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Archive for the ‘Beer’ Category

SOUNDTRACK: CAT POWER-Tiny Desk Concert #821 (February 4, 2019).

I remember when Cat Power was a buzz artist who had signed to Matador.  I bought her album in 1996, but I guess it didn’t leave that much of an impression on me.

Since then, she has been a buzz artist for performing and then for not performing and then for performing again.  All the new music of hers that I have heard seems to get slower and softer.

The biggest surprise about the Tiny Desk Concert was how full of smiles she was and yet the blurb makes her sound uncomfortable:

Most artists who play the Tiny Desk are at least a little nervous. Performing in broad daylight in a working office full of staring faces is outside the comfort zones of most people. But Chan Marshall, the unforgettable voice behind Cat Power, seemed especially uneasy when she settled in for her set. Rather than taking center stage, close to the audience, she stepped back and to the side to be closer to her pianist and friend, Erik Paparazzi, for much of the performance. She intermittently steadied herself by resting a hand under her chin while clutching a cup of tea, and she ran through three songs without a break, making her set sound more like a Cat Power medley than a series of distinct songs.

So I don’t know any of the songs she played here and when I first listened I actually assumed she’d only played two songs because the first two blended together.

Regardless, the music was arresting and beautifully orchestrated, with simple piano lines and brushed drums backing a voice that could only be hers.

Opening with “Wanderer,” the title track to Cat Power’s latest album, Marshall sang of restless love and yearning with a nod toward motherhood and her 3-year-old son: “Twist of fate would have me sing at your wedding / With a baby on my mind, now your soul is in between.”

It has a quiet, simple piano melody (from Erik Paparazzi) and a gentle guitar (from Adeline Jasso) that imperceptibly pushes it forward.  After a minute, the brushed drums (from Alianna Kalaba) come in to add a little snap to the song.

“Woman,” another track from Wanderer starts immediately.  She had recorded this song with Lana Del Rey and I recall liking it. This version sounds so much like the previous song that I don’t even recognize the original in it.  The differences between the two songs are that the piano notes have changed a little (but since they repeat all the way through, it’s not hugely noticeable) and the guitar now uses a slide.  Otherwise the beat is I believe unchanged.

She segues right into “The Moon,” from her 2006 album The Greatest.  The only distinction here is that the guitar and drums stop briefly while the newly repeating piano picks up a slightly different melody.  This song sounds so much like the previous one because she sings the word “Moon” so much like the word “Woman” (often given Moon more than one syllable) I couldn’t tell that she was saying something different.

I suppose if I were in the right mood I would have found this mesmerizing and enchanting.  But mostly I just found it rather dull.

[READ: February 5, 2019] Speak

I hadn’t read this novel and, in fact, I wasn’t exactly sure what it was about (although I knew it was intense).  The only reason I picked it up was because I thought it was a First Second publication and I plan to read all of their books.  This was listed in their 2018 publication list, but it ultimately wasn’t published by them, it turns out.

S. knew the book from her work with teens and said she didn’t want to read the graphic novel version.  So I expected a harrowing, potentially unreadable story.

But Anderson has created an excellent and compelling story built around a harrowing incident.  She also doesn’t detail the harrowing incident until later in the story, so by the time we hear about it we are even more sympathetic to Melinda.

I will say that as the story opened (because I didn’t know the timeline), I thought that the kids were being unrealistically mean to her.  I thought she was a new student at the school (it’s her first year in high school) and I couldn’t imagine why people really had it in for her.  It seemed hard to believe.  Especially as we realize pretty quickly that the incident has already happened.

Then it gradually comes out that kids are mad at her for something she did.  It is connected to the incident, but clearly isn’t about the incident because she hasn’t told anyone about it. (more…)

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SOUNDTRACK: SHAKEY GRAVES-Live at Newport Folk Festival (July 28, 2018).

I really only know Shakey Graves (Alejandro Rose-Garcia) from NPR Music.  I enjoyed his Tiny Desk and have thought he’d be a fun folk rocker to see live.  He’s got a raspy voice and is not afraid to go loud as needed.  He says that with this show, he has now played all four stages at Newport.

He’s going to “Kick this off with a waltz that I wrote years ago that has sadly become more relevant every year I’ve played it.  It’s about not listening to people and listening to people at the same time.  What?  How’s that possible?  It’s called ‘Word of Mouth.'”

This song is just him on his guitar with a kick drum and tambourine (not sure if he’s doing the percussion, but I assume he is).  Midway through, he kicks in the distortion for a loud middle section.  The song is long, about 7 minutes, and in the middle, he says, “And if you can’t handle shit here in the United States you better get the fuck out.  That’s terrible advice, honestly.  You gotta stand your ground and hear yourself out.”

The ending feedback segues into “Foot of Your Bed.”  A full band has evidently joined him as there is now a pedal steel guitar, drums, and a harp (?!).  It’s a quiet song which they segue into the much louder “Cops and Robbers.”

“The Perfect Parts” opens with a complex drum part and then a stomping clap-along with a big dah dah dah dah chorus (that he gets everyone to sing along with).

