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Archive for the ‘Drinking’ Category

SOUNDTRACK: JEALOUS OF THE BIRDS-NONCOMM 2019 Free at Noon (May 15, 2019).

I heard the band name Jealous of the Birds and I instantly formed an opinion of what they sounded like.

And this recording couldn’t be much further from what I imagined.

I assumed they would be bird-like and they are not at all.  This set rocks, it switches genres, it covers a lot of grown, but nothing at all bird-like.

Many artists live by the philosophy of creating the music that they want to exist in the world, but few do it in such a striking way as Jealous of the Birds. Northern Irish songwriter Naomi Hamilton has been making music under the moniker for a few years now, but each song we hear from Jealous of the Birds feels like a fresh new discovery — and anyone who was hearing the band for the first time today undoubtedly felt like they were experiencing something special.

Folks who attended last year’s NonCOMM music meeting may remember hearing a glimpse of the arresting single “Plastic Skeletons.” The song, which is not quite like anything else and not immediately accessible, is congruous with Hamilton breaking out of her local music scene in Northern Ireland and carving out an indescribable genre of her own. Since then, Jealous of the Birds has gone on to release two new EPs, The Moths of What I Want Will Eat Me in My Sleep and Wisdom Teeth, which show the depth and range of Hamilton’s songwriting ability.

Driven by her love of language, Hamilton’s lyrics are intricate and poetic; musically, you can detect influences from Irish folk to psychedelic rock.

With her slicked back hair and laid-back demeanor, Hamilton makes it look easy, but her songs aren’t necessarily easy to listen to — hearing them once will only make you want to listen again and again to try to understand what the artist is getting at.

The first four songs are from their 2016 album Parma Violets.

Powder Junkie is a stomping, stop and start kind of song.  It’s bluesy but stops abruptly after just 2 and a half minutes.  It’s a great introduction to the band.  As is “Trouble in Bohemia,” a slower song with a folk feel. It showcases the softer side of the band, and is also quite short.

“Russian Doll” introduces a much more poppy sound to the band.  The chords are simple, but the highlight the clever lyrics

I took your compliments
I just struggled to believe
That I was worth loving
And you weren’t lying through your teeth
In truth, I’m a Russian doll
My egos shut inside
I painted them by hand
And I’ll never let them die

“Parma Violets” is slower and more acoustic-sounding.  It’s a ballad and a sad one a that:

Oh please
Don’t you swallow
Pills like parma violets
Again

I had to look up to discover that Parma Violets are a British violet-flavoured tablet confectionery manufactured by the Derbyshire company Swizzels Matlow.

The next two songs come from 2019’s Wisdom Teeth EP.  I like them both.  “Marrow” is a folk song, but “Blue Eyes” is a wonderfully weird rocking song.  It feels off-kilter with some unexpected lead guitar riffs at the end of each verse and some funky bass parts.

The final song, “Plastic Skeletons” comes from 2018’s The Moths of What I Want Will Eat Me in My Sleep.  It’s got a cool bass with some nifty guitar line to start the track.  The chorus is kind of staccato and lurching and quite a lot of fun.

These last two songs were my favorite of the set, and I’m glad to see they are the most recent songs. I like the direction they’re going.

[READ: May 15, 2019] “Peep Hall” 

I have read many many stories by Boyle and I like him quite a lot.  I like that he writes about so many different topics from so many different perspectives.  He is even unafraid to be sympathetic to people who don’t seem to deserve it.

It was somewhat unfortunate that I read this story and the previous one by him (written about 19 years apart) on the same day because they were both rather creepy and voyeuristic and sympathetic to people who necessarily don’t deserve it.

The narrator of this story, Hart Simpson, likes his privacy.  His phone is unlisted and the gate on his driveway locks behinds him.  When he sits on his porch, the neighbors can’t see him.  He works as a bartender at the local pub and is quite a visible person, but when it’s time off, he wants to be alone.  I mean, sure he hooks up once in a while, but otherwise he’s alone.

