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Archive for the ‘Hitler’ Category

SOUNDTRACK: WHITEHORSE-Live at Massey Hall (December 8, 2017).

I saw Whitehorse open for Barenaked Ladies a few years ago and they blew me away.  I really want to see them again.

When I saw them it was just the two of them and the magic of their interplay was what really impressed me the most.  For this special Massey Hall show, they have a full band.  But as Melissa McClelland explains:

This is the first time playing the Massey stage with a full band.  We wanted to … finally invite some friends on stage with us and play music.

Those friends include John Obereian on drums, Ryan Gavel on bass, guitar and backing vocals and on keys and bongos and guitar, the second best singer in this band Gregory MacDonald.  He replies, “Thanks to the second best guitar player in the band.”  I have seen MacDonald on tour with Sloan a bunch of times and he is awesome.

As to why they are a duo, she says

we knew that Whitehorse was always going to be just the two of us and that everyone would know that we are equal partners in the band.  But we didn’t want it to be a folk duo so we started brainstorming and bought looping pedals and a kick drum and a stomp box and we  found new arrangements and once we got it we were like Yeah!

The show opens with hand clapping from the band and the audience and then Melissa’s slinky bass intro to “Baby Whats Wrong.  Then comes Luke Doucet’s echoing Western guitar. Their voices are wonderful together and I love when Doucet sings in that weird telephone microphone.  He also plays a ripping guitar solo.

Luke introduces “Tame as the Wild Ones” by saying they needed to write a sexy song so “Melissa kicked me out and said she’d do it alone.  I go to the bar to get drunk and when I come home, she plays me this song.  And nine months later our son Jimmy was born.”  I love the way the bridge (or is it a chorus) builds and settles–that melody is just gorgeous.

“Pink Kimono” has a simple rocking riff and the two singers singing at the same time.   Doucet’s soloing is on fire in this song.

“Die Alone” is a showstopper.  A slow moody piece in which Melissa sings over a wash of synths.  The music so much build as just unfold as first Luke sings with her and then the band kicks in.  Wow can Melissa belt out a song.

“Downtown” is a celebration of how you can put hundreds of thousands of people in a city and for the most part everyone gets along.  It s got a great throbbing bass and some cool guitar scratching and riffs from Doucet.  It’s a bummer that they interrupt the awesome middle solo section with an interview, even if it is quite interesting.

After Melissa lays out how they wanted the band to sound, Luke says that when people ask him about what it’s like to do Whitehorse, he says

we were solo artists first but we had been involved with each others albums as singer or producer  or touring musician.

So in order to be successful

you have to hang out together for five or six years and play in each others bands and make eight albums together and then you have to go on tour as freelance/hired gun musicians working for Blue Rodeo or Sarah McLachlan and then you have to live together for five or six years and listen to music together and fight and then you have to get married and once you’ve done all these things and listened to 10,000 hours of music and dissected Tom Waits entire catalog and argued about which is the best Beatles record and had fights on stage about who is speeding up or slowing down and once you’ve done all those things together then start a band.

It certainly worked for them.  The only bad thing about this show is that it’s only 30 minutes.

[READ: January 24, 2019] Hits & Misses

It has been a while since Simon Rich published a collection of his stories.  This one was pretty enjoyable.  Overall, not as much fun as some of his previous collections, but still a lot to laugh at.  Rich tends to write what he knows, which is often a very good sign.  However, sometimes what he knows is limited to writing and filming, which tends to miss the everyman silliness of his earlier pieces.

Having said that there are still some hilarious pieces that anyone can enjoy and some pieces about writers that are very funny.

A few of these pieces appeared in the New Yorker, and I indicate as much, with a link to my longer review.

“The Baby.”  This was a highlight.  A sonogram reveals that their baby is holding a pen–he is going to be a writer!  But when word gets out that the baby is already getting a reputation AND representation, well, that baby’s writer father is pretty damned jealous.  Wonderful absurdity based on reality taken to its extremes. (more…)

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  SOUNDTRACK: THE RADIO DEPT.-Clinging to a Scheme (2010).

In this final book, Karl Ove mentions buying a record on a whim by The Radio Dept.  Given the timing of the book, I assume it’s this record.  So I’m going to give it a listen too.

I really enjoyed this record which has a feeling of a delicate My Bloody Valentine fronted by The Stone Roses.  The key word in all of this is delicate.  It’s a very soft and gentle record (except for one song).  It hits all the buttons of 90s Britpop and to me is just infectious.

“Domestic Scene” opens the disc with pretty guitars intertwining with an electronic thumping.  After the first listen I was sure the whole record was synthy, but this track has no synths at all, just like five or six guitar lines overdubbing–each opener just as pretty as the others.  The voice sound a lot the guys from The Stone Roses on the more delicate tracks.

“Heaven’s on Fire” opens with bouncy synths and a sampled (from where?) exchange:

People see rock n roll as youth culture.  When youth culture becomes monopolized by big business what are the youth to do.  Do you have any idea?
I think we should destroy the bogus capitalist process that is destroying youth culture.

Then come the jangling guitars and the introduction of synths.

“This Time Around” has a cool high bass line (and what sounds like a second bass line). I love the overlapping instruments on this record.  I couldn’t decide if it was a solo album or a huge group, so I was surprised to find it’s a trio.