“Big Bad Wolf” opens with some cool guitar sounds before turning into a song that builds nicely.  “Mansion Door” is my favorite song of the set.  It builds wonderfully with Graves’ rough voice totally soaring. It’s followed by “Can’t Wake Up” which he says is about a “sleepy person, oh so sleepy.  No, it’s about changing things that you’re capable of changing even if they bring you distress.”

“Dining Alone” is the theme song of this fake person Garth Nazarth (all of his songs are about this fictional guy).  Garth hates his job, but all he does is fantasize instead of changing any aspect of it.”  Continuing with the downer aspect is “Counting Sheep.”  He says that the whole new album is about suicide “oh my gosh, not that.”  He says he was never suicidal, but he has gotten letters from people who have mentioned some intense feelings.  So he encoded “don’t die” messages throughout the record.  “Counting Sheep” is “a straightforward ‘don’t die’ song.  If you need a hug, come find me, I’ll give you a hug.”

The band leaves after the rocking “Excuses.”  It’s another great song from this show.

The final two songs are solo renditions of “Bully’s Lament” and “Roll the Bones.”  There’s some great rocking guitar on “Roll the Bones.”  I feel like the energy that Graves creates is what really makes his live shows special.  I hope he plays the Festival this year.

SET LIST:

  • “Word Of Mouth”
  • “Foot Of Your Bed”
  • “Cops And Robbers”
  • “The Perfect Parts”
  • “Big Bad Wolf”
  • “Mansion Door”
  • “Dining Alone”
  • “Counting Sheep”
  • “Excuses”
  • “Bully’s Lament”
  • “Roll The Bones”.

[READ: January 19, 2019] “Do Not Stop”

For some reason I thought that Salvator Scibona was an author I really liked and I was puzzled that I didn’t like this story very much.  Then I figured out that Scibona is not who I was thinking of at all, and that the last story I read by him I didn’t really enjoy that much either.

The first sentence sums up the story pretty well: “Okinawa was a fever dream of mosquitoes and Falstaff beer.”

The whole story, which is a Vietnam war story, is also a confusing fever dream that seems endless.

Vollie is getting shitfaced, but the Marine Corp rule was that they couldn’t put Vollie on the plane to deploy if he was too drunk to walk unassisted.  As he leaves the bar he is assaulted by people selling things, and advertising jingles just compound the alcohol in his head. (more…)

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SOUNDTRACK: BAUHAUS-“Bela Lugosi’s Dead” (1979).

This was Bauhaus’ first single–a nine minute ode to being undead.  It’s considered the foundation of Goth music.

“Bela Lugosi’s Dead” starts with noises and feedback–echoing guitar scratches and atmospherics.

After about a minute and a half the simple three note bass line begins–slow and menacing.

Another minute later the vocals begin–Peter Murphy’s low voice reciting the lyrics.

White on white translucent black capes
Back on the rack
Bela Lugosi’s dead
The bats have left the bell tower
The victims have been bled
Red velvet lines the black box
Bela Lugosi’s dead
Undead undead undead

The guitars are primarily high notes as the chords change and for a brief moment in the chorus, the three-note melody goes up in stead of down.

The remainder of the lyrics:

The virginal brides file past his tomb
Strewn with time’s dead flowers
Bereft in deathly bloom
Alone in a darkened room
The count
Bela Lugosi’s dead
Undead undead undead

Around five-minutes the song quiets down to just drums and echoing scratched guitars.  Around seven minutes, Murphy starts wailing “Bela’s undead.”  The last minute or so returns to the beginning with echoed guitars sounds and scratches.

Lo-fi creepiness.

[READ: October 29, 2018] “Uncle Tuggs”

Just in time for Halloween, from the people who brought me The Short Story Advent Calendar and The Ghost Box. comes Ghost Box II.

This is once again a nifty little box (with a magnetic opening and a ribbon) which contains 11 stories for Halloween.  It is lovingly described thusly:

The Ghost Box returns, like a mummy or a batman, to once again make your pupils dilate and the hair on your arms stand straight up—it’s another collection of individually bound scary stories, edited and introduced by comedian and spooky specialist Patton Oswalt.

There is no explicit “order” to these books; however, Patton Oswalt will be reviewing a book a day on his Facebook page.

Much respect to Oswalt, but I will not be following his order.  So there. (more…)

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SOUNDTRACK: RHEOSTATICS “Halloween Eyes” (?).

This song is somewhat legendary among Rheostatics stories.  I’m not really sure when they wrote it (a long time ago).  I’m not even sure if there’s more to it than this verse.  Every time I’ve heard it played it has lasted about a minute.

It’s a simple guitar riff with some quite ridiculous lyrics

Don’t look at me with your Halloween eyes Awhoooo
Don’t hit me with your pumpkin pies Awhoooo
Devil’s got horns, devil’s got a tail–666, gonna fuck you up
Some people say that he got scales—666, you’re a sitting duck
Awhooo Awhoo etc etc.