One afternoon, a woman came up his driveway.  She had been talking to his next-door neighbor (not his favorite person) in some kind of heated argument.  Then she came over to his porch. (more…)

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SOUNDTRACK: NEGATIVLAND-Negativland (1980).

Negativland was (is?) a weird “band” who released absurdist sound collages.  Their purpose was culture jamming and they created quite a stor throughout their “career.”    The band was more or less created by David Wills (born 1954) also known as “The Weatherman”.. He was a cable repairman when he joined the group with a then-teenage Mark Hosler (1962) and Richard Lyons (1959-2016) also known as Dick Vaughn, Dick Goodbody, and Pastor Richard Seeland.

Their first record came out in 1980 and had twenty untitled tracks.  The “songs” were mostly sound effects, radio broadcasts and home recordings. There was some original guitar and drum machine, but mostly it is just collage.

About the tracks:

[SIDE 1]

1. You can hear a spoken word news announcer in the background as a guitar line comes in followed by a drum machine.  Then comes a woman (David’s mother, I believe ) reciting “This is Negativland.”

2. A ticking clock with a pretty guitar melody and then increasingly loud table saws (one in each ear)

3. A drum machine with a spoken word announcer.  This blurb comes from a fan on YouTube:

The man speaking, Mitch Werbell, worked for U.S. covert operations. At the time, (late 70s) there was a big problem with urban terrorism in Argentina. They had threatened to kidnap Coca-Cola reps in Buenos Aires. Werbell is explaining (on the ABC TV show 20/20) what he told the terrorists would happen if they tried, when he was hired to go help the executives escape the area.

4. Horns playing single notes.  It abruptly ends with ringing alarms

5. Guitars (electric and acoustic) playing and echoing.  This is the longest track at almost 5 minutes. Lots of spoken words among the trippy sounds and boopers.

6. Drum machines and noises and then after a violin line comes the most famous early phrase from NegativalndL “Seat Be Sate” (Play Black Sabbath at 78).  The “poem” is soon taken over by noise and a looped spoken word.

7. A menacing static noise and very sci-f sound effects couple with a German language instruction tape.

8. Static noises and de-tuned acoustic guitar strumming as someone sings a bit

9 A looping string of interesting sounds–booper, waves of sound and a clip o kids singing and then Don’s family speaking, all looped into a rhythm.  Finally a classroom rule about silent E

10. Drum machine with a whispered singing vocal and a catchy guitar riff with (of course) lots of distorted noises.

The lyrics:

Cara mia, why
Must we say goodbye
Each time we part
My heart wants to die
Darling, hear my prayer
Cara mia fair
Here are my arms
You alone will share

All I want is you
Forever more
To have, to hold
To love, adore
Cara mia mine
Say those words divine
I’ll be your love
Till the end of time

My cara mia
My cara mia
My cara mia

[SIDE 2]

11. French speaking and the an a loop of an older man saying “everything’s going fine, no trouble just get set and get going. Amen.

12. Warbled distorted vocals of a man and woman reciting the Hail Mary.

13. A family scene with people talking over a news broadcast (WCBS news time).  You can hear David saying “It’s not alive, Drew.”

14. Some more kids talking with all kinds of jammer sounds over them.  The final line has a woman saying “Reading the book by the seamen within would be very helpful.”

15.  Blues on an acoustic guitar (pretty well played) although by the end the solo is out of tune and crazy.

16. Boopers and outer space sounds.  Multiple radio broadcasts overlapping including one about a bedpans in hospitals.  And a joke ( I can’t guess the comedian, but he sounds a bit like Bob Goldthwait or Les Claypool, but it obviously isn’t) “I wouldn’t marry you if you were the last man on earth.”  The punchline is obscured then the laughter come in.

