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Archive for the ‘History’ Category

SOUNDTRACK: RHEOSTATICS-Memorial Stadium, St John’s, NL (December 03 1996).

This is the 17th night of the 24 date Canadian Tour opening for The Tragically Hip on their Trouble At The Henhouse Tour. First 4 songs missing.

Even with the first four songs missing, this tidy little 30 minute set is quite enjoyable.

It opens with “Four Little Songs.”  Dave says that Don Kerr on the durms, he invented this beat (a simple snare/bass 4/4).  Then Dave messes up the 4-3-2-1 intro!   But they start over and rip it out.  When it comes to Tim’s part, he says, “Song two if you’re keeping score.  Tim changes the lyrics a bit from

This lady’s shaped like the Tour de France.
A thousand wheels besieged the city of romance.

to

This lady’s shaped like the Tour de France.
A thousand wheels besieged her underpahnts

And after the jaunty “you cant go wrong/you can’t go wrong”, Dave shouts “UNLESS” before Don’s “Huge creatures plowing the streets tonight, right, right. / The mighty puffin sets the sky alight.”

I learned a fascinating thing during this show.  In Canada, the corn dog is called a “Pogo!”  “While you’re picking yourself up a pogo or a root beer you may want to check out the CD with lovely cover art by Martin Tielli as always.”

Up next is “Sweet Rich Beautiful Mine” in which Martin jhits some amazing high notes by the end.  It jumps to “Feed Yourself.”  The end rocks with some great feedbacking.  Tim comments: Way to go Dave.”  Dave replies “Way to go Tim” as they start “Bad Time To Be Poor” which is “for all the green sprouts.”  They thank the Tragically Hip for bringing them to Saint Johns twice.

Then they end the set with “A Mid Winter Night’s Dream.”  It sounds great–Martin’s vocals and guitars, everything is great.  The high notes at the end are wonderful.  And even though at the end, he sings the opening lyric, he catches himself and sings the proper ending.  Great stuff.

[READ: April 2, 2019] Delilah Dirk and the Pillars of Hercules

Boy do I love Delilah Dirk.

These stories are wonderful–fun, fantastical, exciting, witty and historically inaccurate (mostly).

I have totally embraced Cliff’s drawing style.  He has wonderfully subtle, expressions and his command of faces is amazing.  I absolutely love his amusing “action” words when one of the characters does something: “Skid,” “Grab,” “Hoist,” “Scramble.”

But like with the first two books, it’s the story that is really wonderful.

This book opens in 1812.  Delilah Dirk and her companion Erdemoglu Selim are in Turkey waiting to help a ship in Adalia’s harbor.  They are trying to protect the ship from the local tyrant Küçuk.  We see Delilah mingling at Küçuk’s party (and her expressions of distaste are wonderful).

Things do not go as planned, but the end result is the same–success for Delilah and humiliation for the tyrant.  Of course, it’s the not-going-as-planned that makes all the fun. (more…)

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SOUNDTRACK: GRUFF RHYS–American Interior (2013).

Gruff Rhys was (is?) the singer and composer in Super Furry Animals, a fantastic indie-pop band from Wales.   After several years with SFA and several solo albums, Gruff decided to do something a little different.  Actually, everything he does is a little different, as this quote from The Guardian explains:

“The touring musician can feel like the puppet of consumer forces,” he writes, bemoaning the way that “cities have now been renamed ‘markets’ and entire countries downgraded to ‘territories'”. So, over the last five or so years, he has come up with the idea of “investigative touring”: combining the standard one-show-a‑night ritual with creative fieldwork. In 2009, he went to Patagonia to trace the roots of a disgraced relative called Dafydd Jones, and the Welsh diaspora in South America more generally, and played a series of solo concerts, as well as making a film titled Separado!. Now, Rhys has reprised the same approach to tell another story, and poured the results into four creations: an album, another film, an ambitious app, and this book – all titled American Interior, and based on the brief life of John Evans: another far-flung relative of the singer, who left Wales to travel to North America in the early 1790s.