They play it live from time to time (as recently as 2017) and each time they play it they seem to add to the mythology

“These guys really were stoned when they wrote that.”

Is it scary?  Nope.  Is it safe to add to a party playlist?  Nope.  Is it dumb?  Yup.  Do they know that?  Yup.  Is it fun anyway?  Yup.  Sounds like Halloween to me.

[READ: October 20, 2018] “Gray Matter”

Just in time for Halloween, from the people who brought me The Short Story Advent Calendar and The Ghost Box. comes Ghost Box II.

This is once again a nifty little box (with a magnetic opening and a ribbon) which contains 11 stories for Halloween.  It is lovingly described thusly:

The Ghost Box returns, like a mummy or a batman, to once again make your pupils dilate and the hair on your arms stand straight up—it’s another collection of individually bound scary stories, edited and introduced by comedian and spooky specialist Patton Oswalt.

There is no explicit “order” to these books; however, Patton Oswalt will be reviewing a book a day on his Facebook page.

Much respect to Oswalt, but I will not be following his order.  So there. (more…)

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SOUNDTRACK: BIDINIBAND-The Carleton, Halifax, NS (February 13, 2015).

This is the most current solo show from anybody on the RheostaticsLive webpage.

Bidiniband’s third album came out in 2014 and this show chooses from it pretty heavily.

The show starts (Dave sounds either like he has a bit of a cold or he’s just worn out) with Dave saying “We’re going to start with a song about the cold, because it is.  Fucking snow, eh  Wow.”  “The Grey Wave” has great chord changes in the chorus.  It is a slow folkie song about cold and snow.  I like that he whispers “let’s go” before the buzzy but quiet solo.  The chorus comes out of that fairly rocking (a least for this set).

Dave continues, “I have some news.  Last night I was offered cocaine in the bathroom of the Alehouse.”  (Don, on drums, whispers, “in exchange for what?”).  Dave: “I think the guy just wanted to be my friend.  He was a bit of an asshole.  Cocaine is the one drug I think where when people offer it to you and when you say no, they apologize for having assumed you wanted any.”

Someone else notes: “I like that we’re the rock band from Toronto and we’re the ones shocked by all the drugs everyone is doing.  We were in BC and we were shocked at the big jug of MDMA being passed around.”

“Everyday Superstar” is a rocking, swinging song.  I love that the chorus is “I’m an animal out of control” but it’s kind of slow and mellow and at one point he says “its true.” And there’s this lyric: “When it’s hot, I’m gonna be Bon Scott you be Lita Ford.”  At the end of the song, someone asks, “Does everybody in the house know what bass face is?  You never know when Haddon is going to a picture of you with that face.”  Dave tells a story that Haddon Strong had a subscription to a magazine and it was addressed to Hardon Strong.

Introducing “My First Rock Concert” he says, “this is a song about music.  I bet you think it’s ‘Proud Mary’ but it’s not.  That was done last night.”  He sings it kind of whispering/spoken.   In the middle, Paul plays the riff to “Brown Eyed Girl” while Dave is singing “you’re either a mouse or Steven Page.”

“Take A Wild Ride” is s short song that segues at the same fast tempo into “The List” which is, again, almost spoken.  He throws in some other people who have made the list.  Jian Ghomeshi and Joel Plaskett (he was in Thrush Hermit) and at the end he says, “only kidding about Joel.”

“Big Men Go Fast On The Water” is a great-sounding song–in this version, the guitar riffs between verses sound like Boston.  They played this song last night at “Stolen from a Hockey Card” at the Spats Theater.  Dave was disappointed there were no spats there.  He says, “If I’ve over pattering, just tell me.”

We wrote this song “Bad Really Bad” about the Toronto Maple Leafs.  Three chords and the truth.

“In The Rock Hall” is about the Rock n Roll Hall of Fame in Cleveland from a poem written by Paul Quarrington  Once again he almost whispers, “C’mon Halifax, let’s rock.”   About “Ladies of Montreal,” he says, “I didn’t think there were enough songs in indie rock well, elderly indie rock, independent seniors, about beautiful women… boobs, you know.  It came in a dream.  I had to write it.”  Dave says it is sexist although I don’t exactly know what he’s saying with the French words.

Getting ready to play “The Motherland Part 1,” he asks, “Jerry you brought your flute, did you?  Oh fuck’s sake.  It’s okay. I think I told you last night but we were both pretty hammered.”  “The Fatherland” is “a heavy metal political song…political metal… politometal.”  It totally rocks and at the end Dave says “I don’t understand, the dancing girl left and we’re playing our most uptempo tunes.”  Before they complete the trilogy with “The Motherland Part 2” someone in the band asks, have you got the cocaine?–its pure MDMA.  Don rehashes the story about him throwing up at a party in the closet because of hot knives.  The middle of Part 2 really rocks.

“Last Of The Dead Wrong Things” is quieter for sure but the chorus and backing vocals are great.  Where there’s usually a drum solo there’s a kind of quiet freak out.