17. A slow drum beat and random noises on a guitar

18. A family scene David’s mother talking about the affordability of buying meat by the pound.

19. A low deep siren sound followed by this dire message from the Emergency Broadcast Network: “The office of civil defense has issued the following message “this is an attack warning” this is an attack warning.  An attack warning means an actual attack against this country has been detected.  Then there’s David inviting Everett to a barbecue that afternoon.  It’s followed by some audio from the American Airlines 191 plane crash from 1979.  This segues into a family scene where the dad is telling a joke about cannibals.  A man walked among cannibals with cases of Pepsi.  The cannibals drank the Pepsi and ate the man.  All except his thing.  When they were later asked why they didn’t eat his thing, they sang, “Things go better with Coke.”

20. The final track states, “Now hear how a real parakeet should sound.”  Then a woman says good morning and then a crazy raspy voice repeats here.  The album ends with this oscillator sound that my parents had in the 1970s–a kind of looping really fake bird chirping.  No idea why they had it.

This actual release of this record was accomapnied by all kinds of original magazine clippings and artwork. And the CD came with pins and other cool things.  It’s a weird artifact from the dawn of culture jamming.

[READ: April 20, 2019] “The Glass House”

I decided it would be interesting to go back to the year 2000 and to read all of the New Yorker stories up to the present.  I think as of now I have read through 2005.  By the time I have finished (next year, I’m sure) I’ll have 20 years of stories read.

This story is set during the Civil War.  The main character, Will, has just enlisted.  His brother, Sam, was killed at Bull Run and Will came to take his place.  His Captain was very happy to have him because Sam was a brave and well-liked man.  But Will, as he himself would admit, was neither of those things.

After Sam’s death, the Captain intended to go to Sam’s house personally to pay his regards to their family.  Had Sam’s mother seen the Captain, she would have spit on him.  But before that could happen, Will decided to enlist.  He forged his mother’s signature and didn’t tell anyone when he left. (more…)

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SOUNDTRACK: A-Hi-Fi Serious (2002).

Many bands are hard to search for online.  A may have topped the roster of most unsearchable bands (they were named in 1993 way before Google was even a thought and when they would be at the front of record store racks).  A are also the alphabetically first CD I own.  So my collection literally goes from A to Z

A are a band from Suffolk England.   They formed in 1993, broke up in 2005 and have been sort of reuniting off and on every since.

Their second album A vs. Monkey Kong was well received and this, their third album had a solid single in “Nothing.”  I’m not sure how I heard of them (probably well reviewed in Q magazine back in 2002) so I grabbed this album.  This album comes with a Quicktime video!  When I learned about this band back in 2002, scads of information were not available about them.  So as I was looking them up I learned all kinds of things about them (like that they cite Rush as an influence).  And that this album name comes from the name of the hi-fi electronics store Alan Partridge buys a stereo from in the last episode of I’m Alan Partridge series 1.

This album is pretty punky/grungy.  Lead singer Jason Perry has a distinctive voice with some good power.

There are all kinds of hit-making elements in here.  Big crunching guitars coupled with soaring vocals dominate most of the songs, like “Nothing” and “Pacific Ocean.”   “The Distance” also revels in the grunge punk guitar sound with a totally metal guitar solo

Songs like “Something’s Going On” have a distinctly pop-punk bratty sound.  So does “Starbucks” with the line: “don’t wanna get a job at Starbucks”  The title track also works in this snarky, funny, catchy vein.

“Six O’Clock” mixes some cool electronics in the verses while the chorus is, once again, big and catchy.  “Going Down” has a much smoother sound with anything distinctive coming from his vocal delivery.

“Took It Away” does the quiet/loud verse thing very well.  Some deliberate glitching is a fun surprise too.  While “The Springs” introduces acoustic guitar and lots of oohs–a real flick-your-lighters kind of song.  “W.D.Y.C.A.I.” is also catchy with a sing along (woah oh) bridge and a super poppy chorus.

“Shut Yer Face” sounds like the quintessential grunge song–snarky lyrics, big grungy guitars, and a soaring chorus.  It even has vulgarish lyrics, record scratching and other samples!  And man is it catchy.  If this didn’t crack the States for them, nothing would.

[READ: April 15, 2019] “Djinn”

I was shocked to see that Esquire had published a story by Russell Banks in both March and June of 2000.  I was also shocked to see that a man gets shot in this one as well (that’s four of the first five stories in Esquire in 2000 in which someone is shot).

