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Archive for the ‘Drugs’ Category

SOUNDTRACK: KASVOT VÄXT-“Say It To Me S.A.N.T.O.S.” (1981/2018).

Back in 1994, Phish started covering a classic album for its Halloween costume. In 2015 they covered the Disney album: Chilling, Thrilling Sounds Of The Haunted House, which pretty much meant all bets were off.  So in 2018, they decided to cover an obscure Scandinavian prog rock band called Kasvot Växt and their sole album, í rokk.  This proved to be a big joke–they were a nonexistent band.  They had so much fun creating this band, that they even enlisted others to expand the joke.  This included impressively thorough reviews from WFMU and from AllMusic.

The joke is even in the name: when translated together Kasvot Växt and í rokk means “Faceplant into rock.”.

Here’s some more details they came up with:

The Scandinavian prog rock band purportedly consists of Jules Haugen of Norway, Cleif Jårvinen of Finland, and Horst and Georg Guomundurson of Iceland.  The album’s label, Elektrisk Tung, supposedly went out of business shortly after the LP’s release and little information about the record appears on the internet. Bassist Mike Gordon made a tape copy of í rokk in the mid-’80s and Phish would play it “over and over in the tour van in the early ’90s.” In the Playbill, guitarist Trey Anastasio insisted, “Every time the Halloween discussion comes up, we talk about Kasvot Växt. We honestly were worried we wouldn’t have the chops to pull it off or do justice to the sound, but when it came down to it, we just couldn’t resist any longer.”

The decision to go with an obscure album few have heard or even heard of appealed to the members of Phish. “We’ve paid tribute to so many legendary bands over the years, it felt right this time to do something that’s iconic to us but that most people won’t have heard of,” Gordon said as per the Phishbill. “And with these translations we’re really performing songs that have never been sung in English before.” Keyboardist Page McConnell added, “I love the mystery surrounding this whole thing. If those guys ever hear we did this I hope they’re excited because we absolutely intend it as a loving tribute.” As for what Phish fans can expect? “A weird, funky Norweigan dance album! Get out there and put your down on it!” exclaimed drummer Jon Fishman.

While the listings for the 10 tracks on the original í rokk were in a Scandinavian language, the titles appear in English in the Playbill. Phish called upon a Nordic linguist to translate the lyrics to English for tonight’s performance.

These songs do not really sound like a Norwegian prog rock band.  They do sound an awful lot like Phish (although with a more synthy vibe overall. The band has this part of their live show streaming on Spotify under the Kasvot Växt name.  And I’m ending the year by talking about each song.

This is probably the most memorable of all of the songs on the disc.  The keyboards are funky, the bass is funky and the wa- wah is funky.  The verse is a nice, slow slinky build up to the big chorus which is dumb and easy to remember, and–more to the point–really fun to sing along (hi-ho-hi-ho-hi-ho).

The post chorus of “This is what space smells like (you will always remember where you were)” is more or less screamed and makes it pretty unforgettable.  What does S.A.N.T.O.S. stand for?

Well, most of the time Tom Marshall writes the songs with Trey, but according to a Live for Live Music report:

Trey and Tom have been best friends and songwriting partners since elementary school, but Tom explains that he had absolutely nothing to do with Phish’s mastermind curveball they threw for Halloween, and remained in the dark, just as Phish’s entire fanbase did. Trey remains extremely tight-lipped following Phish’s debatably greatest prank ever, but according to Tom Marshall, the one thing Trey divulged is what the acronym S.A.N.T.O.S. stands for. Whether we believe it or not, Trey evidently told Tom that S.A.N.T.O.S., from Phish’s new tune “Say It To Me S.A.N.T.O.S.”, stands for “Subterranean. Arctic. Neuro. Technology. Orientation. Station.”

Whatever it stands for, it’s great.