He says, “we’re going to do one more” (boo) …well how many more do you deserve?  Seventeen, eh, you have a very inflated view of yourself.”

“We’ll do ‘Fat,’ (a song “by Rheostatics band”), it has similar chord shapes don’t hold that against us.  Did I tell you we were playing this one?”  “Would it matter?” Let’s have a round of applause for Kevin Lacroix on the bass and Don Kerr on the drums.  Paul Linklater on guitar.

“We played with Corb Lund yesterday, from Alberta.  He’s very handsome and very accomplished.  “Really really handsome.”  Kevin: “I made out with him.”  Dave: “I made out with a guy who I thought was Corb but who was really the cleaning guy for the hotel….  Last night on this very stage he intoned, he evoked the name of Washboard Hank Fisher….  You’re not going are you, it’s going to be a good song.”  They have Lots of fun with “The Midnight Ride Of Red Dog Ray”  with over the top backing vocals.  And in the solo, we get Paul Linklater, one more time pickin’ and grinnin.’

Before the next song Dave says, “What are you guys laughing at?  I can see you in the mirror, you know.  This is my favorite club coz I can watch my rock moves, they’re top ranked.”  Don:  “That’s actually Dave’s mirror, he brings it to every club and says that.  It’s embarrassing.”  Dave mentions a famous story (doesn’t know who it’s about) about a heavy metal singer who was hammered and he saw the guy in the mirror and thought he was mocking him.  So he challenged him to a fight.  That’s rock n roll.”

“You got a weak bladder Jerry?  I’ve got a weak bladder, too.  I’ve peed myself twice during this set.”

This is an album by Bidiniband called The Motherland.  It’s a delicious record and I’d like you to buy it.  All of you.  It’s only $10.  Produced in Toronto in a studio  … by professionals.  Trained professional sounds.  Nothing like what you’re hearing tonight.

There’s a great buzzy bass sound on “Desert Island Poem” which is “a funny song about cannibalism.”  Dave gets pretty crazy at the end.

It segues into a wonderful surprise of them playing”Queer.”  And then a terrific version of “I Wanna Go To Yemen” with a fun wild sliding solo.

He wishes everyone a good night and they leave for a few seconds.  “If we take a break we probably won’t play anymore.  But that was break…  We probably should have taken a longer break and milked it more… but we didn’t.”

“Do people who come to lean along the bar are they into the music?”  Kevin: “Those are some of the best people in Halifax…but the creme d la creme starts right here.”

Jerry didn’t find his flute did he?  Dave asks for a hand for the opening act, Communism Music, look them up

The first encore is the hilariously offensive song “Take A Bath Hippie.”   Sample verses:  “This ain’t the 1960s / These are brand new modern times / everyone is equal and everyone is doing fine,”  “Your revolution ended the day Trudeau retired.  A land of Stephen Harper… we got the country we desired.”   He asks, “You guys got hippies out here?  Probably not. You got Buddhists.  That’s just as bad.  They lie around in their robes  eating flowers.  Shaving each other’s heads.  Sacrificing a goat here and there.”

 We’re all getting G&Ts?  Thank you people of the night.  Kevin: “Treating us all equally?  Like my parents.  My parents would bring us all something she wouldn’t bring me a G&T without bringing one to my sister.”  Dave: They were saints.

FYI, tomorrow, there is Hockey Day in Canada–a ton of games on and footage from the concert last night with Theoren Fleury, Rich Aucoin, Buck 65, Miranda Mulholland, and the ever handsome Corb “The Boner” Lund and The Barra MacNeils.  Dave did a short movie about John Brophy, that’s gonna be on.  “Fuck, it’s Saturday… just sit at home and watch hockey.  It’s what we are supposed to do.  If you don’t, Stephen Harper will have your ass.  But I’ll save you because I’m the hockey guardian.  No I’m not, I’m just tired.”

We’ll try to do one last song.  Have we done “Take a Bath Hippie?”  We’ll save it for next time.  I’m trying to not do a typical show closer tune.

Last gig Kevin played with this band he was playing drums.   I guess it didn’t go well because he’s been demoted to bass. (ha ha).  Dave: “You’ve got the best bass player joke about what happened to Gordie Johnson.”  Kevin: “oh no that’s just nasty.”  Dave “You’re right, its for later in the washroom when were doing coke.”

They play a surprising “Stolen Car.”  It’s so weird to hear Dave sing this song (which he wrote)–he whisper sings it (and can’t really hit the notes).  It segues into a folkie
“Legal Age Life -> Do You Wanna Dance -> Legal Age Life” with them singing, “Oh yeah music is fun.  Friends are fun.  Rock n roll is fun.  Sloppy and fun.”  They end with a Johnny Cash line get rhythm when you get the blues.

Who would have guessed that just seven months later Rheostatics would reunite?

[READ: November, December 2017 & January 2018] West End Phoenix

West End Phoenix is a newly created newspaper.  It was inspired by Dave Bidini.