This is a story of a man who works in Hopewell, New Jersey.  They manufacture and sell women’s and children’s high end rubberized sandals.  The sandals were manufactured in Gbandeh, the second-largest city in the Democratic Republic of Katonga, a recently desocialized West African nation.

One of his jobs was to travel to Gbandeh and make the acquaintance of the local managers with hopes of facilitating communication.  And of course to make sure the Katongans could adapt the the fast paced technology in place. (more…)

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SOUNDTRACK: MAJOR HIT-Robert De Niro at the Tony Awards Remix (2018).

Who is Major Hit?  No idea.

Is this remix very good?  Not really.  It’s only a minute or so.

Is it hilarious?  Yes.

Is it satisfying?  Hell Yes.

Will you listen to it more than once?  Probably not.

But will you feel a little bit better about your taxes after hearing this?  Well, probably not.

Actually, it might make you feel a little better.  And you probably find yourself quoting De Niro, too.

 

[READ: April 4, 2019] The Awakening of My Interest in Advanced Tax

Madras Press publishes limited-edition short stories and novella-length booklets and distributes the proceeds to a growing list of non-profit organizations chosen by our authors. For this particular book, proceeds to benefit Proceeds to benefit Granada House.

Originally appearing at the heart of The Pale King, David Foster Wallace’s posthumous semi-novel, this extended monologue brilliantly rambles its way around the circumstances that brought its narrator out of his ‘wastoid’ childhood and into maturity at the IRS. Along the way, he falls under the spell of a fake Jesuit, considers the true meaning of a soap opera station break, and narrowly escapes a gruesome death on the subway.

This is the final Madras Press book that I had left to read.  Since I has already read The Pale King, I was in no hurry to read this one.  But now it’s nice to say that I’ve finished all of the Madras Press books.  And that I could post this just in time for the massive Republican tax scam in which thanks to trump and his evil puppet mcconnell, my tax return dropped over $3,000.  Bastards.   May they all rot in prison.  And then hell.

Interestingly, back when I read this during Pale Summer (2014), this entire section was one week’s reading.  So my post from that week is still relevant.    It is posted almost in its entirety below:

This book is an excerpt from The Pale King.  In the book, it is almost 100 pages of one person’s testimony.  Without the novel for context, this excerpt stands on its own just fine.  It is basically an unnamed person’s introduction.  This narrator is so detail oriented that everything gets the same amount of importance–snowfall, the way to score drugs, the effects of drugs, Christian roommates, his father’s death, his mother’s lesibianism, oh and taxation.

So much of it is “irrelevant,” that I hate to get bogged down in details.  So this is a basic outline of ideas until the more “important” pieces of information surface.

For the most part, this is all inside one man’s head as he talks about his life in college, after college, and into the Service.  Mostly this is simply a wonderful character study, full of neuroses and problems that many people face at some point (to one degree or another).  The interviewee states that “A good bit of it I don’t remember… from what I understand, I’m supposed to explain how I arrived at this career.”

Initially he was something of a nihilist, whose response to everything was “whatever.”  A common name for this kind of nihilist at the time was wastoid.  He drifted in and out of several colleges over the years, taking abstract psychology classes.  He says that his drifting was typical of family dramas in the 1970s–son is feckless, mother sticks up for son, father squeezes sons shoes, etc. They lived in Chicago, his father was a cost systems supervisor for the City of Chicago. (more…)

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SOUNDTRACKRHEOSTATICS-Le Colisee, Quebec City QC (November 30 1996).

This is the 16th night of the 24 date Canadian Tour opening for The Tragically Hip on their Trouble At The Henhouse Tour. This is the same show that the Double Live version of Saskatchewan was taken from. It is also the show Dave wrote about in On A Cold Road.

The site has recently added a DAT version of the show in conjunction with the existing fan-recorded version (which is quite different and an interesting perspective).

The show opens with a recording of (maybe) a French-language hockey game?  I love how the opening guitars of “Saskatchewan” just start during the cheering.