So yes, there’s a film and a book and this CD.  This album is a delightful blend of acoustic and electronic pop and folk.  Rhys’ voice is wonderfully subdued and with his Welsh accent coming in from time to time, it makes everything he sings somehow feel warm and safe (even when it’s not).   Rhys creates songs that sound like they came from the 1970s (but better), but he also explores all kinds of sonic textures–folk songs, rocking songs, dancing song, even songs in Welsh.

“American Exterior” is a 30 second intro with 8-bit sounds and the repeated “American Interior” until the piano and drum-based (from Kliph Scurlock) “American Interior” begins.  It’s a catchy song with the repeated (and harmonized) titular refrain after each line and it’s a great introduction to the vibe of the record.  It’s followed by the super catchy stomping “100 Unread Messages” which just rocks along with a great chorus.  You can see Gruff “composing” the lyrics to this in the book.

“The Whether (Or Not)” introduces some electronic elements to this song.  It’s basically a great pop song with splashes of keys and some cool stabs of acoustic guitar.  “The Last Conquistador” and “The Lost Tribes” are gentler synthy songs, as many of these are.  “Liberty (Is Where We’ll Be)” returns to the acoustic sound with some really beautiful piano.

“Allweddellau Allweddol” (English translation: Key Keyboards) is the only all-Welsh song on the record and it romps and stomps and is as much fun as that title suggests it would be.  There’s even a children’s choir singing on it (maybe?).

“The Swamp” is a simple electronics and drumming pattern which leaps right into “Iolo” one of the most fun songs on the record.  It’s a nod to the Welsh poet who inspired but backed out of Evans’ expedition at the last-minute but also a rollicking good time with the chanted “yoloyoloyoloyolo” and great tribal drums from Kliph.

The end of the album slows things down with “Walk Into the Wilderness” a slow aching ballad and the final two animal-related songs.  “Year of the Dog” is kind of a mellow opus when it is joined by the instrumental coda “Tiger’s Tale.”  Both songs feature goregous pedal steel guitar from Maggie Bjorklund.

Gruff Rhys is an amazing songwriter.  He could write the history of an obscure Welshman and still get great catchy songs out of it.  And that’s exactly what he’s done here.

[READ: December 2018] American Interior

How to explain this book?

I’ll start by saying that I loved it.  I was delighted by Rhys’ experiences and, by the end, I was genuinely disappointed to read that Evans’ trip didn’t pan out (even though I knew it didn’t).  The only compliant I have about the book is that I wish he had given a pronunciation guide for all of the welsh words in there, because I can’t even imagine how you say things like Ieuan Ab Ifan or Gwredog Uchaf or Dafydd Ddu Eryri (which is helpfully translated as Black David of Snowdonia, but not given a pronunciation guide).  But what about the contents?

The subtitle gives a pretty good explanation but barely covers the half of it.

Here’s a summary from The Guardian to whet one’s appetite for Rhys himself and for what he’s on about here:

[John] Evans was a farmhand and weaver from Waunfawr on the edge of Snowdonia, who was in pursuit of something fantastical: a supposed tribe of Welsh-speaking Native Americans said to live at the top of the Missouri river, who were reckoned to owe their existence to the mythical Prince Madog, a native of Gwynedd who folklore claimed had successfully sailed to the New World in 1170. In 1580, this story was hyped up by Elizabeth I’s court mathematician and occultist John Dee (born of Welsh parents), in an attempt to contest the Spanish claim to American territory. Two centuries later, with the opening of new frontiers, talk of a tribe called the Madogwys and “forts deemed to be of Welsh origin” began to swirl anew around Wales and North America, and became tangled up in the revolutionary fervour of the time, along with a radical Welsh spirit partly founded in nonconformist Christianity.

