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Archive for the ‘Monsters’ Category

SOUNDTRACK: CHILLING THRILLING SOUNDS OF THE HAUNTED HOUSE (1964).

The cover during Phish’s 2014 concert was of this album.

Apparently many people grew up with this record.  I personally didn’t know it, but if you read the comments (don’t read the comments!) on any YouTube clip of the album you will see how popular it is.

Wikipedia describes it as  intended for “older children, teenagers, and adults” released by Disneyland Records (now known as Walt Disney Records). The album was mainly composed of sound effects that had been collected by the sound effects department of Walt Disney Studios. The album was released in several different forms. The album was first released in 1964 in a white sleeve, with a second release in 1973 with an orange sleeve. In both versions, the first side contained 10 stories narrated by Laura Olsher, complete with sound effects. The second side contained 10 sound effects meant for others to create their own stories.

Despite the title, most of the cuts had nothing to do with haunted houses or witches or ghostly spirits. Featured were such situations as an ocean liner hitting rocks, an idiotic lumberjack, a man crossing an unsafe bridge, someone lighting a stick of dynamite and a spaceship landing on Mars. Also, there are tracks with several examples of cats, dogs and birds (similar to “The Birds”) becoming enraged for some reason, as well as a skit about Chinese water torture. In addition, some of the screams were taken directly from the scene where Miss Havisham catches fire in the 1946 David Lean film Great Expectations.

The full track listing is

  • “The Haunted House” 3:00
  • “The Very Long Fuse” 1:28
  • “The Dogs” 1:13
  • “Timber” 1:45
  • “Your Pet Cat” 0:49
  • “Shipwreck” 1:39
  • “The Unsafe Bridge” 1:21
  • “Chinese Water Torture” 2:02
  • “The Birds” 0:46
  • “The Martian Monsters” 1:41
  • “Screams and Groans” 0:57
  • “Thunder, Lightning and Rain” 2:01
  • “Cat Fight” 0:37
  • “Dogs” 0:48
  • “A Collection Of Creaks” 1:54
  • “Fuses and Explosions” 1:11
  • “A Collection Of Crashes” 0:45
  • “Birds” 0:33
  • “Drips and Splashes” 1:18
  • “Things In Space” 0:53

Nothing is especially scary–although maybe for a kid, as many adults claim to have been really frightened by it.  Everything is quite over the top, especially the screams and cat howls and dog snarling.  Even the stories are a little silly, although having them in the second person is pretty genius.

But things like “one night as you lie in your lonely room in your stone hut on the moors…”  (What?).  And the Martian one.  Just keeping with continuity: if “you,” meaning me, went on the trip, then I couldn’t hear the crunching as it ate me.  Or the silly voice saying “I wonder what that was.”

And the less said about the horribly racist Chinese Water Torture the better.  I mean, the opening is bad enough: “The ancient Chinese were a very clever race” but the end of the song is really awful.  But if we can look past that, the rest of the record has fun with sound effects and is generally pretty enjoyable.

During the John Congleton interview, he also talks about this album and says (at 40:28) “the speakers are 180 degrees out of phase to make it sound extremely stereophonic.”  He says now as an engineer it is totally painful to listen to.  Bob says it sounds like it comes from the back of your head.

[READ: October 15, 2017] Half-Minute Horrors.

The premise of this book (edited by Susan Rich) is simple: how scared can you get in 30 seconds?  To me, the answer is actually not very.  I guess for me fear builds over time.  It’s hard to get genuinely frightened over something that just suddenly happens (unless it is just trying to frighten you quickly, of course).

Having said that, I enjoyed this book a lot (look at the list of authors!).  I liked the arbitrary goal of writing a scary story in a paragraph or two (or more).  And some of them were really quite creepy.

I was originally going to point out which ones I felt were the most creepy, but there are so many stories, I kind of lost track.  So instead, here’s a rundown and a brief summary. (more…)

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SOUNDTRACK: DUNGEN-Häxan (2016).

I have been to a lot of shows in the last couple of years.  I have also had tickets to a few that I had to miss for various reasons.  The one I regret missing the most was the Dungen show where they were going to play live for the film The Adventures of Prince Achmed.   I missed it because there was pretty heavy snow–it was the right choice, I am just bummed about it.  It’s not so much that I wanted to see them perform the music that’s in this album (I didn’t even know it at the time), it’s just the experience that sounded awesome (and the fact that they played a second set of their other songs afterward was icing).

So this soundtrack officially came out recently.  It’s about 40 minutes (the film is around an hour) and it is a largely fun Dungen release with a feeling of soundtrack invoked.