Obviously this is a great version if they chose it for their live album.

It segues right into “Fat” which opens a little funky.  It runs to about seven minutes with the rocking ending being fun as usual.  “Fat” segues into a quiet and beautiful “Digital Beach” with great guitars from Martin and then, surprisingly into “Claire.”  Martin’s solo sounds very different–single notes played in a unusual (for him) style.  I like the change and it works well for the song.

Dave asks: Whats the shouting?  more shouting.  Martin: WHAT!?  (on the other recording you can hear that some guy is shouting: “Bad. Time. To. Be. Poor.”  The guy then deliberately shouts: “We came here to see you guys.”  Shame it’s not acknowledged).

Dave says, “We’re gonna do four songs in one from our new album, The Blue Hysteria.  Thanks to the whistling bats over there.”

“Four Little Songs” is goofier than usual.  And then Don, ever the salesman says “this next song is the current single from our brand new record which you can buy here at the venue.”  When they do play “Bad Time to Be Poor,” (those guys must have gone nuts), it sounds great.

Dave: “Thanks very much.  Save a bit for The Tragically Hip.  I don’t want you to….”

On “Sweet Rich, Beautiful, Mine,” Martin hits a slight wrong note before the roaring midsection which is kind of shame, but he recovers fine and the rest of the song is spot on.

A lovely “Dope Fiends” ends the show with a cool acoustic guitar and drum middle.  Martin has some fun with the “dark side of the moon” ending growling it somewhat and Dave says “By Pink Floyd.  Side two.”  Just before Martin roars his awesome guitar ending.

The song and show ends with Martin playing and then singing “You Are Very Star.”  It’s a very sweet ending.

[READ: June 2018] Start Without Me

I really enjoyed this story.  It was funny and dark and played with all kinds of twisted family portraits.

As the book opens Adam wakes up in the house he grew up in.  But in the basement.
A young child sizes him up, “Who are you?”
“I’m Adam.  Uncle Adam.”
The boy shakes his head. “My uncle’s Travis.  He lives in Texas.”
“I’m your other uncle.”
“Why are you on the couch?”

Indeed, why is it?  It is Thanksgiving.  One of his siblings or their offspring is in his old room.  They weren’t sure if he would show.

Finally it dawns on the boy, “Are you the uncle who smashed the pinata?”
“Jesus, that’s what you remember?”  Did he actually owe apologies to the kids, too? (more…)

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 SOUNDTRACK: MOUNTAIN MAN-3 songs from Tiny Desk Family Hour (March 12, 2019).

These next few shows were recorded at NPR’s SXSW Showcase.

Mountain Man have been all over NPR the last couple of months.  And here they are again, showing off their beautiful voices in a church.

When Mountain Man began a decade ago, it consisted of three close friends arraying their voices in a resplendent blend, often without so much as an acoustic guitar for adornment. Today, the configuration remains exactly the same, except that all three members — Alexandra Sauser-Monnig, Molly Sarlé and Amelia Meath — have developed strong solo identities along the way. Sauser-Monnig also records wonderful folk-pop songs under the name Daughter of Swords, Molly Sarlé released a magnificent single under her own name earlier this year, and Meath is the singing, dancing half of the transcendent synth-pop powerhouse Sylvan Esso.  So when Mountain Man showed up for a softly joyful set at NPR Music’s Tiny Desk Family Hour — recorded live at Austin’s Central Presbyterian Church during SXSW on Tuesday night — it was almost like seeing four acts at once: three solo, one collective. Choosing a single excerpt was a fool’s errand, so here are three: the breezy a cappella “AGT,” from 2018’s Magic Ship, as well as Mountain Man arrangements of Sarlé’s “Human” and Daughter of Swords’ “Grasses.”

The opening song is a capella.  It is started by Alexandra with first Molly and then Amelia all joining in to make their gorgeous harmonies.  After the first round through the song, they start singing faster and faster.  To a frankly impressively rapid speed by the end.