[READ: December 7, 2018] “I Flirted with the Women”

This is an excerpt from a book whose subtitle is A Life and Work in Conversation with the Life and Work of Etheridge Knight.  I don’t know what that means and that makes this excerpt which is largely about Mary Karr even more puzzling.  (After re-reading I see now that it is Hayes interviewing Mary Karr about Etheridge.)

It begins with someone saying

One day Mary Karr sort of appeared along my path like a brush fire.  She’s incendiary, combustible, she’s a walking flame.  She’ll light up the whole house or she’ll burn that motherfucker down.  Recently when I told her I described her that way to people, she paused and said, “I don’t know if that’s a compliment or a complaint.”  I meant it the way she heard it.

I myself only really know about Mary Karr because of her association with David Foster Wallace.  I don’t think I’ve ever read her. (more…)

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SOUNDTRACKCROON AND SWOON: A Classic Christmas (1998).

I grew up listening to big band and crooners.  Bugs Bunny taught me a lot about crooners, too.  So if there’s a Christmas album dedicated to them, I’m all over it.  It’s amazing how many songs are here that are not on other compilations as well (even though it’s really hard to tell since all of the singers basically did all of the songs at some point).

BING CROSBY & THE ANDREWS SISTERS-“Santa Claus is Coming to Town.”  This is a pretty traditional take on the song with a but of fun from the Sisters.

LENA HORNE-“Let It Snow! Let It Snow! Let It Snow!”  This is done with Lena’s typical zest and verve.  It’s a really fun version.  I have come to really appreciate Lena this year.

JOHNNY MATHIS-“Winter Wonderland.”  This version sounds a bit fast, frankly.  It doesn’t quite sound like his smooth voice although he still sounds great.  The middle section includes an extra verse I don’t know

Over the ground lies a mantle of white
A heaven of diamonds shine down through the night
Two hearts are thrilling
In spite of the chill in the weather, ooh the weather
Love knows no season, love knows no clime
Romance can blossom any old time
Here in the open
We’re walking and hoping together
Together, together, together

Although I understand that other singers have included it as well.  He has a lot of fun with the song after this including a wonderful run through some octaves after the other kiddies knock him dooooooooooowwwwnnnnn.

LEROY ANDERSON-Sleigh Ride.  This is the classic instrumental that is used all of the time.  It’s awesome and comes complete with the woodblocks for horse hooves and a horn whinney.

ANDY WILLIAMS-“Its the Most Wonderful Time of the Year.”  Pure Christmas spirit wrapped around a singer.

PERRY COMO-“There’s No Place Like Home for the Holidays,” This is sung by a big group of happy people.  Classic-feeling.  Although the line “gee the traffic is terrific” is always hilarious.

ANGELA LANSBURY-“We Need a Little Christmas” This is taken from the musical “Mame”  Its a fun musical version with a full cast which really adds to the song.

BING CROSBY-“It’s Beginning To Look a Lot like Christmas.”  A classic crooner from Bing.

GENE AUTRY -“Rudolph the Red Nosed Reindeer”  This one sounds sweet and cute, almost like a children’s version.  Even the instrumentation feels kid-friendly.  I love it.

DORIS DAY-“Here Comes Santa Claus.”  I associate this version with children as well, but Doris Day is kinds of sexy right?  I don’t know much else by her, but this song is sweet.  She has a chorus of men singing with her. They sing the “Santa knows that we’re Gods children.”  That and “gives thanks to the Lord above ’cause Santa Claus comes tonight” is always a weird disconnect.

TONY BENNETT-“My Favorite Things”
Not a Christmas song in any way.  It’s a crazy over the top Tony Bennett croony version.  I don’t care for what he’s done to the song and it doesn’t belong here anyhow.

JUDY GARLAND-“Have Yourself a Merry Little Christmas.”  A Christmas song by Judy was on the other day.  I can’t recall the song but I hated it, it sounded so mournful and depressing.  For this song she sounds so wavery and frail that I can’t stand it.  I don’t know if this is just how she sings all the time or if it’s a particularly bad recording but it hurts! it hurts!