I have loved just about all of the music that Bidini has created (with Rheostatics and Bigdiniband) and I have loved just about all of the books he has written.  So why wouldn’t I love a newspaper created by him?  Well, possibly because it serves a community that I do not live in and have very likely never visited.  That’s right, this is a community newspaper for a community that isn’t even in my country.

And it is terrific.

But why on earth would I want to read it?  Can I really like Bidini that much? (more…)

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SOUNDTRACK: RHEOSTATICS-Fall Nationals, Night 7 of 10, The Horseshoe Tavern, Toronto (November 17, 2004).

The Rheostatics, live at the Legendary Horseshoe Tavern in Toronto, November 14, 2004. This was the 7th night of their 10 night Fall Nationals run at the Horseshoe.

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 rep

 Two versions are available – Mark Sloggett’s soundboard recording and 8 track files provided by Steve Clarkson.  The Sloggett download has 8 minutes of pre show intro music, which I assume is on the PA.  It starts out kind of synthy and cool then turns into piano music then a big horn-filled jazzy song then back to piano as mike starts playing some drums and that’s the official start of “Who Is This Man, And Why Is He Laughing?” even with the PA music still playing.   Despite this being guest vocalist night, this song is instrumental with accordion and clearly spoken Polish.

Martin says they’re not supposed to sing tonight so they’ll do an instrumental version of “Four Little songs.”  No one sings their verse, but Chris String on keyboards plays a lengthy sample: you gave this to, me but you cannot escape, not this time.”  They play the song really well without the vocals and for the end someone is ringing bells in tune.

Dave welcomes everyone to the 4th annual Fall Nationals and introduces their first guest vocalist Robin Lowe from Pittsburgh, PA.  She sounds great singing “Introducing Happiness.”  She’s followed by Melissa McClelland who asks, “Can I do something on this?” and someone jokes, “no don’t touch the keyboard.”  “Can I do some beat boxing on the mic?”  “Absolutely.”  She doesn’t beatbox but she sings a beautiful version of “Aliens (Christmas 1988).”  It’s a bit of a different vocal melody than martin sings and is quite wonderful.

Mike Bell comes out to sing “Beerbash” guessing that they haven’t done this in a while.  It’s rocking and fun/sloppy.   Then Paul Linklater and Donna Orchard
come out to sing “King Of The Past.”  Dave notes that “you guys sang separately last year.”  Which they did.  They do a kind of dramatic singing of the song which I think I like, but not as much as the original.

Dave says, “The beer is here and so is my adorable wife.”  Janet Morassutti who has co-written many songs sings “It’s Easy To Be With You.”  She has a good, deep voice and I love when she gets into the 1,2,3,4.

Kurt Swinghammer comes out and introduces the Trands-Canada Soul Patrol back in the house.  But Dave says they’re supposed to be backing Brenda Lee.  Kurt continues, “It’s time for a Tim Vesely song.  He’s sort of the George Harrison in the band.”  This brings forth three jokes at once including Dave saying he;s more of the George Foreman of the band.   They do “Loving Arms” and Dave says, “you’re lucky we did this last night.”  He sings in a deep and ponderous voice not sure it’s quiet right for this sweet song, but he does a great job with it.  The song ends but the give Kurt an extra solo.

Michelle Rumball comes out and says, “Dave do you know that the last time that I was supposed to sing this song, I showed up and only knew the backing vocals.”  Dave says, “I’ve never forgiven you for that.”  “It was like ten years ago.”  Then Dave notes “No one ever sings “Saskatchewan Part 2”  Michelle says, “next year?”  It’s slow and moody and she kind of messes up a bit but holds it together.  Chris Brown gets a keyboard solo.

Greg Smith of the Weakerthans recently.  He’s going to sing “The Tarleks” and they start asking him “what are you doing now that KRP shut down?”  He says he gets a lot of questions about Bailey Quarters–everybody liked her more than Loni Anderson.   There’s lots of wild synth stuff in the middle.

Chris Brown comes out for “Bad Time To Be Poor” and there’s some seriously off guitar to start the song, but they settle down and play along nicely.

Then they need to take a five-minute break to work on equipment.  Martins Steinberger guitar died.  It led a rich life and needs to go to the hospital.  Sorry about that.

Royal Wood sings a pretty version of “It” and then Steve Stanley puts the power back in “Power Ballad For Ozzy Osbourne” including the intro.  They say that he is currently in a band called Midi-Ogres.  At the end of the song, there’s sustaining feedback note–“make it stop make the bad man stop, stop the fucking note, Mike.”  While they’re fixing that, Chris plays a sample:, “I’ve been practicing every day for a year.  I can’t even learn a piece in a week.  When will I learn to play real good?  How long does it take?”

Jen Foster sings “Take Me In Your Hand” (no accordion) and they do the penny whistle ending.  Justin Rutledge comes up for “Marginalized.”  Dave notes that he played with the last night and slayed the house. There’s some raw guitar sounds, but not as interesting as Martin’s.

Amer Diab comes up to play “Lying’s Wrong.”  Mike says, “Shit, I don’t think I’ve ever played this one.”  Dave: “me either.  How does it start?”  “Thanks for pulling that out of the closet.”