All this was moulded into a proposal made by a self-styled druid named Iolo Morganwg (“a genius”, but “also a fraud of the highest order”, says Rhys), who “called for the Americans, in the light of Madog’s legacy, to present the Welsh with their own tract of land in the new country of the free, so that the Welsh could leave their condemned royalist homeland”. Morganwg stayed put in Cowbridge, near Cardiff (the site of his “radical grocery” shop is now occupied by a branch of Costa Coffee), but Evans was inspired by his visions, and eventually set sail.

Rhys goes on a “journey of verification”, following Evans’s route from Baltimore, through such cities as Pittsburgh and Cincinnati, and then up the Missouri river to the ancestral home of the Mandan tribe of Native Americans, who had been rumoured to be the Welsh-speakers of myth, and among whom Evans lived, in territory argued over by the British and Spanish. Along the way, he does solo performances built around music and a PowerPoint-assisted talk about Evans’s story, keeps appointments with historians, and also tries to glimpse the America that Evans found through the cracks in a landscape of diners, what some people call “campgrounds”, and Native American reservations.

The Guardian’s review also talks about why the book works: (more…)

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SOUNDTRACKRHEOSTATICS-The Horseshoe Tavern Toronto (February 17, 2001).

It’s hard to believe these shows were 18 years ago!

This was night 4 of 4 of the Horseshoe Tavern’s 53rd Birthday bash.  It was the final night and one of the longest shows I can recall at almost 3h in length. The Chickens opened the show.

It was hard to find information about The Chickens.  What I learned was that they were originally a band called U.I.C. which was first an acronym for Unemployment Insurance Commission but was later changed to Up in Canada.  They broke up and then years later reformed but as a different band.  From Now Toronto:

Not only do the Chickens boast the propulsive rhythm section of former U.I.C. drummer Murray Heywood and bassist Dan Preszcator along with the devastating firepower of U.I.C. guitarist Fred Robinson, but they also have the megacity’s most exciting microphone mauler, U.I.C.’s Dave Robinson, fronting the band.  That’s right, Exeter’s answer to the Stooges have clawed their way back from obscurity to kick ass with a vengeance. So why the name change? Well, despite the fashion-world dictate, the 80s are over and the Chickens aren’t a nostalgia act.  The songwriting savvy of former El Speedo guitarist Ken Mikalauskas has added a sharper pop edge to the compositions, as can be heard on the Chickens’ cranking new Prepare To Plug In (Egg-cellent) album.  “We went through about a million names and even contemplated going back to U.I.C., but it didn’t click. Ken has contributed so much to our sound that this really feels like a new group. Besides, none of us really liked the name U.I.C. anyway.”

So that’s the opening act.

For the main act, the band plays for nearly three hours.  They played almost all of Night of the Shooting Stars (songs are in bold–excluding “Remain Calm” or “Satan”).  There was a nice intro by Jeff Cohen (which states that The Horsehoe was originally a country club, which makes sense.)

And then they jumped n with six new songs.

“The Fire” which Martin says is “a new song Dave and i are working on.”  There’s some great harmonizing between the two of them at the end–they don’t duet enough.  It’s followed by some short, poppy song: “It’s Easy To Be With You” and “Superdifficult.”  Martin speaks the title through his robotic voice in low and high register and Tim says that thing was in my dreams last night.  It’s such a great but far too short song.

“The Reward” has such a great slinky guitar riff.  It’s another satisfying new song.  As is “Mumbletypeg” although they can’t seem to synch up on the intro to this song.  Dave yells “all together now” and they get going.  The new stuff ends with “Song Of The Garden” which Tim dedicates to Sarah Harmer’s new album.

Then it’s back to older songs.  There’s a soaring “Self Serve Gas Station” which segues into a screaming “RDA.”  They throw in some tags to The Clash’s “I’m So Bored with the U.S.A.” with DB shouting: “I’m so bored with the U.S.A.  I’m so angry at the U.S.A.  I don’t give  a fuck about the U.S.A.”  When the song is over, Dave says,  “We almost sounded like The Chickens there.”