“Never Follow Suit” continues this style but in the middle it adds a recorded voice of someone speaking about writing.

“A Token of Gratitude” has some lovely guitars swirling around and a percussion that sounds like a ping-pong ball or a tap dancer.   The last half of the song is a soothing gentle My Bloody Valentine-sque series of washes and melody.

“The Video Dept.” is full of jangly guitars and gentle blurry vocals while “Memory Loss” has some muted guitar notes pizzicatoing along and then what sounds like a muted melodica.

David is the one song that sounds different from the rest.  It has strings and synth stabs and drums that are way too loud.  Most of the songs don’t have drums at all, but these are deliberately recorded too loud and are almost painful.

The final two songs include “Four Months in the Shade” which is an instrumental.  It is just under 2 minutes of pulsing electronics that segues into the delicate album closer “You Stopped Making Sense.”  This song continues with the melody and gentleness of the previous songs and concludes the album perfectly.

I really enjoyed this record a lot.  It’s not groundbreaking at all, but it melds some genres and styles into a remarkably enjoyable collection.

[READ: September and October 2018] My Struggle Book Six

Here is the final book in this massive series.  It was funny to think that it was anticlimactic because it’s not like anything else was climactic in the series either.  But just like the other books, I absolutely could not put this down (possibly because I knew it was due back at the library soon).

I found this book to be very much like the others in that I really loved when he was talking conversationally, but I found his philosophical musings to be a bit slower going–and sometimes quite dull.

But the inexplicable center of this book is a 400 plus page musing on Hitler.  I’ll mention that more later, but I found the whole section absolutely fascinating because he dared to actually read Mein Kampf and to talk about it at length.  I’m sure this is because he named his series the same name in Norwegian.  He tangentially compares Hitler to himself as well–but only in the way that a failed person could do unspeakable things.

But in this essay, he humanizes Hitler without making him any less of an evil man.  His whole point is that in order to fully appreciate/understand Hitler’s evil, you have to realize that he was once an ordinary person.  A teenager who had dreams about becoming an artist, a boy who was afraid of sex and germs.  If you try to make him the inherent embodiment of evil, it’s easy to lose sight of the fact that he was a child, a teen, a young man who was not always evil.

Why Karl Ove does this is a bit of a mystery especially contextually, but it was still a fascinating read especially when you see how many things gibe with trump and how he acts and behaves–especially his use of propaganda.  It’s easy to see how people could be swayed by evil ideas (and this was written before trump was even a candidate). (more…)

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SOUNDTRACK: KING CRIMSON-The Elements Of King Crimson – 2014 Tour Box (2014).

When King Crimson reunited in 2013, they prepared to tour as a seven piece behemoth the following year.  There would be three drummers, two guitarists, bass and horns.

And they were totally reinvigorated.

To celebrate this tour, Fripp and his minions created this Elements Tour Box, a 2 -disc set dedicated to displaying the elements that made up the band from the beginning until now.  It was made up of alternate takes, excerpt (lots of excerpts), live recordings and rehearsals from the entirety of the Crimson canon, including some of the 2014 shows.

It is a treasure trove for Crimson fanatics.  But it is also an excellent resource for anyone looking to explore the Crimson underworld without buying $150 boxsets.

The discs follow a vaguely chronological overview, starting in 1969 and moving on through 2008.  But there are 2014 takes of old songs thrown in as well–some sound better than others, but overall the quality is quite good.

The first disc covers 1969-1974.  It opens with
“Wind Extract,” which is the sound of Fripp’s mellotron being turned on back in 1969.
“I Talk To The Wind” is an instrumental version of the second song on ITCOTCK.  Purists will be able to tell how many things are different between this version and the actually-released product, but in a nutshell, this is the album version with no vocals.  It’s really interesting to focus just on the music and not the words for a change.  The song is quite pretty, with lots of flute.

“Cadence and Cascade” is from In the Wake of Poseidon and no one involved in the recording remembered Greg Lake singing a version of it.  Guest vocalist Gordon Haskell sang the album version.  Then someone recently found this “guide vocal” version of Lake singing it for apparently the first and only time.

The boxes often contain brief excerpts like this one–fifteen seconds of Fripp’s classical sounding guitars from “Cirkus.”  This is kind of an acoustic bridge before we hear the full song recorded in 1971 on the Lizard tour.  This song in particular sounds very dated live and the middle “circus sounds” sections are 70s crazy.
“Hoodoo (extract)” is a 2014 rehearsal that’s all of 20 seconds which segues into a raucous recording of Fripp playing a wild guitar solo for “Sailor’s Tale.”  It’s wild and really shows Fripp throwing everything he can at the song.
“The Talking Drum” is an early alternate mix which sounds great to me.  It gets really crazy by the end.

The “Lark’s Tongues in Aspect I” excerpt is from 2014 and is just Mel’s flute for 2 minutes.  It’s followed by a 1972 extract that’s just violin and dulcimer and harp.