Howard Druckman and Beverly Kreller come out to sing “Chansons Les Ruelles.”  Bev plays the bodhran, which is evidently too loud in the monitors, which makes Dave says, “You’re the John Bonham if bodhran players, aren’t you, Bev?”  Mike: “John Bodhran.”   Howard says, “I remember the People’s Republic of Dave.”  Dave says, “You know Broken Social Scene stole everything from PROD.”

Kate Fenner sings “Northern Wish.”  her raspy voice is nice with this although she misses the “built my rocket” section.  Reid Jameson sings “In This Town” and dedicates it to all the Pisces in the room.  “Posses of Pisces.”  Martin says that he hasn’t listen to it since they recorded it.  They typically play a different version.

Dennis Ellsworth sings “Palomar” but the teleprompter seems to give out for a few seconds.

Simon Wilcox sings “Dead is the Drunkest You Can Get.”  But it causes nothing but trouble.  “Anyone remember how to play my song?”  Tim: “I thought this song only ever appeared on a t-shirt.”  She has a sultry, almost sexy delivery.

Matthew Cowley sings “My First Rock Show” although ta the end he says “He was there, I’ve never seen any of those bands.”  During the Joe Jackson saved my life part, Dave chimes in: “hes always doing that.”

Chris plays the “we are the music makers” sample from Willy Wonka.

Simon Head sings “Shaved Head.”  He says “It’s fun to be part of Rheostatioke.”  Martin says, we were thinking rheo-oke.  It sounds good.  The heavy part is really heavy.  At the end everyone comments: “Nice Vegas walk off, Simon.”  Martin: “next time we do that I’m going to do a walk off like that.  The walk off is underrated.”

David Celia does a nice version of “Claire” and Yawd Sylvester sings “Record Body Count.”  They have fun with Yawd (who mentions Tim’s album that he played on).  They call him the one-armed bandit and then say that “Yawd gives this the one thumb up.”  I wonder what happened to him.  There’s some fun jamming guitars (and accordion?) and other sounds.  And he says “Thanks you guys for putting smiles on 28 faces.”

Ford Pier comes out and Tim says, “Thanks, Ford, for not making us learn ‘Motorino.'” He retorts, “I didn’t not make you learn ‘Motorino,’ you refused to learn ‘Motorino.’  Who wants to hear ‘Motorino?’  Yea, well it’s not going to happen because of the lassitutde of these bastards.”  Tim: “That song is fucked.”  Ford: “It’s a damn good song and next year you’re not getting off the hook so easily.”  [He doesn’t sing it next year]. Tim: “It’s like five or six songs.”  Mike: “The only reason it didn’t happen is because you just got off a plane yesterday.”  Ford: “Perhaps we should be doing “Connecting Flights.”  But instead they play “Junction Foil Ball” and everyone messes it up at one point or another.  Guitars, vocals, timing.  It’s a mess, but fun.  And then right away starts the clapping for the next song, “Rain, Rain, Rain.”  Selina Martin sings it kind of crazy and growly and the final verse is pretty silly.

And then they’ve made it to the end.  John Crossingham comes out and they comment that making it to the end is an achievement in itself.

Mike wonders, “Is there going to be an encore?  Or are we going to be more theatrical about this?”
Tim: “The encore is tomorrow morning.”
Dave: “The encore is Selina Martin jumping around a bit more.”

The next song takes a bit of extra special tuning preparation, bear with us.  So John takes the time to thank the band for such a wonderful idea.  It means a lot to all of us who have graced the stage this evening.

Then Dave asks, “John where’d you get your toque?”  John: “On the floor at a Green Day concert at the Rico Coliseum.  I stepped on something and that was it.  I did wash it before I put it on my head.”  Dave: “You’d have to be pretty drunk to leave toque like that at a Green Day show.  How was the tour?”  John: “It was good.  Had its ups and downs.  His book On a Cold Road got us through.  If you haven’t read it already pick it up.  They’re even selling it over there, smartly.  Or perhaps you’d like to read about Italian baseball or hockey in the Republic of China?”

And then they’re ready to end the night with a great version of “A Midwinter Night’s Dream” (which is not available on the Slogett MP3 download).  John does an amazing job with this really difficult song.  He even hits the super high note in the middle.  It’s a solid version, and while I love Martin’ more of course, it’s really enjoyable.

There’s no encore since the show was already 3 hours long (!).  Although there is a crazy noise at the end of the song for a couple of minute–with synths and Martin messing around.

What a fun night.

[READ: July 7 , 2017] Spill Zone

Sarah loves Scott Westerfeld, although I hadn’t read him before. I had to wonder if this graphic novel was also a traditional novel, because I’d love to see how he described the visuals.  But I believe it is only a graphic novel, so I just get to marvel in the visual imagination of Alex Puvilland.

This book starts out weird, no doubt.  Addison is a teen with a camera.  She has been taking pictures of her hometown in upstate New York.  Which isn’t so strange except that her town is a Spill Zone.