RAY CONNIFF-“Silver Bells” This is a strangely stiff version of the song.  The men in particular are very dull but the women add some spark

MABEL MERCER-“The 12 Days of Christmas”  No idea who she is but she is operatic and formal and over the top and its fairly strange–the way she rolls her rs on “five golden r-r-r-rings is pretty funny.  But i know she is deadly serious despite the absurdity of the song

GENE AUTRY-“Frosty the Snowman” is also cute and kid-friendly.  It’s very sweet with a clopping feet rhythm.

PEGGY LEE-“Days of Christmas.”  I don’t know this song at all..  How is there an old-timey Christmas song that I don’t know?  It’s very sweet.  I like that it starts with the melody of “The First Noel” and then turns into something else entirely with the lyric:  “This song of mine in three-quarter time.”

PERRY COMO-“I’ll Be Home for Christmas” This version is slow and croony and lovely.

ROSEMARY CLOONEY-“White Christmas.”  This is a lovely straightforward version of this classic song.

Overall this is a great collection of songs.

[READ: December 10, 2018] “One Gram Short”

Once again, I have ordered The Short Story Advent Calendar.  This is my third time reading the Calendar (thanks S.).  I never knew about the first one until it was long out of print (sigh).  Here’s what they say this year

Fourth time’s the charm.

After a restful spring, rowdy summer, and pretty reasonable fall, we are officially back at it again with another deluxe box set of 24 individually bound short stories to get you into the yuletide spirit.

The fourth annual Short Story Advent Calendar might be our most ambitious yet, with a range of stories hailing from eight different countries and three different originating languages (don’t worry, we got the English versions). This year’s edition features a special diecut lid and textured case. We also set a new personal best for material that has never before appeared in print.

Want a copy?  Order one here.

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

This story appeared in the New Yorker on December 1, 2014.  I enjoyed it then and I think I enjoyed it more this time.  here’s some of what I wrote then: (more…)

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SOUNDTRACK: MOUNTAIN MAN-“Sewee Sewee” (Field Recordings, February 2, 2012).

Until recently, had I posted this I would have said that Mountain Man features Amelia Meath from Sylvan Esso.  Now I can say that and I can say that Mountain Man, of whom Id never heard, has a new album out.  How about that.

I don’t know much about Mountain Man, but this song is quite pretty.  It opens with someone snarkily commenting “Mountain Man live from the dungeon, take one.”

The song is a beautiful two-minute ballad with wonderful harmonies sand quiet acoustic guitar.  But all focus is on their voices as they intertwine beautifully.

Amelia Meath is the only person I know from this band and I know of her as somewhat goofy, so it’s amazing to see her (looking so young) being very intense while she sings her parts.

The Vermont trio Mountain Man fit an awful lot of moony harmonies into this all-too-brief performance of “Sewee Sewee.” Mountain Man’s three members — Molly Erin Sarle, Alexandra Sauser-Monnig and Amelia Randall Meath — sang and stared sweetly into each other’s faces.

Then as soon as the song is over Amelia gets very silly again.  I assume it’s her who starts rapping Li’l Mama’s “My Lip Gloss” (“my lipgloss is popping, my lipgloss is cool”) as the camera goes dark.

This Field Recording [Mountain Man: A Choir of Angels] was the second one done at the Newport Folk Festival, and it’s clear they are having fun exploring the abandoned grounds.

As a gaggle of videographers, musicians, industry types and hangers-on stepped gingerly through tall brush to enter a dilapidated section of Fort Adams in Newport, R.I., you couldn’t blame us for feeling like unwitting participants in a horror movie. Standing amid hundred-year-old rubble as the 2011 Newport Folk Festival clattered merrily in the distance, we were either going to capture two breathtaking minutes of music or get eviscerated by maniacs as part of The Newport Witch Project. Thankfully, we made it out with the footage you see above.   If the scene above once seemed destined to devolve into a grisly horror movie, at least we had a choir of angels on hand to escort us into the afterlife.

