macorinos, Vol. 1] was a commercial and critical hit, and received a Latin Grammy nomination for Album of the Year. It only made sense for Lafourcade to bring her Musastour to the Tiny Desk. The performances are an ode to a magical time in Mexican popular music, one that is revived with every note this singer and her band perform.

Los Macorinos are Ernesto Anaya (traditional Mexican guitar), Uriel Herrera (drums) and Jorge Molina (double bass).

One important historical note: The two older gentlemen on the video are Juan Carlos Allende (acoustic guitar) and Miguel Peña (electric guitar), two revered musicians who played with the iconic ranchera singer Chavela Vargas.

She plays three songs:

Lafourcade has a lovely delicate voice and brings a lot of joy to these songs.  On “Soledad y el Mar,” her voice and all of the acoustic guitars meld together wonderfully.  There’s also beautiful “traditional” harmonies from the players.

“Mi Tierra Veracruzana” was written for her hometown of Veracruz (five hours from Mexico City).  She says “its full of energy and  the beautiful things that I remember about my little town.”  There’s some delightful little acoustic guitar solo runs in the middle of the song that really spice up this delightful song.  I love that there’s also someone there to give a high-pitched aahhhhhhh ha ha!

“Tú Sí Sabes Quererme” its a love song which means You Know How To Love Me.  There’s much chuckling and then she says, when it happens it happens. She plays a small four string guitar.  After running through the chorus for everyone to sing along: “mas o menos, you have to sing as you were very in love with somebody.”  This song really swings and it’s a lot of fun..

[READ: October 27, 2017] Ghosts

Ghosts is a very different story for Telgemeier.

In the past, her stories have been rather personal–taking events from her own life (I assume).

This story mixes some real events (a sister with cystic fibrosis–this is tangentially related to her own life) and fantastical events–ghosts appearing on Dia de los Muertos.  She does an excellent job of linking the two.  Not only because the sister is facing death, but also because the sister needs a breathing apparatus and the ghosts are also “seeking” breath to come alive for the festivities.

As the book opens, we see Kat and Maya in the back seat of the car.  They are pulling out of [not] In-N-Out Burgers and learning that their new home in Bahiá de la Luna does not have an In-N-Out Burger.  This is pretty upsetting, but Kat realizes that they are moving to save her sisters’ life.  Kat will of course miss everything back home, but Maya needs the cool wet climate (the sun only shine 62 days of the year) of their new home. (more…)

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