What’s that? Well, actually I don’t know yet.  Suffice it to say that it’s not good.  There are dead people, weird sightings and a roadblock with military personnel.  Addison speculates it could be a nanotech accident colliding with the nuclear power plant, an alien visitation, something from another world?  Some people escaped, like her sister Lexa, but most didn’t, like her parents.  Addison was not there when it happened, and since the accident Lexa hasn’t spoken a word.

She is part of group if what she calls crazy tourists who like to take pictures of the disaster. (more…)

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pinballSOUNDTRACK: RHEOSTATICSFall Nationals The Horseshoe Tavern Toronto, ON. Night 5 of 13 (November 14, 2003).

This was the 5th night of the Rheostatics 13 night Fall Nationals run at the Horseshoe.  Rheostatics Live has recordings of nights 1, 3, 4, 5 and 7.

It’s Big R night (see below).

There’s an introduction by J.C. who says he used to be the owner of the legendary Horseshoe Tavern “but as of tonight I am the owner of the R club.”  As he’s saying there’s a burst of “It’s Not the End of the World from Super Furry Animals–probably a mistake).

“Last night this band was here and they didn’t sing a single lead vocal the entire night.”  J.C. also mentions upcoming shows at the Horseshoe: Skydiggers will be doing an annual residency, Luther Wright, The Sadies, Royal City, Northern Pikes and the last two Watchmen shows ever.”

Then back to Rheos: “Next Wed will be the wheel of fortune–all requests by spinning the great wheel and next Thursday is all covers night.”  I’d love to see the set lists from these nights.

One of the greatest legendary Canadian bands:

“Power Ballad for Ozzy” is fairly mellow with lots of acoustic guitars.  It segues right into “PIN” where Martin recites “In the dirty boulevard” during the end chords.

“Aliens” brings a bit more loudness.  In the middle of the song, someone starts playing the melody for “When Winter Comes.”  The band starts grooving it but Martin will not be hijacked and he finishes “Aliens.”

A funky, percussion-heavy version of “Marginalized” is followed by a sweet “Loving Arms.”

As Dave starts playing the opening jazzy guitar to “I Dig Music,” Martin sings “The bed’s to big without you” (which fits pretty well).

Then you hear Dave say, “please sir don’t touch the setlist.”
Mike: “It’s still drying.  It’s like an infomercial for inverted reading.”
Dave: “Did it feel good to touch?”

“The Tarleks” has a really raucous guitar ending with lots of noisy loud chords.

Dave explains that “Tonight is giant R night.  The giant R was in Martin’s parents basement for the last 13 years–Otobicoke cultural prison–since the “Aliens” video.”  And since they’re returning to the olden says they’ll do an old song: Woodstuck.”  There’s a false start, wrong temp, but then they play a solid version.  Martin repeats “Hippie child” and Dave says “little protest song there.”

Then we learn that Dave is now playing drums.
Tim: “All because Michael showed up late for practice one day.” [rim shot].
Dave: “Anyone else want a rim shot–it’s not what you think–it’s the first thing they teach you in amateur drummer school.”

Tim sings “Here comes the Image” with MPW on keys with a great solo.

Someone shouts “Bad Time to Be Poor” which is followed by someone else shouting “Yeah! ‘Bad Time to be Poor!”

But they play a ripping version of “Fishtailin'” which Dave says they recorded in the Bahamas.  Someone growls and Dave says it’s about a giant cat–the mascot of the Bahamas.

The first surprise comes when Tim starts playing the then there the bassline that can only be a cover of “Teenage FBI” (!) by Guided By Voice.  They play a respectable version of the song with Tom on lead vocals.

Dave: “Yup, Guided By Voices.  Since we can’t be there we figured we’d simulate the experience.”  (GBV were at the Opera House in Toronto that night).  Were doing a covers night next Thursday so were working through a few tonight.  From then on someone keeps shouting “Horses” but they will not hear that song.  Next song is “From that up and coming Greenwich Village folk duo Simon & Garfunkel.  It ends with someone loudly going “doh duh duh doh duh duh doh duh duh doh…as  wrote.”

Someone yells do you plan to do any Rush covers?  Martin says, “If we had enough time I so wanted to do “Closer to the Heart” or “Red Barchetta.”  Mike says they might have time.  And Dave says, “No but we’ll do about four I Mother Earth tunes.  Mike says, “Why because that’s the equivalence weight?”

One more scream for “Bad Time to be Poor” Martin says, “Okay, we know.”
Mike asks if anyone knows what a ballyhoo is: When they sweep the lights over the audience like at the beginning of a game show.  He says the stars are doing that tonight–whatever he’s talking about.