I haven’t heard their new album but I wonder if their voices still sound amazing together after 8 years apart.

[READ: January 7, 2017] “Honey Bunny”

This is a story about a girl who has left (fled?) Colombia and is now doing and possibly selling cocaine in America.

She is apparently buying her supply from a guy named Paco.  Inexplicably, the coke is cut with all kinds of weird things–plant leaves, bug wings, rabbit fur?

All along she keeps eyeing an orange suitcase in her apartment. (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: THE EBENE QUARTET-“Felix Mendelssohn: String Quartet No. 6 in F Minor Allegro assai” (Field Recordings, January 25, 2013).

I don’t quite understand why this Field Recording [The Ebene Quartet Powers Through Mendelssohn] sounds so great–it is rich and full with resonant bass notes.  Is it the recording or the quartet itself?

The title suggests it is the players.

The Paris-based Quatuor Ebene — the “Ebony Quartet” — has risen fast in the musical world with two separate artistic identities. In recent years, audiences have gotten to know the “other” Ebenes — the sophisticated cover band that plays everything from “Miserlou” (the Pulp Fiction theme) to jazz to “Someday My Prince Will Come” (yes, the one from Disney’s Snow White).

But when violinists Pierre Colombet and Gabriel Le Magadure, violist Mathieu Herzog and cellist Raphaël Merlin play classical music — whether Beethoven’s transcendent Op. 131 quartet or, as on their latest recording, works by brother-and-sister composers Felix and Fanny Mendelssohn — you realize the depth and beauty of vibrantly intense performances.

Felix Mendelssohn completed his String Quartet No. 6 in F Minor just two months before his own death, and very shortly after the death of his beloved sister Fanny. Even though this second movement, marked Allegro assai, is architecturally the “light” section in this piece, it’s full of dark colors, tense and moody and shaded with grey and black. The music provides rich counterpoint to the setting, the bright and spacious powerHouse Arena, a bookstore, gallery and performance space in Brooklyn’s Dumbo neighborhood.

We thought that the setting would appeal to the quartet’s double identities, given powerHouse’s signature mix of art titles and whimsical children’s selections, including a board book with a cute little piglet that clearly fascinated Raphaël to no end. And our idea worked: The shoot was bookended, so to speak, by the quartet browsing and buying. Maybe our idea worked a little too well? No matter — once the quartet got down to playing, the results were magical.

I have enjoyed Felix Mendelssohn’s music before, but this recording is outstanding.

[READ: October 20, 2017] “Strangler Bob”

I don’t enjoy prison stories.

This one is a little different, I suppose.  It concerns a guy remembering his days in prison.  He was eighteen and hadn’t been in too much trouble when his malicious mischief landed him a sentence of forty-one days.

His cellmate was an older guy, late forties, who was in the cell for doing “something juicy.”  The narrator would eventually learn that his roommate is Strangler Bob, and that his own nickname is Dink.

He befriended a guy his own age named Donald Dundun, who liked to stroll the catwalks and climb the bars spreadeagling himself against the jambs .suspended in the air. (more…)

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july 28SOUNDTRACKJazz Lives At Duke Ellington’s Resting Place (Field Recordings July 2, 2015).

Playing jazz at a cemetery during the day seems like an odd decision.  But it’s all part of the one-day Make Music New York festival (MMNY) which celebrates music and community.  It happens every June 21 with more than 1200 outdoor concerts across the five boroughs running from morning till night.

For the 2015 edition, the festival’s organizers invited musicians to six different burial grounds across the city to riff on the idea of “exquisite corpse,” a surrealist parlor game popularized by artists and poets in the 1920s. In the game, someone writes a phrase (or draws part of a figure or scene), folds that part of the page over, and then passes it to the next player, who then does the same. The game ends when everyone has had a turn. That game is a natural bridge to the art of improvisation, and to jazz.