This turns into a great new mix of the 11 minute “Fracture.”
After a minute of gorgeous harmonics by Fripp from “Fallen Angel,” we get a full, gorgeous 6-minute instrumental version of the song.  Because Crimson songs are so complicated and so carefully constructed, they are one of the few bands whose songs can have lyrics removed without them falling flat.
There’s a weird-sounding version of “21st Century Schizoid Man” from 1974, which sounds so very mid-70s in the recording style.  It seems somewhat slapdash compared to the utter tightness of the 2014 band.  The disc ends with Mark Charig’s cornet recording for the end of “Starless.”  On the proper release they use Mel Collin’s saxophone, but the cornet sounds delightful.

Disc two covers 1981-2008.

  This is pretty much the Adrian Belew era.  Belew was not invited back for the new incarnation, so that’s a little awkward.

It begins with an alternate take of the instrumental “Discipline.”  After a 45 second drum intermission, there’s a track called “Manhattan (Neurotica)” which is an instrumental version of “Neurotica.”  I love that the opening guitar sounds like sirens and car horns.
A minute and a half of the middle of “Neal and Jack and Me” is followed by the Steven Wilson mix of “Sleepless (Bearsville)” with an incredibly 80’s sounding slap bass from Tony Levin.

Then there’s a recording session of “Sex, Sleep, Eat, Drink, Dream.”  We hear lots of stops and starts, bass only, guitar parts and someone repeating “this is tough, tough shit.”
There’s a live version of “THRAK” followed by a minute of Fripp soloing around “Larks Tongue” called “Venturing Into Joy.”

This is followed by two tracks from Fripp’s side ProjeKcts,  “The Deception of the Thrush” is performed live by ProjeKct Four in 1998 with big thumping almost splatting-sounding drums.  Then there’s a trippy and ambient early version of “Heaven & Earth” by ProjeKct X.

After a scorching “Level Five” from 2008, there’s a minute long drum solo which would ultimately morph more fully into “The Hell-Hounds of Krim” and then two tracks from A Scarcity of Miracles.  “Separation” is an edited version of the bonus track (the disc label calls it something else).  And there’s an alternate take of “A Scarcity Of Miracles”–still long and a little too jazz-lite for me.

This is a really solid collection of all eras and styles of Crimson.  And it also showcases the various parts coming together.  A great production all along.

[READ: January 19, 2018] Monsters of the Ivy League

This book collects a series of Ivy League graduates and puts them in context with a they have a lot of support for all of their declarations.  Each entry gives a brief (biased) biography that highlights their flaws, outrages and downright unforgivable behavior.

So, rather than rewrite summaries of these assholes, I’ll present a grid with the shortcut (and some choice tidbits).  You can find the book and read the details for why our Ivy leagues have bred so many shitheads, including current miscreants:

Samuel Alito, Ben Carson, Ann Coulter, Ted Cruz, Laura Ingraham, Henry Kissinger, Dr. Oz, trump, and many more.

The introduction says that the term Ivy League refers to a bunch of football teams. (That’s why it says “league”).  The League was formed in 1954 to formalize the sporting relationship between eight teams: Brown, Columbia, Cornell, Dartmouth, Harvard, Univ of Penn, Princeton and Yale.

Of course, no one goes to these schools for sports, they go to find the best future contacts for your budding careers.

But read this book and remember:

An ivy education doesn’t force you to become a hideous person, but it doesn’t necessarily prevent it, either.

What follows is a smart-shopper warning to those applying, a count-your-blessings consolation to those who have been rejected and a watch-your-back caution to those already attending.

(more…)

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SOUNDTRACK: RHEOSTATICS-Massey Hall, Toronto, ON (March 30 2007).

This was the very last Rheostatics show ever.   Well, for eight years.  But it was supposed to be the very last one.  They had been a band for nigh on 20 years and they needed to call it quits.  So they managed to get a final gig at Massey Hall which sold out pretty quickly.

And we’re lucky enough to have a recording (or several) of it.

The show opened with a tribute song by Dave Bookman/Steve Stanley.  Throughout the song there is consistently off rhyming–the word Rheostatic does not actually rhyme with things like attack it.  I also absolutely don’t get the line about thinking The Bends is better than OK Computer (which it isn’t, but what does that have to do with anything).

So after their folk song, the band comes out.  Martin’s voice hasn’t been fixed yet (that is such a bummer–what a disappointment for him and the show that his voice couldn’t soar–although his guitar sure can).

26 Songs were played (27 including Alomar)
From the poll that was taken here are the top 26 songs as voted.   Those in bold were played (17 of the 26 played were in the top 26 voted):
1. Saskatchewan (51) 
2. California Dreamline (50) 
3. Northern Wish (48) 
4. Dope Fiends and Boozehounds (48) 
5. Self-Serve Gas Station (47) 
6. A Mid Winter Night’s Dream (46)
7. Record Body Count (45) 
8. Horses (39) 
9. P.I.N. (37) 
10. King of the Past (36) 
11. Aliens (31) 
12. Shaved Head (29) 
13. Claire (27)
14. Satan Is the Whistler (27)
15. Legal Age Life at Variety Store (25) 
16. Four Little Songs (23)
17. In This Town (21)
18. Christopher (21) 
19. Jesus Was Once a Teenager Too (20)
20. Take Me In Your Hand (19)
21. Junction Foil Ball (18)
22. Feed Yourself (18) 
23. Bad Time To Be Poor (17)
24. Queer (17) [surprised they didn’t play this]
25. Making Progress (17)
26. Introducing Happiness (16) [surprised they didn’t play this]

I want to interject that I am shocked that Stolen Car, Michael Jackson, RDA and Bad Time to Be Poor weren’t in the Top 25. Songs that weren’t voted on but were played were:

Me & Stupid; Mumbletypeg; It; Easy To Be With You; My First Rock Show; We Went West; When Winter Comes; Stolen Car; RDA

They open with “Saskatchewan.” Martin sound rough but is pretty game to sing what he can.  “Me and Stupid” absolutely rocks.