There’s a discussion of music and hockey and The Chickens should be called The Gas Station Island Five since the starting line is the entire chickens band–they’re amazing on the ice.  One of them says “We’re gonna kick The Morningstars ass (Bidini’s team) at the Exclaim Cup.  DB notes: “Different division.  They can’t put us in the same division because there’s always a big terrible beautiful brawl when we play each other.  The Exclaim Cup.  April 13-15–it’s free.  It surprises you that it’s free to watch these guys play hockey?

Tim says they’re going “way back for” “Torque, Torque” which was fun to hear.  Especially since the follow-up the new song “In It Now” has a similar guitar sound.  I love the guitar riff and melody of this song.

They tale a small break to talk about the celebrities they’ve spotted on the last couple of nights, including Dave Reid, from Centennial High, where they performed Harmleodia.

Someone shouts “I’m looking for some fun” (the opening of Fish Tailin’)  DB: “Hey Martin that guy wants to talk to you.”  Martin says they’re playing something else.  When the guy shouts again, DB says, “Perhaps you would like to try another club if you’re still looking  Because we’re cooking.”

They play a great “Junction Foil Ball” during which a fire alarm goes off.  After the song Tim checks, “that wasn’t a real fire, right?  It was just Dave’s riff was too hot.”

They play a long “Dope Fiends and Boozehounds” with a wild drum solo in the middle and loud and roaring ending.   Then they play “Me and Stupid” and Dave forgets the words in the first verse (perhaps the first time I’ve heard him forget a lyric) but he is undaunted and they do fine until the end.  Mid song, Don quotes a poem “High Flight” by John Gillespie Magee, Jr. “and done a hundred things/You have not dreamed of –Wheeled and soared and swung.”  Then Dave quotes Wilderness Gothic by Steven J. Gibson “something is about to happen / two shores away a man hammering in the sky.”   [Both poems are printed in their entirety at the end of the post].


Martin’s been nominated for a Juno award for original art work–they’re never nominated for a musical category–the art has always been better anyway.  The Story of Harmelodia is being produced by the One Yellow Rabbit theater company in Calgary.  So up next is “The Sky Dreamed” on which Don Kerr takes lead vocals.

Don says he’d like to thank Maureen for “giving me an official Canadian tartan jacket, which means I am now an official Rheostatic.  Martin says Canadian tartan used to be our uniform.  Tim: and our bedding.

“Baby I Love You” a goof track from Nightlines Session is requested many times.  Tim says they considered it for Valentine’s Day, but it’s too complicated and doesn’t work without a Fender Rhodes.

For “Loving Arms” they are joined by Carmen from a fine band called Check (I guess). She sings backing vocals which sounds very pretty.  I never noticed that the ending melody sound like the guitar for “Here Comes the Sun.”  It’s followed by one more new song–a great version of “P.I.N.

Dave says they played Sydney, Cape Breton where they don’t get a lot of bands and they go crazy.  Somebody sent up shots of tequila and we stopped a song and played “Tequila.”  We kept shouting tequila but nobody was sending up any more shots.  And then all of a sudden there were 48 of them.  We’ve never been the same.

Then the bust out a surprise: “The Ballad Of Wendel Clark Part 1 and 2.”  During the song, Dave B talks to Dave of the chickens about what it would be like playing against Wendell.

Then it’s time for two Stompin’ Tom songs.  “Horseshoe Hotel” which they learned just for this occasion.  Tom wrote it in 1971 about this hotel where people drank a lot.  Tim follows with “The Ketchup Song.”  people requests “Bud the Spud”, but they have a two song Tom quota.  Plus, no more than one song about potatoes you don’t wanna get to filled up on potato songs.

Then comes an amazing trip of a set ender.  A simply beautiful version of “Stolen Car” followed by an intense “Horses.”  The version includes Dave chanting the Talking Heads’ lines from “Crosseyed and Painless” and Martin reciting the Tragically Hip’s “Blow at High Dough” through his computer voice.  The noisy outro of Horses segues into a lovely quiet intro of “The Wreck Of The Edmund Fitzgerald” and the crowd goes nuts.