Woodlawn Cemetery is a mecca for the jazz world — it’s the final resting ground of royalty like Duke Ellington, Miles Davis and many others, including Ornette Coleman now as well. So as a tribute to their musical forerunners, the group — singers Michael Mwenso and Vuyo Sotashe, trumpeters Alphonso Horne and Bruce Harris, saxophonist Tivon Pennicott, pianist Chris Pattishall, bassist Russell Hall, drummer Evan Sherman and tap dancer Michela Marino Lerman — took as their point of departure W.C. Handy’s 1914 tune “St. Louis Blues,” a tune essential to jazz’s DNA. But they made it their own via surprising and turns that saunter through many textures, colors and rhythms.

The song begins with vocals from “St. Louise Blues” from Vuyo Sotashe and accordion from Chris Pattishall.  After a verse, Michael Mwenso (whose voice sounds very different) takes over.  The accordion drops out and it’s just voice and bass.

They pass the baton along to the horns, two trumpets, one with a mute in, the other using the mute  and a saxophone play a lively instrumental break.  This is followed by the percussion.  Evan Sherman and Michaela Marino have a percussive call and response.  I could have watched that part for a lot longer.

When that’s over the whole group joins together to end the song.

[READ: September 10, 2018] “Audition”

The first line of this story reads, “The first time I smoked crack cocaine was the spring I worked construction for my father on his new subdivision in Moonlight Heights.”

A first implies a second (especially with crack).

The story is about a 19-year-old college dropout. He went to school to study theater but “unmatriculated” and has been working for his father’s construction firm.  His father came from nothing and build up this firm which is presently creating a development.  His father is not too happy about him wanting to be an actor and as such is paying him the same as everyone else (which isn’t much).

He still acts–in community theater, but usually to 15 people at a time.

No one knew that he was the owners son and he liked it that way–he was using this time to study the laborers to learns their mannerisms–he was acting in his job, too,   New workers came through all the time (the pay was lousy after all).

The crack came from a coworker Duncan Dioguardi who was not acting.  He was a laborer living in his mother’s basement and longing to party.

The narrator knew “party” meant get high. When Duncan’s car died and the narrator drove Duncan home (an hour out of his way), Duncan invited him to party. The narrator was intimidated, then intrigued so he did.  And that was the first time he smoked crack.

He marveled how the lump of crack looked like some drywall that could easily be swept away.  Duncan showed him how to smoke it.  It tasted like nothing.  It smelled like nothing.  It was ant climatic except for his new-found fondness for Duncan whom he now considers a good friend.

That following spring he received a call from his old acting teacher to audition for a role  It was a stage show. The character would be on stage for all three acts but would not speak a word.  The narrator didn’t know if this was a step forward or backward.  The audition went well and he was sure he would get the gig.

Duncan’s car broke down again and the narrator told him all about the potential role.  But the narrator was more excited about the option of partying some more.

The story ends soon after this, which is a little disappointing as it is told from many years later and we never learn how he turned out.  But i did like the details of the past like “wiring th ehouse for internet, whatever that was.”

For ease of searching, I include: Said Sayrafiezadeh

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SOUNDTRACK: THE DIVINE COMEDY-Loose Canon: Live in Europe 2016-2017 (2018).

I loved The Divine Comedy at the turn of the century (the fin de siècle, if you will).  They were one of my favorite bands.

Since then Neil Hannon (the man behind the band) has released a few albums which I have liked–but none as much as those early records.

This recording is primarily his latter songs, and as such isn’t as exciting to me.  (Although setlists from the tour shows that he played a lot of older songs as well, so this disc is mostly a latter period recording).

The first three songs are from the newest album Foreverland: “How Can You Leave Me On My Own,” “Napoleon Complex” and “Catherine the Great.”  And among the next few songs are “To the Rescue” and “Funny Peculiar.”   So that’s five in all from that album.