Then Martin says to Dave: “I see you’re selling hockey cards of yourself”
Dave: Sold out!  Just get a picture of yourself, charge 50 cents, people will buy anything.
Martin: “Dirty player… you see how mean he looks on that card.”
Dave: But off the ice, the meanest are the most loving and good to their fellow citizens.”
Mike: “When you play you’re not a goon, right?”
Dave: “Just a dirty suck.”
Martin: “You told me you’re a fun loving player.  You jab people, but its friendly.”
Dave: “A gentle tickle.”
Martin: “Some of them don’t have a sense of humor.  Some of them should try harder to get a sense of humor.
Dave: Kenny Linesman was called “the rat.”  Me I’m more of a monkey. I’ll bite you, but I’m a monkey.  I’m not all bad.”

They finally play “Bad Time to Be Poor” and then a rocking “CCYPA.”  And then after a wild and rocking intro to “Song of the Garden.” the song rocks too.

Then Martin says, “Gonna slow burn on this one.”  It’s one of the best versions of “Stolen Car” I’ve heard–the climactic section is so intense.  I love the way Martin sings “drive a…  way!” at the end.

Before “RDA” Dave says, “Send this one out to Bono, coz he’s the man.”  Martin says “Rock Death America starts with R.”  Dave has a wild middle section in which he starts yelling thing like:
“Gonna be in a big fucking band with big fucking people playing for big fucking people, big beautiful guns, big beautiful hockey pucks made of fudge.  It’s a silly war, it’s an insidious war, it’s a stupid war.”  At the end, Mike says, “Good rocking, Dave.”

Staying political, Dave says, “Congratulation to the Liberal dynasty, the Liberal monopoly, the Liberal empire of Canada.  Don’t fucking get it wrong.  “We’re gonna gave to retire this song because it was written about a bunch of assholes in the past.  We’ll have to put it behind us.”  Sadly People in the States need to bring it back for Betsy DeVos and her own shitty people.  “Hands Off Our Schools” is an outtake from 2067 : “Hands off our schools politician scum.”  At the end of the song Tim says , “you lose.  ha ha.”

Tim says, “We’re going try to put music back in the schools.  Next Tuesday we’re raising money for an alternative public school for their music program.”

After the encore Dave says, “We’d like to thank The Imponderables for playing before us.  Up and coming young funnymen.”  Then

Dave: We have T-shirts Fall Nationals T-shirts. Martin’s two solo records and 2 of my books and most of our CDs.  Hockey cards sold out.  We have mugs too so if you don’t like us buy a mug and throw it as us.  Nothing says I hate you like a mug to the head.
Martin: nothing says you’ve made it more than having a cup of coffee with your band’s name on it in the morning.  You know, Chapters won’t stock my album [Operation Infinite Joy] because they think the image on the front might offend some people. [Boos].
Dave: “We were supposed to do an in store there but we got bumped for Lady Di’s butler.  Double lame.”

Anybody here from the prairers?  Really?  All of them!  A rocking excellent version of Saskatchewan that segues into “The Mayor of Simpleton” with MPW on drums and vocals. It’s pretty good although his vocals are too quiet and he forgets some words and he seems winded by the end.  A quiet “Little Bird” is followed by a moody and intense “Shaved Head.”

Dave thanks George Stroumboulopoulos for nominating Whale Music for Best Canadian album for the CBC.

During the second encore break, Serena Ryder comes out  and yells at the crowd to get the band back up there.  Then she sings a cool, spooky version of “Digital Beach.”  It’s followed by a fun bouncy version of “Mumbletypeg.”

There’s some discussion and you hear Mike say “So many songs.  There’s a bullion of them and you just cant think of one, sometimes.”  Not sure what they were talking about playing but they settle on “In This Town” and then a wild version of “Me and Stupid.”  They play a verse and MPW stops the song.  Dave says “Sounded pretty good to me MPW Dot Com.  Dave starts talking about the fish in the song: “when those pike start going when they start thrashing you can hear them a mile away.”

For the final song, they thank Canadians and Americans “we’re gonna do a Ron Koop song.”  Koop sang “Introducing Happiness” the night before.
As they head out they announce, “Tomorrow night, Tim Vebron and Rheostar.  You don’t wanna miss it.”

Tim Vebron and Rheostar were the Rheostatics dressing up in crazy outfits playing synth songs.  You can see some pictures here.  Wish there wad a recording of it.

 

[READ: December 30, 2016] Pinball 1973

In the introduction of this book. Murakami devotes a page to Pinball and says he wrote a sequel the following year.  He was still running the jazz bar.  Soon after finishing this he decide to stop writing at his kitchen table and then wrote his first full length A Wild Sheep Chase which “I consider to be the true beginning my career as a novelist.”

He describes the text as “a novel about pinball,” but also explores themes of loneliness and companionship, purposelessness, and destiny. As with the other books in the “Trilogy of the Rat” series, three of the characters include the protagonist, a nameless first-person narrator, his friend The Rat, and J, the owner of the bar where they often spend time.

The plot is sort of beside the point although it is more present than in Hear the Wind.

Before the story starts properly we get this little introduction in which the narrator says the story is about “me” but also about a guy called “Rat.” That autumn the two of them were living four hundred miles apart.  This novel begins in 1973.

The story begins with Pinball and Raymond Moloney.  In 1931 Moloney made the very first pinball machine (this is true). (more…)

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