It’s an amazing set ender that should satisfy anyone, but the Rheos are not done.  After a fairly long break they’re going to play for about 40 more minutes.  Someone shouts “Saskatchewan” and Dave says, yes, we were gonna do that but we ran out of time.

So instead, it’s “Legal Age Life At Variety Store” which features Tim Mech on guitar.  As they start the chords, Dave says, “you’re writing something in your notebook but how do you know which song were doing?  We could be doing “Rockin My Life Away” by Jerry Lee Lewis or “The Swimming Song” by Loudon Wainwright III.  But of course it’s “Legal Age Life” and everyone gets solos: Freddy and Davey from The Chickens and Timmy (Mech) who does a weird solo.   Tim Dave and Fred–the triple threat!

Somebody shots “Everybody Knows This is Nowhere,” but Dave says they can’t do it without The Bourbons and the guy shouts “I take it back!”

Two more new songs include a rockin “CCYPA” and “We Went West” which seems a weird song for an encore (it’s pretty slow), but it sounds good.  It’s followed by another surprise, their version of Jane Siberry’s “One More Colour.”  Dave says that they have a song on the (incredibly diverse) compilation box set Oh What a Feeling 2.  Proceeds go to charity.  They are on it after Jane Siberry.

Then they leave, but they’re not done.  JC comes out and announces that it’s 2:30 in the morning (!).  Do you want to hear any more? No rules tonight.

The guys play “Northern Wish” in the crowd acoustic and unmic’d.  The recording is pretty good and the crowd really sings along–great fun there.

Everyone assumes they are done, but they’ve got room for one more, a rocking, late night version of “Introducing Happiness,” which sounds like it’s 2:45 in the morning but is pretty awesome, nonetheless.

What a show.

They played 63 different songs over the four nights.  There were 30 songs that were played more than once.

[READ: February 14, 2019] Mythical Irish Beasts

This book is a fun illustrated collection of the historical origins of Irish beasts.

Joyce does a lot of research (there’s footnotes!) and mentions many original documents to explain where these myths came from, but it is still a very simple introduction to these stories–a way to pique your interest.

He also illustrates every beast in his striking but unusual artistic style.  I really like the look of his beasts, but they are certainly unconventional.  They’re very modern looking, which is interesting for these ancient creatures.

There does not appear to be a reason for the order, but I’m going to list all of the creatures just because it’s fun to have some many weird words in print. (more…)

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SOUNDTRACK: STELLA DONNELLY-Tiny Desk Concert #819 (January 22, 2019).

Stella Donnelly has been generating some buzz lately, but I wasn’t familiar with her.  I didn’t even realize she was Australian.

She is adorable with her hair in two little nubs at the back of her head and a big smile most of the time.

She immediately won the office over with her broad smile, warmth and good-natured sense of humor. It’s the kind of easy-going, open-hearted spirit that makes her one of the most affable live performers you’ll see. While there’s no doubting her sincerity, she’s also got a disarming way of making her often dark and brutal songs a little easier to take in.

And indeed, she does not mince words when she sings.

“Beware of the Dogs” is a delicate song with Stella strumming her guitar with no pick and singing in a beautiful but soft voice.  There’s such a gorgeous melody for the chorus.

It turns out that this song and the other two are new.  Because she doesn’t even have an album out yet!

For this set, she performed entirely new — and, as of this writing, unreleased — songs from her upcoming full-length debut, Beware of the Dogs. Opening with the title cut, Donnelly smiled cheerfully through the entire performance while reflecting on the horrors that often lurk beneath the surface of seemingly idyllic lives. “This street is haunted like a beast that doesn’t know its face is frightening to behold,” she sings. “All the painted little gnomes, smiling in a line, trying to get your vote.”

As the song builds she gets more pointed:  “There’s no Parliament / Worthy of this country’s side / All these pious fucks / taking from the 99.”

She follows with “U Owe Me” which is “about my old boss at  a pub I used to work at back home.”