They don’t talk much (yet) although Tim says that “Bad Time to Be Poor” is from the dark days of Ontario about ten years ago.  He also says that they were going to put an intermission in between two sets but we wanted to play as much as possible so we nixed it.

Martin confesses, “I’ve got a little bit of a bug so I don’t have the high stuff in my voice.  Doctors can’t fix it.  So sing along with it, especially the falsetto.”  They start “P.I.N.” and there’s a terrible guitar moment where someone is way off but it’s quickly fixed.”

Dave introduces “Mumbletypeg,” I’d like to send this out to my parents.”  Martin: “Me too.”  Tim: “Me three.”  Once again, the opening guitar or bass if way off but again fixed quickly.

“It” is kind of a surprise.  It sounds good as does “Christopher,” which Martin says was written for his friend Chris Hamilton.

When they play “King of the Past” Dave tells Martin to “do an extra long one” for the solo.

They call up Don Kerr and Dave Clark (our old friends) to the stage for “Northern Wish.”  Dave Clark on drums (and maybe percussion) and Don Kerr on a prominent and excellent cello.  Martin sounds pretty good on this song and the whole thing si really lovely. So lovely that Dave has them do the end section one extra time.  Thanks to “Clarkie and Kerr.”

Clark mentions Dave’s dad who signed the form when they were 15 to allow us to play in bars–I think there was a two-four in it for him (which we couldn’t buy).  We should thank Dave Clark’s mom Maude because they played at her house every day.  We were really loud and uh…bad.  During mellow time.  “My mom certainly knew it was mellow time for some of us.”

Ford Pier gets introduced for “Easy to Be with You,” which sounds great.  “You aren’t leaving are you, Ford?  Last time we were on stage together, some D.O.A. broke out.”

Dave sings “My First Rock Show” and The Imponderables act out the story of Dave getting rescued by Joe Jackson (I can’t believe there is no video for that!).  Tim Vesley was on drums.  Dave jokes, it was like a dream and you were there and you were there.   When Dave gets to the “Massey Hall” line, he repeats it over and over, letting the fact that they are there really sink in.

Timmy’s gonna tell a story about us touring back and forth across this country.  Tim sings a wonderful “We Went West” with some great guitar accompaniment.  Tim says there’s lot of great places we’ve played.  This place isn’t bad.

Dave: “Hats off to everyone who came from out of town.  Thanks very much.”

Ford gets to be profound  Massey Hall– hallowed cathedral.  The birthplace of music. Where the first note was sounded out.  The dawn of creation….  I grew up in Edmonton.  This place is okay. Now, if  we were playing at the Jubilee Auditorium….

Then Dave talks about some of the history of Massey Hall

Dave: Massey Hall, a long time ago, soldiers sat in these seats and waited to be shipped out to WWI.  Hitler’s cousin came her and warned people about the Nazis.  Charlie Parker played here and Bon Scott.

Tim: We played the Walker Theater in Winnipeg opening for Barenaked Ladies and our van broke in Brandon.  The taxi cost $220 and we made it just in time to get to the side of the stage.  We’d never placed a place that big (not as nice as this though).

Dave: So general recap: it’s going okay?

Martin makes a joke about Dave “writing books about how I smell.”  Dave: People love that shit.

Martin says that Ford is gonna help me with this tune.  It wasn’t intentional that the intro should sound anything like Bob & Doug McKenzie’s Great White North call (it does and doesn’t).  Martin tries it but can’t hit the notes.  The audience does it for him.  Martin: I’ve never done rock stage shit before.  Dave: last change, Martin, go for it.  Martin: I might as well enjoy it.  Ford is going to sing it because this is what it sounds like when i do it (bad).  Martin has some guitar fun in the middle of the song

“Feed Yourself” is suitably intense–Dave really gets into that middle section: “look inside his head!”

Then some humor:

Dave:  I plan to take Rheostatics Revisited on the road–with a bunch of younger guys.
Tim: I got Rheostatics We Hardly Knew Ye on the casino circuit.
Mike: I’ll be work shopping some young boy bands.
Martin: I’m taking up pet massage (Mike: receiving or giving) Martin laughs: giving, I train pets to massage people.
Dave: We’ve been playing with Ford for 2 years now.  I think Ford’s been studying us very deeply learning all of four secrets.
Ford: Yes, in 20 years I’m going break up.

There’s a really pretty “Making Progress” with some lovely accompaniment.  It’s followed by a terrific moody “Shaved Head,” but it sucks when he can’t hit the “it’s such a happy thing to cry.”