The disc opens with “Peri Banu vid sjön,” the perfect soundtrack–slow and loping with washes of sound.  “Jakten genom skogen” follows with slow washes of sound with a pretty acoustic guitar melody and some lively bass.  It slowly builds in a kind of rocking 70s way.  “Wak-Wak’s portar” is a fast loud riotous affair that lasts a minute and a half.   It traipses back and forth on headphones and even has a penny whistle solo. It is sort of forcibly segued into “Den Fattige Aladdin,” a rather muffled distant sounding flute melody (I’m guessing it’s Aladdin’s motif).

“Trollkarlen och fågeldräkten” is a jazzy number with bass and piano and soaring wild guitar over the top of it.  “Grottan” is a minute of spooky synths that segues into the noisy buzzy guitar workout of “Häxan.”  That rocking slows to a slow menacing thump of drum and piano.

“Aladdin’s flykt över havet” is a soaring minute of synths which is followed by the sparing uplifting synths of “Kalifen.”

“Achmed flyger: is a fast piano based piece about Achmed flying, I assume.  Then there’s two Aladdin pieces: “Aladdin och lampan, del 1” is a slow one minute piano piece “del 2” returns to that flute motif with a groovy guitar and bass behind it.  The melody gets shunted to the distance as “Achmed och Peri Banu”  takes over with its drums and somewhat menacing bass.

The final song “Andarnas Krig” is nearly seven minutes long.  It is classic Dungen: wailing guitar solos with feebdack ala Hendrx’ “Star Spangled Banner.”  There’s some great rollicking bass work and rocking drums and everything.

Although this isn’t as substantial as some of their other albums, it’s a great collection of psychedelic instrumentals and you can imagine a movie streaming behind it.

[READ: April 18, 2017] Birthright: Volume Four

So much happens in this book that it’s like having whiplash–in the best way possible.

We open with Wendy and Rya in Mastema’s dining room.  Wendy is pleased to be lavished, but Rya says not to forget that they are in fact her prisoners–no matter how nice the accommodations.  While they are there, the other three mages arrive and discuss what should be done about this whole Mikey thing.

Speaking of the Mikey thing, we cut to the men of Mikey’s family: Mikey, his brother Brennan, his father Aaron and his grandfather–Sameal.  They head towards Sameal’s “lair” which is a  warehouse with extra security “magic doesn’t protect everything.”  This time-out allows everyone to deal with each other.  Aaron get t o confront his father–the father who was never there for him, who left when he was little and was the reason the Aaron acted the way he did with his own kids.

While there, Enoch, one of the other mages, comes to confront Sameal and we learn what their whole deal was. Enoch says that in all of their time together Sameal never told him that he had a family on earth (whereas Enoch told Sameal everything).  Enoch is offended that he didn’t share this intimate detail, but is more upset because he wants to know what Sameal was hiding all this time.  And the crux here is that Enoch says that Sameal’s own family is irrelevant if he can save the world–killing his grandson could save the world! (more…)

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SOUNDTRACK: GIRTH-Sleeper, Awaken! (2007).

This was the other disc in the Web of Mimicry Clearance section.  And it is radically different from Danubius.

Girth is an experimental metal band and these songs are heavy on the epereimental and heavy on the heavy.  Their page on Web of Mimicry notes:

We toured with this line-up for 6 months or so September 2005 through February 2006. The shows were our most brutal and experimental to date, often going off on long improvisational rampages. We recorded a through-composed 19 minute movie-like piece in four movements, entitled “Sleeper Awaken.” With Randall Dunn at the board, our intentions for this piece, were to create a mindfuck journey of psychedelic metal to supply a soundtrack for the listener during his/her most “indulgent” moments. WARNING: Not for the weak at heart… bum trips guaranteed for the unexperienced, depending on his/her state of mind.     — GIRTH [Guitar: Dave Webb; Keyboards: Andrew McInnis; Drums: Peijman Kouretchian; Vocals: B.R.A.D. Mowen]

This labum reminds me a lot of Naked City (but without the Japanese screamed vocals).  There’s very heavy sections and radically shifts in time signature and volume.  There’s wailing solos and quiet sections.  There’s pounding drums and no drums.  And it’s all done in about 16 minutes.

There four songs have elaborate titles:

  1. Confusion – “On the day my illusion shatters, I SEE.”
    The disc opens with a ringing bell and feedback but after 20 seconds the calm is exploded with some noisy guitars and feedback.   But it isn’t until 40 seconds that the left ear guitar takes off with super fast chaotic soloing.  The other ear is overwhelmed by noisy guitar squalls.  Washes of static and noise fill both ears for a time until a sort of noisy hardcore riff comes in around 2 and half minutes in.  Things alternate between intense noise metal and soloing (with echoed effects).
  2. Betrayal – “I will rise as you will die, diminishing within my luminous pride.”
    The songs segue into each other.  This song begins with some thunderous drums (five beats over and over) and staccato noisy guitars.  The middle of the song quietens down to some running water and dialogue (barely audible) until the end.
  3. Alone – “Wallowing in my indulgence, I am blind.”  “Divine perceptions unshackle power to dive within.”
    This opens slowly with quiet whispered noises and rumbling drums.  At 3 minutes comes the intense hardcore attack of punishing drums and squealing guitar solos.  The end of the song is a kind of tornado of guitar noises that seem to swirl around in between heavy two note punctuations
  4. Chaos – “This being is a vessel. You cannot stop me. I am Free, I am Awake And I LOVE.”
    Those two note punctuations continue into this final track but with much more frequency and intensity.  There’s some vocal at the end, but nothing especially audible–we’re there “vocals.” With a few more pummels and a fast guitar solo, the 16 minutes comes to an end.

This is a pretty intense record indeed and definitely not for the uninitiated.  I am very curious how they pulled off this challenging record live.

[READ: April 18, 2017] Birthright: Volume Three

This story continues to grow in excitement and tension.  Brennan is getting a little frustrated that Mikey seems to be hiding something from him (he has been getting hints that Mikey is lying about his mission).

But first there is a flashback to a time when Mikey disobeyed his handler, Rook. In this instance he disobeyed in order to help a helpless victim.  A young girl was about to sacrificed to King Lore and he risked his own life to save her.  Rook is furious that he could have been killed but also because he has now changed the way the world is supposed to work–the girl’s death was supposed to be a regrettable necessity.

Back on Earth, Agent Kylen has paid a visit to Aaron in prison.  He asks for Aaron’s help in tracking down his sons.  Aaron says no way but Kylen indicates that it is not a request after all.  So Aaron tells Kylen about his old house in the burbs of Chicago.

At the same time, Rya and Wendy are searching for them as well.  Rya is getting more exhausted (she is really close to giving birth) so Wendy winds up driving her. (more…)

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SOUNDTRACK: DANUBIUS-Danubius (2002).

After seeing Secret Chiefs 3 recently, I went to the Web of Mimicry website and saw what other CDs they had to offer.  In their clearance bin, they had a couple of CDs including this one by Danubius.  So who are they?

Danubius is a San Francisco-based Eastern European band, specializing in traditional and Gypsy (Rom) music from Hungary, Romania, Serbia, Bulgaria, Macedonia, and other countries in the vicinity of the Danube River.  Led by Music Director Roman Titcu, our music has been called romantic, passionate, energizing, and can be described as a cross between the genres of folk and Classical music. We play both Western and traditional Hungarian, Romanian, and Bulgarian musical instruments, giving us a unique sound.

Yes, so even though Secret Chiefs 3 experiment with various Eastern Europeans styles, Danubius is not about experimentation at all.  They are about authenticity.   This 53 minute disc has twenty songs broken down into sections.  And the booklet is quite detailed in its explanation of the various songs and styles.

The members for this recording are David Skuse – vioolin, viola, gadulka, bass , drum ; David Nebenzahl – violin, viola, bass, tambura ; Clark Welsh – tárogató, fluier, Romanian caval, ocarina, Bulgarian tambura and kaval, prim and brach tambruricas, cobză and sax ; Jutka Mándoki – accordion, kontra, acoustic guitar, cimbalom, brasca (viola), Tekerőlant (hurdy-gurdy), ütőgardon (Beaten cello), bass ; Magdi Ordasi, Szilvi Gilbert, vocals ; former band member: Balázs Králik – bass, violin ; guests: Roman Titcu – tambal mare (cimbalom) ; Odile Lavault – accordion.

I enjoy that the notes state that some of the songs are intended as show off pieces.

The sections include (I tried to get every accent right, but there will be no searching for these titles).

Transylvanian Suite
Doină De Ardeal; Purtată și Invârtita Din Țara Fagarașului; Hațegana
This begins with some slow horn melodies as the rest of the band plays traditional backing instruments.  Accordion is prominent in some songs too.  The third is described as “a standard show-off piece.”

Hungarian Roma (Gypsy) style songs
The mandolin (the only instrument not listed up there so clearly one of the other ones–likely the prim which is a kind of tambura) runs free with this fast melody that grows faster as it goes on.  Made popular in the 1960s.

Caval Suite (Southern Romania)
Cântec Lui Dumitru Dobrican;  Joc Ca La Stâna
The caval is a long, five holed flute with a very soft sound.  There’s some truly lovely flute melodies over slow backing chords for the first one.  The second one is really fast a totally show-offy kind of piece with accompanimnet by the lute, the cobză .