This song has a gentle guitar melody and some surprisingly soft vocals (including some vibrato at the end of each verse).   But the lyrics are straightforward and pointed (all sung with that disarming smile)

you put your great ideas up your nose /
and then try to tell me where the fuck to go /
you’re jerking off to the cctv /
while I’m pouring plastic pints of flat VB [or Foster’s or whatever].

At the end of the song she says, “He actually paid me a week after.  I was on the wrong week of my payroll.  It was very dramatic back then.”

She says “Allergies” is a run-of-the-mill breakup song.   “I’ve only got two of them and this is one of them.”  It’s a delicate, quiet song (capo on the tenth fret!) and once again, her voice is just lovely.

How can this Concert be only ten minutes long? I could listen to her all day.

Surprisingly, Donnelly chose not to play any of the songs that have gotten her to where she is in her young career — songs like 2017’s “Boys Will Be Boys” or last year’s “Talking,” two savagely frank examinations of misogyny and violence that earned her the reputation for being a fearless and uncompromising songwriter. But the new material demonstrates that her unflinching perspective and potent voice is only getting stronger.

I’m bummed that I am busy the night she’s playing a small club in Philly, as it might just be the last time she plays such a small venue.

[READ: January 26, 2019] Brazen

This is an awesome collection of short biographies of kick-ass women.  Bagieu has written [translated by Montana Kane] and drawn in her wonderful style, brief, sometimes funny (occasionally there’s nothing funny), always inspiring stories about women who spoke up for themselves and for others.  Some of the women were familiar to me, some were not.  A few were from a long time ago, but many are still alive and fighting.  And what was most cool is that the stories of the women I knew about had details and fascinating elements that I was not previously aware of.

What a great, great book.  It’s perfect for Middle School students all the way to adults.  I actually thought it might be perfect for fourth and fifth grade girls to read and be inspired by.  However, it skews a little bit older.  There’s a few mentions of sex, abortion, rape and domestic violence.  These are all real and important issues, but may be too much for younger kids.

Bagieu’s art for most of the pages is very simple–perfectly befitting a kind of documentary style but after each story she creates a two page spread that is just a breathtaking wash of colors which summarizes the previews story in one glorious image.  Its terrific. (more…)

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[LISTENED TO: August 2018] The Sixty-Eight Rooms

Narrated by: Cassandra Campbell

I didn’t know this story, nor did I know anything about the Thorne rooms before our trip to Chicago last summer.

So the Thorne Rooms are, well, I’ll let the Art Institute of Chicago’s website describe them:

The 68 Thorne Miniature Rooms enable one to glimpse elements of European interiors from the late 13th century to the 1930s and American furnishings from the 17th century to the 1930s. Painstakingly constructed on a scale of one inch to one foot, these fascinating models were conceived by Mrs. James Ward Thorne of Chicago and constructed between 1932 and 1940 by master craftsmen according to her specifications.

Read more about them and see pictures here.  That description doesn’t really do justice to the rooms themselves.

They are really magical in the way that they fully represent a room from a specific time and place.  The floor, ceilings, walls and furniture all meet exacting standard of detail.  And what makes them somehow even more special is that each room shows rooms out of the side and back doors.  These are lit (and show a painted facade) that indicates what is just beyond the walls of the room you are looking at.  It really adds a lot of depth and character to a scene.

Seeing them in person was really wonderful.

T. and I had started listening to this book before we left for Chicago, but we decided to wait until our trip to save it for the whole family.  Then we wound up not listening to it until the home, after we had seen the rooms.  And I feel like that made it all the more special. Because I could see exactly what the kids were doing in this fun and bizarre adventure. (more…)

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SOUNDTRACK: KASVOT VÄXT-“Passing Through” (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 song sounds the most like a Norwegian band from the 1980s.  It has a simple bass line with just a drum shuffle and synths.  And the vocals are a lot of “Hey! way oh way oh.”