Dave: “we’re entering the shank part of the evening as Levon Helm used to say–never knew what it meant, but it seems appropriate.”
Martin: “I’ve carefully maintained not getting to know hoe to play our own songs for about 20 years it’s a delicate process: you want to know it enough but not too much.”

They talk about Martin’s hat. Martin does not wear a hat to cover male pattern baldness.   Martin: my hat is my good luck charm.  I keep fiddling with it so I try not to think about things.   Dave: “If you’re thinking about your hat you’re not thinking about bad stuff.”

martin says that they planned to name their third album Rheostatics Cut Their heads Off and Go Swimming.  They made a pact that when we play for the last time, I would cut off Tim’s hand and he would cut off mine.  But how does the last guy do the last hand?

Someone shouts “50 bucks for your hand.”  Dave: “How much if he autographs it? … oh wait.”

So Dave, you wrote this frankenmonster [When Winter Comes] so talk about it.  I’m looking forward to playing it personally and Dave’s going to explain it to you.  Dave doesn;t explain it but he says the first part was written in  the interior of British Columbia.  The middle was written at King and Parliament intersection.  The final part was written at the Isaac Hostel in Dublin Ireland coz I missed my girlfriend.  Tim: That’s where we broke up the first time.

As they start the song, Martin says, “this is the fake ending of the show, lets rock.”

Evidently there was snow falling during the song as one person wrote: “Also, the fake snow falling in ‘When Winter Comes‘ was gorgeous and will be imprinted in my brain forever.”

They come back for the encore.  Tim says, “This song is in the key of D, it’s one of our favorites.  (Dave: can we get those police back?).  Martin: “I’ll dedicate this song [“Self Serve Gas Station”] to my parents.  This song isn’t all that true.  And to my sister who is seeing us for the first time tonight.  (Save: so it’s her fault).

Martin sings his heart out on “California Dreamline” but just can’t get the notes.

They invite Wolf Island’s Chris Brown to the stage.  We’re going to dedicate this song to Claire who is siting in the balcony.  She’s 7 years old.  “Claire” runs to almost 9 minutes with some great solos from all parties, including a great keyboard solo from I assume Chris Brown.

They play a ripping, intense version of “Horses.”  Despite acknowledging the kids in the audience, Dave doesn’t hold back.  Send this out to Stephen Harper and his minority government behaving like a majority government:

 theft and lies and deceit and pain and crime and hate and intolerance and cheating.  And he hasn’t even done anything yet.  But were gonna be ready and strong.  We’re gonna be mighty, small, and fierce.  Teeth bared, eyes open fists clenched, feet rooted to the ground.  This is our ground.  These are our roots

“Stolen Car” ends with Martin repeating the first line and Dave asking and then what happened?  So Martin speed reads the plot of the song to a blur as it segues into “RDA” with a chanted chorus of Super Furry Animals, “They don’t give a fuck about anybody else.”  As they near the end, Dave asks, “Are you ready Timmy?  Are you ready Marty?  Are you ready Fordy?  Are your ready Michael?” before they conclude… in America!

The final song of the encore is “Dope Fiends and Boozehounds.”  We’d like to invite the ensemble up for this next number.  Don and Dave and Chris…  let’s all do it together.  The drummers get a special drum solo with some fun keys from Ford.  The percussion solo segues seamlessly into “Alomar” before returning to “Dope Fiends.”  This song featured Chris Brown on keys and Dave Clark and Don Kerr on hand drums.

They leave but it’s not over yet.  They come out for a final encore, where they apparently sit down on the edge of the stage and joke with each other “how come you’re not famous?”  “How much money do you have?”  They plays some acoustic guitars (can you hear us alright?).

Dave: Ford, what can we do to get the top balcony singing?
Ford: This is Dave Clark’s thing, he’ll have good advice.
Clark directs the audience.  Top balcony, this half goes “oom” the other half goes “oom oom.  Middle balcony, hum through the nose–that’s not loud enough so hum out loud.  The bottom group, half goes ahhh and the other half goes whoooo.  They do a pretty decent participation throughout the whole of “Legal Age Life.”

And then there’s one last song.  Dave gets a little choked up.

I don’t get emotional about this until I start talking to people who are into the band.  People coming with old friends who grew up singing Rheos’ songs; people forming bands, lost in the wilderness and singing Uncle Henry to themselves….

And then they play a sweet acoustic version of “Record Body Count,” a sweet send off to Martin, for sure.  And as one person commenting on the show wrote:

Martin’s expression at the end of ‘Record Body Count‘ when he realized that there was a human pyramid behind him was priceless.

There is a clip of the human pyramid online, and it’s really pretty impressive.

The final word goes to Darrin Cappe, who runs the Rheostatics Live site

This show was the biggest they have played on their own to date, and the fans have flown from all over North America, from Florida to San Diego and from Halifax to Victoria to see them. What a pleasure and a treasure it was to have been there. I truly feel that those lucky enough to have been there were witness to a significant piece of Canadian Music History. One of those events where years from now when people talk about it you can say in the words of Dave Bidini “Oh Yeah, I Was There!” ” Darrin Cappe, Toronto ON

Shortly after the concert CBC Radio aired an edited one-hour version of the show.  The sound is excellent.  They play havoc with the set list, having it rather our of order, and having it end with the main body of the show.  But it’s a nice, clean-sounding, digestible one hour highlight reel.