The second song is by Molly Sarlé.  She says it’s about how “unfortunately easy it is to talk to god like he’s a man.”  Molly sings the main body while gently strumming her guitar.  Amelia and Alexandra provide the lovely backing vocals.   (I love that Amelia seems to be cracking up a lot through the show, but is always pitch perfect).

Alexandra Sauser-Monnig’s Daughter of Swords song “Grasses” is up next.  The guitar is more picked than strummed, but it is still a very quiet, gentle song.  I really like Molly’s voice as a backing vocalist.

They’ll be performing at Newport Folk Festival and I’m intrigued to see them.

[READ: March 18, 2019] “Color and Light”

I assumed that this story is set in Ireland, although there was nothing explicitly stated about the location–except that it is by the water.

The main character Aidan, has an older brother Declan (could be Ireland or just America).  When we first meet them, they are in Declan’s car and he is driving a woman, Pauline.  Pauline is bold and flirtatious.  She is a screenwriter.  Declan doesn’t say much and Aidan is very shy.  So that leaves Pauline to make all of the comments.  She learns that Aidan works in the hotel.  And at one point she stares at him for a couple of minutes while he puzzles out what she’s after.

A few weeks later Pauline comes to the hotel restaurant with an entourage.  Aidan is surprised at how deferential everyone is to her.  She sort of recognizes him at first and when he explains who he is she seems happy to see him.  When she leaves with her crew she invites him along but he refuses.

A few nights later Declan picks up Aidan from work and a drunk Pauline is in the back seat.  She is feistier than usual and asks Aidan all sots of personal questions–like has he ever slept with a guest at the hotel.  Declan yells that she is flirting with him.  And when Aidan turns around to look at her, sprawled on the backseat, Declan punches him.  By the time Declan drops them off, Aidan can’t tell if Declan is mad at him or at her. (more…)

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SOUNDTRACK: RHEOSTATICS-The Horseshoe Tavern Toronto (February 16, 2001).

This was night 3 of 4 of the Horseshoe Tavern’s 53rd Birthday bash. This show was webcasted by a company called virtuecast which was pretty ambitious for 2001. The Chickens opened the show.

They play seven song from the forthcoming Night of the Shooting Stars but otherwise they continue to mix things up a lot.

After a lengthy, effusive intro yesterday, Jeff Cohen is more concise tonight, which is good because this show goes super late.

This show is one of my favorites.  The opening bunch of songs are just phenomenal.

“Fat” absolutely rocks and is a great way to open the show.

Martin is excited to see everyone: “Its hot in here.  What a rock thing to say.”
Tim: “It’s the humidity.  That’s not a rock thing to say.”
Dave: “Yeah but it’s a dry heat.”
Tim: “Dry humidity.” “It’s those damn Chickens they just warm things up way too much.
Don: “It’s like a damn incubator up here.”

Someone shouts for “Californication” and Dave replies that the Red Hot Chili Peppers cover band is down the street.

The second song is an amazing “Sweet, Rich, Beautiful, Mine.”  Martin is totally into it–screaming and wailing vocally and on guitar.  Martin is fully animated on “Soul Glue” as well with fantastic backing vocals.

Someone shouts for “Jessie’s Girl.”  Dave replies, “There’s been a trend in people calling out bad songs asking us to play them.   But it would only make it worse if we played them because you don’t really want to hear them.  Rheos do Rick Springfield would be a very bad thing–a lot of bad energy.”

Two new songs, a ripping “CCYPA” (I’m a member!” and one of the best live versions of “We Went West” that I can recall.  It’s really sharp and alive and Martin’s guitar solo sounds great.

Martin’s a little sloppy with the lyrics of “Northern Wish,” but it’s got great energy.

They haven’t done “When Winter Comes” in a while, but it sounds really good.  The crazy noisy guitar intro is cool and Don says they could send that out to The Chickens.  There’s a great dual guitar solo like Thin Lizzy and Dave sings about “greasepaint on VH1” instead of Video hits.  There’s a wild sloppy ending and lot of jamming.