The middle jam is probably the most Phish-like with page on piano and Trey playing a happy jam which turns into a really rocking set ending jam by the end

The crowd is really into it by the end singing the Heys for the band while they supply the way oh way oh.  This could turn into a crowd favorite and it wa sa great fan-participating way to end the set.

[READ: January 6, 2019] “Red Letter Day”

I have not read very much by Kushner, although I have wanted to.  I know that she writes about the art world and this essay solidifies her awareness of and proximity to the art world in a rather unexpected way.

She had moved into an apartment in the Lower East Side of Manhattan.  The first night she smelled cigarettes coming in through the outlet of her room.  The next day she discovered that the next door apartment was completely gutted and being renovated and the smoke came from the two guys who were working on it (and living there).  One of the men, who went by Red, was charming and eloquent but clearly homeless.

The next morning she woke up to find a six-foot length of drywall tape under her door.  On the tape was a lengthy poem/letter in which the man signed it Le Rouse, Redhead.  And that began a near daily one-way correspondence from Red to her. (more…)

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SOUNDTRACK: AMIR ELSAFFAR & TWO RIVERS-“Hemayoun” (Field Recordings, July 3, 2013).

I was pretty excited to see the start of this Field Recording [Amir ElSaffar & Two Rivers: Golden Sound In A Gleaming Space] because it begins with hammered dulcimer and oud.  I have never seen these two instruments used in jazz before.

But once the band starts the jazz pushes out he Middle eastern instruments somewhat.

The oud is certainly drowned out by the horns, but you can hear it plucking away.  And the hammered dulcimer is hardly used at all.

I had never heard of the participants although apparently

The session had the feeling of a reunion. ElSaffar — a trumpeter and santur (hammered dulcimer) player who was born near Chicago to an Iraqi father and an American mother, and who grew up immersed in both cultures — had recently moved from New York to Cairo to pursue his work with Arab classical music. But this group with Ole Mathisen on saxophone, Zafer Tawil playing oud, Carlo De Rosa on bass and Nasheet Waits on drums shifted into Two Rivers gear immediately.

At 3:49 when the sax solo starts the minimal oud is used more to keep the beat than anything.  At 5:10 the trumpet returns playing a riff with the sax.  By around 7 minutes its all trumpet and drums (some good improv) with the bassist adding rhythm but playing very hard and being barely heard.  At around 8 minutes there’s a minimal oud solo that runs through to the end of this song.  This is particularly cool, although I kind of wish the other guys didn’t drop out entirely–I’d like to see the oud share the stage with the traditional jazz instruments.

I love that the music has non-Western instrumentation but I feel like it is underutilized.  But maybe that’s not the point

 ElSaffar has found a beautiful and singular way of pairing the sibling spirits of jazz and the classical maqam system of the Arab world, with their shared spheres of improvisation, deep knowledge of tradition and urge to keep innovating. Two rivers, but they lead to the same ocean.

[READ: October 22, 2017] “The Sinking of the Houston”

O’Neill has a way with making stories amusing despite the tension underneath.

It begins with a defense of sleep. The narrator says when he became a parent of young children, he became an opportunist of sleep: “I found myself capable of taking a nap just about anywhere, even when standing in a subway car or riding an escalator.”  But when the boys grew up into “urban doofuses neurologically unequipped to perceive the risk incidental to their teenage lives,” sleep became much harder to get.  He would lie awake until they were all home, and then every sound in the house would be meaningful.

Then comes the phenomenon of Dad Chair, a black leatherette armchair which he has designated as his haven.

It has worked pretty well except when the boys disrupt the peace.

The middle son asks if he’s heard of Duvaliers, the dedicators of Haiti.  The dad says he knows all about them–they were horrible.  When the boy tries to tell him more details, he retorts: “I lived through it ! I don’t want to discuss it!”  The boy logically says you didn’t exactly live through it.

Another son asks where East Timor is.  They all want to talk about atrocities.  But he has a new philosophy–Cest la Vie–it works pretty well. (more…)

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