01. Introduction   1:27
02. Interview with Andy Craig   1:44
03. Saskatchewan   8:04
04. Me and Stupid   4:02
05. DJ   0:11
06. Bad Time To Be Poor   4:17
07. King Of The Past   6:27
08. Northern Wish   6:34
09. We Went West   5:24
10. banter   1:09
11. Making Progress   5:18
12. Claire   7:09
13. DJ   0:22
14. When Winter Comes   10:05
15. Outro   0:49

There’s a slideshow of pictures at the bottom of this post.  And Pete Nema has some photos from the show online.   There’s also a couple of non soundboard recordings.  The one from Desmond Howl is especially interesting because you can hear a lot more of the crowd reactions–they were really into the show (which doesn’t quite come across in the soundboard version).

It was great run from a great band.  I was pretty psyched to be able to see them when they reunited seven years later.  My bucket list now includes seeing them play a proper show–two hours plus, with Martin’s voice in great form.  We’ll see what the summer allows!

[READ: January 13, 2018] “Munich, 1938”

I saw this longish story and the title and thought I would not like it at all.  I was pleasant surprised at how engrossed I became in this story.

It started out as I feared with the British Prime Minister and his delegation heading to a conference with Hitler and Mussolini.  We are focused on Hugh Legat, Chamberlain’s private secretary (but apparently not a very high ranking one).  He was asked to stay at the hotel to get an office running for the Prime Minister when he returned. We learn that Legat has an ulterior motive for being in Munich, although I’m not entirely certain that this excerpt reveals what that is.  It might, but I’m not sure.

The story is a bit bogged in details, but that’s as befits a novel, which this is and excerpt from.  So the early part is a little tough going with so many characters–most of whom we will not meet in this excerpt.

Then we meet Paul Hartmann. Hartmann is also at the conference.  We know even less about him except that he has a gun in one pocket and a letter in the other.  He has a message for the British delegation, but there is no way he can get it to them without being spotted.

The conference ends for lunch.  The delegates do not look pleased.  This made Hartmann happy that maybe the conference would fail. (more…)

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815SOUNDTRACK: BORIS-Heavy Rocks (2011).

Heavy Rocks, also known as Heavy Rocks 2011, was released at the same time as Attention Please and New Album.   The album has the same name and cover style and font as their 2002 album Heavy Rocks, although this one is purple and the 2002 release was orange.

Heavy Rocks shares the tracks “Jackson Head” and “Tu, La La” with New Album.
Heavy Rocks
shares the tracks “Aileron” with Attention Please, although it is radically different.
New Album shares the songs “Hope,” “Party Boy” and “Spoon” with Attention Please. 

The vinyl edition features extended versions of “Missing Pieces” and “Czechoslovakia.”

Unlike the other two albums, this one is largely heavier, exploring their more metal urges.

“Riot Sugar” (“甘い暴動”, lit. “Sweet Riot”) 3:56  has a raw sound with a soaring solo and a chugging, heavy tone.  It abruptly ends mid guitar solo and segues into “Leak-Truth,yesnoyesnoyes-” (“Leak-本当の反対の反対の反対の反対-“, “Leak (The Opposite of the Opposite of the Opposite of a Real Opposition)”) 4:11  which opens with a quiet unprocessed guitar and then the song starts rocking out–a kind of grungy alt-rock sound.  The vocals are whispered with a kind of throbbing bass line throughout.

“Galaxians” 4:09 opens with pummeling drums and all kinds of (80s) arcade sounds–including a bomb dropping and Atsuo screaming and shouting.  It is heavy and raw and pure punk.

“Jackson Head” (“ジャクソンヘッド”) 3:00 The version of this song is less synthy than that on New Album.  It’s got those punky distorted vocals right up font a shouted chorus of Jackson Head repeated over and over.

“Missing Pieces” (14:27 on vinyl release) 12:22  starts slowly with a pretty guitar melody and muted vocals.  After 6 minutes the song rocks but doesn’t get too noisy.  But after two more minutes it turns into complete and utter noise for another 2 minutes.  Then it all drops away and goes back to the quiet intro guitars.  The last two minutes just rock out.

“Key” (“扉”, lit. “A Door”) 1:46 This is a quiet brief instrumental with twinkly keys and a soaring solo.  It segues into “Window Shopping” 3:57 which opens with a woman speaking Japanese and then some heavy riffage.  There’s a shoegaze echo on the whole thing, especially the doo doo/ doo doo chorus.

“Tu, la la” 4:21 Such a great riff they had to play it twice.  This is a heavier and more guitar based version than on New Album.  It’s my favorite Boris song.

“Aileron” (“エルロン”) 12:45  The version on Attention Please is 2 minutes of acoustic guitar.  This one is nearly 13 minutes, and it begins with a slow echoing guitar notes but it soon gets heavy.  It’s a long, slow, heavy piece with drones and echoed vocal for nearly the whole song, although after 12 minutes there is a delicate piano coda.

“Czechoslovakia” (“チェコスロバキア”, 5:46 on vinyl release) 1:35 Not sure what happens in the vinyl version, but this short rocker has loud guitars and thunderous drums.  Just as it’s about to take off it fades after 90 seconds and ends the album.  Always leave them wanting more.