It’s followed by a tidy “PIN” and then Martin rips through “I Fab Thee.”  It’s funny  that they talk about it being from a children’s album, while Martin loves to throw in that line about masturbating.  Dave says One Yello Rabbit is going to do a stage production of Harmelodia in 2002.

“Here To There To You” is Dave’s sweet acoustic song.  It leads to “Take Me In Your Hands” which Tim says “you might want to burn this next one in a CD.”

They invite Alun Piggins on stage and he sings his song “Heading Out West.”  It has a kind of country feel with gentle harmonica.

Martin says this next song (“Palomar”) takes place in Sowthern California (the same way the Japandroids pronounce Southern).  Dave sasys, “I really love the way you say southern its one of the things I love about you that extra bit of style.”  Martin doesn’t quite hear the difference but then says “English ain’t my first language.”

Dave loves a guy’s shirt which he shows off, but we never hear what it says.  Bummer.  Martin starts whistling the “We Are Very Star” melody so maybe it’s something about that.

“Legal Age Life At Variety Store” is wild and stomping.  Dave from The Chickens comes up and sings “I Wanna Be Sedated” (very well).  Dave introduces him as “Joey Ramone from The Chickens.”

They talk about The County Killers whom they met in 1986 at the Rivoli with Margaret Atwood and Ben Kerr (a Canadian author, broadcaster, musician and perennial candidate, who was most famous as one of Toronto, Ontario’s quirky street performers) on the bill.  They started the musical hockey night and this is the 14th year of music and hocket where bands lace up the skates and play.

Martin says “Satan Is The Whistler” is a funny song. They fly through it–sloppy with the fast parts and the ending which Martin comments as flub flub flub.   Don notes: “we’ve made it our policy to mess up the ending of every song tonight because this is all going to be webcast and we can’t have proper versions floating around.”

“Claire” is beautiful and then Dave says, “we’re gonna leave you with a dance number.”  It hasn’t been a dancing crowd but we hope to turn things around.  “Song Of The Garden” as a rocking ending with that wild guitar nonsense formation.

After the encore, Dave dedicates “Mumbletypeg” to Janet and baby Cecilia (aw, she’s at least 18 now).

The audience shouts for all kinds of songs, but Dave says how about “The Idiot” and it’s a solid version that segues into a strong, intense version of “Shaved Head.”

They start playing house music, but the band comes back after 2 minutes (which must have been a surprise).

Martin: “We’ve got a plan”
Don: “The plan is to keep on rocking until tomorrow.”
Someone: “Unfortunately I’ve been informed it already is tomorrow”
Tim: “That’s right, so see ya later.”  Then he notes: “Burn this one on your CD.”  It’s a rocking “Four Little Songs/PROD/Four Little Songs.”  Dave comments throughout the song: “Meanwhile in France” before Tim’s part and “can’t go wrong …can’t go wrong… unless its Don” (before Don’s part).  After a ripping PROD, they return to “four” with a completely nonsensical rambling jam.  It sounds terrible but fun (Tim: hey this is easy).

They end the night with “Don’t Say Goodnight,” a sweet folk song.  It’s a lovely ending to the night.  And people don’t want to leave, but JC says, “Sorry, it’s really late thanks for coming out an celebrating The Horsehoe.”

It’s an amazing show.

[READ: February 13, 2019] “Split Tooth”

This was a great story from an amazing talent.  I’ve seen her perform live and she is amazing.  But I didn’t know he could write so well.

This story begins with a girl in grade eight growing up in the North.

“It’s pitch black outside.  Dead winter.  We have not seen the sun in weeks.”  The door has frozen shut but “school has not been cancelled: it’s not cold enough outside. It has to be at least minus fifty with the wind chill to merit a day off.”

The cold has scared the blood out of her toes but Kamiit (mukluks) help feet navigate the snow and ice.

School sucks.  She has a cold sore and will likely be called “soresees” until it is gone.  The nicknames are never kind but are strangely amusing like “nibble-a-cock” given to the girl who “gave a blowjob to that hotdog on a dare.” (more…)

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