The previous album Bang Goes the Knighthood accounts for five more songs “The Complete Banker,” “Bang Goes The Knighthood,” “At The Indie Disco,” “Assume The Perpendicular” and “I Like.”

So that’s ten of seventeen from the two latest albums.

After listening to it a few times I have come to appreciate his newer music even more and to see that it is equally as cleverly crafted.  He’s just a different person now with different lyrical and musical ideas.  I will certainly give a re-listen to the last decade;s worth of music.

“How Can” is fun a bouncy, “Napoleon” is snarky and witty.  “Funny Peculiar” is a duet with  guest vocals from Lisa O’Neill.  She has a fascinating singing style which is kind of peculiar in its own way.

“The Complete Banker” is wonderfully sarcastic and catchy and “I Like” is so simple and delightful.  “Assume the Perpendicular” is an other fun uptempo song, but of this batch its “Indie Disco” that is the real highlight (this includes an excerpt from New Order’s Blue Monday”).

It also sounds like this was a fun souvenir for anyone who saw the tour (he dressed up as Napoleon and others, and apparently “Indie Disco” was really fun live).  I have always wanted to see them and hold them high on my list of bands to see.  But he hasn’t been to the States in almost ten years, so I don’t have high hopes to experience them live.

The band for The Divine Comedy’s live shows has changed over the years, sometimes large and orchestral or, like this tour, a simpler five-piece.  They sound good although they do underplay the orchestral quality of the music.

Going back there’s one from Victory for the Comic Muse “A Lady Of A Certain Age” and one from Absent Friends “Our Mutual Friend.”  These two songs are lovely and quite poignant, especially “Lady.”  They are a far cry from the raucous songs of old.

The first older song is from 2001’s Regenertaion with a wild and fun rendition of “Bad Ambassador.”  His voice doesn;t sound great on this song.  I’m not sure if he ever sounded great live, but he certainly underplays some of the bigger moments in the song.

The crowd really gets pumping for Fin de Siècle‘s “Generation Sex” and “National Express.”  These two songs are a lot of fun and I imagine mus t be really rousing live.  Once again he doesn’t sound great. Not that he has lost his voice but almost like he;s not trying all that hard.

The disc is collected from shows all over Europe, so its interesting if they picked songs where he doesn’t sound that great.

It’s not until the encores that he brings out two really old songs 1994’s “A Drinking Song” and “Tonight We Fly.”

I’m sure they picked this particular version of “A Drinking Song” because he admits to being quite drunk himself.  And there’s a funny moment where he gets a hair caught in his throat.  “Is it yours?”  Indeed, his banter with the audience is a highlight.  He is clearly a good showman, and perhaps that makes up for some of the shortcomings of the disc.  This song is a good example.  His voice is much louder than the instruments and, frankly, he doesn’t sound that great as what is mostly a capella–but the overall presentation is fun.

The ending “Tonight We Fly” is a treat as well.  Again, he doesn’t sound perfect, but he sounds like he’s having fun.

I feel like this makes me want to see them a little less–except that it sounds like the performance is great even if his voice isn’t anymore.  Regardless, is he ever comes back to the States, I’ll be there for sure.

[READ: January 19, 2018] “The People Who Kept Everything”

I read this novel 7 years ago.  But since I’ve been going back through old Harper’s and found this excerpt I thought it would be worth reading (the excerpt) again.  And I really enjoyed it, I had forgotten about this scene until the end of the piece.

The narrator says that on the night before he left for college his father gave him a Spanish dueling knife and told him to keep it and never lose it.

When the narrator asks his father where he got it he says he’d better not say–he could tell him he won it in a card game in El Paso or a cathouse in Brownsville.

He kept the knife in a drawer and it moved with him to every location her went–dorm rooms, apartments.  Often it was in the kitchen with the cutlery, ignored by everyone except the new girlfriend who wanted to cook something. (more…)

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