[READ: February 8, 2016] “Package Tour”

This was the 2015 New Yorker fiction issue.  It featured several stories and several one-page essays from writers I like.  The subject this time was “Time Travel.”

For the final time travel essay Sam Lipsyte balks at a couple’s genuine desire to use a time machine to go back to Brooklyn a few decades to buy a cheaper brownstone.  People in Brooklyn apparently constantly bemoan who cheap places were in their youth, but this one, well:

I pictured the couple hunched in some rattling claptrap wormhole-traverser–because all time machines are built with scrap iron and held fast with duct tape and cut-rate rivets, even those designed for hunting down investment lofts.  Their lips would be peeled back by G-Forces as their ship shredded along the seam of the space-time continuum until they landed in Cobble Hill, 1974.  There they’d hop out, buy a building, and head back. (more…)

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 SOUNDTRACK: RHEOSTATICS-Clinton’s Tavern Toronto ON (October 20, 1990).

From the Rheostatics Live website:

Very good sounding show though a bit hot in places. I had to stitch it together from 2 tapes and a messed up order but I think I got it right. Interesting that back in 1990, before even Melville was recorded, they were playing such a large selection of songs from Whale Music and even Introducing Happiness plus a bunch of songs that didn’t end up on any album such as Fluffy, Seems Like, Woodstuck, Memorial Day etc. One of the only times they played all three Joey related songs in succession. Louis Melville guests as well as Jim Hughes of 13 Engines. I don’t believe this is the full show as they talk about to going into Edmund Fitzgerald but the tape ends.

I had planned to post about these Rheostatics live shows in order, but I’d somehow missed this one.  Interestingly though, they play a bunch of songs that they would not record for several years–some of them are early incarnations of songs, too.

As the Daves introduce the band, the phrase one fell swoop comes up.  And Bidini says that they are One Fell Swoop.  Then Clark says we are One Swell Poop.   Bidini continues: The Holmgren Brotehrs, Dave and Dave.  That’s Frosty Flake on bass and Ken “The Rat” Linseman on the rat pedal.  I gather that Bidini has a mustache (there’s a Freddy Mercury joke later in the show), but he says “The mods called me a rich kid on the street because of his mustache.  They called me dude too.  Which isn’t modish or contemporary.

After some noise and static Dave says the first song was supposed to start with a technological flourish of some kind.  It’s “Jesus Was Once a Teenager Too” [Introducing Happiness] and it is sung by Dave and Dave (!)  It sounds so strange and there’s no middle section at all.  Midway through they call out Lewis Melville from Guelph Ontario to play the guitar.

They play they crazy noisy staccato intro to “When Winter Comes” [Melville] and the song rocks out.  At the end Bidini says it is three songs rolled into one: Big Bear’s Birthday, When Winter Comes and Victoria.  They play “Northern Wish” [Melville] and “Woodstuck.”  Dave introduces “Seems Like” as written about a guy Martin met in Dublin who told the band they had no vision.  It includes the line:  “a sentimental flower child bawls me out for lacking vision…fuck you, dude.”

Then they introduce a song “about a great hockey player gone bad its called “Beer” [Would eventually be “Beerbash” on Whale Music].

Bidini says they are really the tragedy corner here–that was depressing so is this one (“Soul Glue”) [Whale Music] Tim says, “I thought you meant we were sucking.”  There’s no Benjamin Hayward in the lyrics.  And during the part about the police, someone chants “911 is a joke.”

Clark gives a bizarro story as an introduction to “Ditch Pigs”: he and Martin got into fisticuffs punch up in the Rockies.  They stole policeman’s peanut butter and smeared it on each other and then fell into a ditch.  None of that is true, someone points out.

Marty’s got a case of the bombastic flu–the four week flu.  And so they play “Martin’s First Day of School” [never released] although they claim it is from their forthcoming album Rheostatics Cut Their Head Off and Go Swimming or form their triple CD retrospective Smelling a Dog on a Sunny Day.

They play “Memorial Day” which is also kind of a downer [never recorded].  And then a fun introduction to “Who” [Whale Music]:

Just back from Neil Young’s ranch in Topanga Canyon Mr Jim Hughes of 13 Engines.   Then comes “Chanson les Ruelles” [Melville], “Sickening Song” [Whale Music] with lots of accordion that segues into “What’s Going On” [also Whale Music] with a nice solo at the end by Martin.

This leads into “Fluffy,” the only time it’s available live here.  Martin hits some absurd high notes–I wonder if they ever intended to record it.  Dave introduces a song called “Dealin at the 7-11” which would of course be Legal Age Life at Variety Store [Whale].  Then comes two songs from Melville: “Christopher” and “Horses.”  “Horses” starts acoustic ad kind of slow, but it gets really loud with some interesting guitar solo sounds and a few changed lines.

Clark says after a minute (my-noot) break they will be back momentarily.

When they come back Dave Bidini congratulates the Cincinnati Reds for winning the world series “Big Bad Jose Canceco arriving there on the hook, you got what you deserve, you big asshole.”  Yipes.  Clark diffuses this but apologizing to all hockey fans for the baseball season hanging on so long.  Long live hockey!  Death to the fat mans’ sport.  They Clark explains that they have challenged the Leafs to a fun game against their Rock and Roll Hacker Jets: Dave Tim and Dave on the front line and Rick “whomp um” Wamsley in goal.

Someone shouts that Judy quit her job.  They seem excited and then when martin sings “Record Body Count” he sings–“Judy pulled herself to her feet.”  Then they play “Joey 2” and “Joey 3.”  It’s followed by great versions of Saskatchewan” & “Dope Fiends.”

There’s a fun green sprouts theme (with someone singing loudly and out of key) and then a surprising “Rain Rain Rain” [Whale] described as a quiet version with Clark cracking up at the end for unknown reasons.  There’ s cool version of “Aliens” [Melville].   And then one of the last versions of “Good on the Uptake.”  It’s really long with some hearty jamming.

We find out that it is almost 1AM, and then there’s a nice version of “Lyin’s Wrong” [Melville].  Dave gasps and says “Martin transformed into a gay librarian right before my eyes.”  It’s clear that they are planning to play more songs.  Indeed it seems like they have many more songs to go.  Bidini says he’d love to play Edmund Fitzgerald tonight and then the tape cuts off.

For such an old tape, the sound quality is quite good and the song selection is really fascinating since they had barely released any of the songs.

[READ: August 17, 2016] “A Sigh and a Salute”

This is the second essay about an artist that Spiegelman had written for Harper’s in 2016.  I wonder if it will become a regular thing?

This essay is about Si Lewen, an artist of whom I’ve never heard.  It is actually from the introduction to Parade: An Artist’s Odyssey.

Spiegelman says he has one of Si Lewen’s “Ghosts” hanging in his studio.  Lewen began the series of Ghosts in 2008 and has made over 200.

Spiegelman gives Lewen’s complex history: Born in Poland in 1918, his family moved to Berlin as World War I ended.  They were trying to escape Polish antisemitism and found the German version. When Hitler became Chancellor, Si Lewen aged 14, decided to leave Germany.  He and his brother left the family behind and went to Paris.  There was some luck on his side.  Si’s uncle in America had organized a fund-raiser for Admiral Byrd’s expedition to the South Pole.  Byrd’s brother, a Senator, arranged for Si’s entire family to get Visas in America in 1935.  But even America wasn’t great for Si.  In 1936, while sitting in Central Park after visiting the Met, a policeman upon hearing his accent grabbed him, rowed him out to the island in the center of the lake, bludgeoned and robbed him.  What the holy fuck? (more…)

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thrilignSOUNDTRACK: ADIA VICTORIA-Tiny Desk Concert #545(June 30, 2016).

adiaAdia Victoria has a rough, raw voice that goes well with her simple, exposed guitar sound.  The blurb says her music “carries the singular perspective of a Southern black woman with a Seventh Day Adventist upbringing, who never felt like she’d fit in.”

She sings three song, mostly in a great, raspy voice.  For “Stuck in the South” she actually seems to be gritting her teeth as she sings: “I don’t know nothing ’bout Southern belles / but I can tell you something ’bout Southern hell.”  When the first verse ends, and her band kicks in, it adds such interesting textures.  a distorted bass and a lead guitar playing quietly distorted sounds.  This song is really captivating.

“And Then You Die” with its swirling sounds and keyboards has a very distinctly Nick Cave feel–gothic in the Southern sense of the word.  Indeed, the first verse is spoken in a delivery that would make Nick proud. This is no to say she cribbed from Cave but it would work very well as a companion song  I really like the way it builds, but the ending is so abrupt–I could have used some more verses.

After the second song the band heads away and Bob says “They’re all leaving you.”  She looks at them and growls, “Get off the stage!” to much laughter.

She sings the final song “Heathen” with just her on acoustic guitar.  It is a simple two chord song.  It’s less interesting than the others, but again, it’s the lyrics that stand out: “I guess that makes me a heathen, something lower than dirt / I hear them calling me heathen, ooh like they think it hurts.”

I’m curious to hear just what Adia would do with these songs when she’s not in this Tiny format.  I imagine she can be really powerful.

[READ: November 23, 2016] McSweeney’s Mammoth Treasury of Thrilling Tales

For some reason or another I have put off reading this McSweeney’s volume for many years.  This is technically McSweeney’s #10, although it was also released in this printing from a  major publisher. Sadly for me, my McSweeney’s subscription had expired sometime around here so I’ve never actually seen the “official” Volume 10 which I understand has the exact same content but a slightly different cover.

One of the reasons I’ve put off reading this was the small print and pulpy paper–I don’t like pulpy paper.  And it was pretty long, too.

But I think the big reason is that I don’t really like genre fiction.  But I think that’s the point of this issue.  To give people who read non-genre fiction some exposure to genre stuff.

Interestingly I think I’ve learned that I do enjoy some genre fiction after all.  And yet, a lot of the stories here really weren’t very genre-y.  Or very thrilling.  They seemed to have trappings of genre ideas–mystery, horror–but all the while remaining internal stories rather than action-packed.

Which is not to say I didn’t enjoy anything here. I enjoyed a bunch of the stories quite a bit, especially if I didn’t think of them as genre stories.  Although there were a couple of less than exiting stories here, too. (more…)

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