Nóta Suite (Hungarian Gypsy Restaurant Style)
Friss Csárdás; Maros Víze Folyik Csendesen (“the water of the Maros flows quietly”); Minek A söke énnékem? (“What is the blonde to me”);  Hull A Fa Levele, Hull A Hó (“the tree’s leaves are falling, the snow is falling”)
Four very short pieces (none over 2 minutes) with primarily fiddle as the main melody.  The notes say that these kind of songs were usually mean as lead off for instrumental extravagance.  “Hull…” is probably the most popular instrumental tune of all time–each violinist tries to outdo the others.

Geamparalele (Romania Black Sea)
Geamparalele de la Cernavodă – Leliță loană – Geamparalele  Bătute
A fascinating whistle sound very fast ans almost birdlike.  This song is in Balkan 7/16 meter (2+2+3) with four lead instruments.

Bulgarian Suite
Melodija; Blateshnichka kopanitsa (“Hoeing”)
The first is a free rhythm tune.  It’s first lead instrument is the gadulka (Bulgarian folk fiddle) with three melody strings and 10 sympathetic strings.  There is no fingerboard and the notes are stopped with the fingers.  There’s also the Bulgarian kaval a 7 hole flute.  The second piece is in 11/16 (2+2+3+2+2) meter with tambura as lead.  There’s lots of beautiful soaring flute in the first of these two songs.  The second is a fast picking experience.

Dunántúli Suite (southern Hungary)
Urgós (“jumping”); Lassú / friss Csárdás (“Slow and fresh dances of the inn”)
This is the only section with vocals, which I don’t like as much as the instrumental songs.

Kyuchek  (Bulgarian Roma)
Flute is prominent in this song which is in 8/16 (3=3=2).

Muntenian Suite (Southern Romania)
Hora rară; Brâul pe șase (“belt dance in six”); Joc Țigănesc De Doi (“Roma dance for two”); Brâul Pe Opt  (“belt dance in eight”)
These are furiously fast dance songs.  The first was first heard by David during the Ceaseșcu years).   Violins dominate this song but with a delightful fluier (sounds like a penny whistle) added ion.  They’re mostly fast numbers all about 2 minute long.

This whole record is an enjoyable trip into Hungarian culture.  And you can dance to it (well, some people can dance to it).

[READ: April 17, 2017] Birthright: Volume Two: Call to Adventure

As this book opens up Aaron and his wife, Wendy, are trying to reconcile.  They both see that their children are in something big here.  Aaron is still super pissed that she even for a second considered that he killed Mikey, and she is still pissed about well, everything else.  But they are willing to talk it out.

That is until Agent Kylen with the National Security Agency busts in and tells him that Agent Brooks is no longer on this case–things have gotten too serious.

Meanwhile back in the woods, Mikey is trying to toughen up Brennan a bit–cold river baths and a bit of swordplay, when they are attacked by a large bear.  But rather than violence, Mikey is able to communicate with the bear and pacify it.  Mikey says that he has a way with animals.  And then proceeds to smash its skull in.  Brennan is outraged, shocked, aghast that his brother could kill so easily.  But Mikey just say to do what you have to to survive.

Wendy discovers the journal that Mikey created when he was first in Terrenos.  And this is great way to learn a little more about his life there.  She reads how Mikey really wants to come home, but that he knows he has a job to do. (more…)

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SOUNDTRACK: THE WOODSHED ORCHESTRA-The Horseshoe Tavern, Toronto (December 5, 2012).

The Rheostatics were originally supposed to play 3 Reunion concerts to help celebrate the 65th Anniversary of The Horseshoe Tavern. Unfortunately the concerts got cancelled but Dave stepped in and offered up a free show on Wednesday December 5 2012, what was to be the first of the reunion shows.  Dave Clark’s Woodshed Orchestra opened the show with a 48 minute set of New Orleans-style jazz (a limiting descriptor since their site says):

Legendary Toronto drummer Dave Clark (Rheostatics, Dinner is Ruined, The WoodChoppers Association, Gord Downie and Charles Spearin) pilots a five-piece horn section, four-piece rhythm section and full-ensemble vocals through New Orleans Funk, 2nd line and Jazz, R&B, Ska, Soul, Reggae, Punk, Rock n Roll, Blues, Country, Surf Rock, Neo-Greek, Ranchero, Polka, Disco, Samba, Afro-Pop, Waltz, New Wave, Cajun, Tex-Mex, Power Pop, Klezmer, Torch Ballads, Tango and Calypso, in an extraordinary celebration. This band is a funky, uplifting and joyful ride every time it plays.

The joy is utterly true. Dave is a warm and friendly guy, introducing all songs with a smile and calling everyone “friends.”

The play nine songs from their three albums.  Each song is a variant on that New Orleans style of tuba and banjo (and more of course).  It’s exemplified by “Love Letter to New Orleans” a song that seems like an instrumental but which is actually just really long before the words come in.

Dave introduces the second song, “There’s certain things I forget…. ”  “Drugs & Alcohol” is, unsurprisingly, a song about drinking.  He introduces our friend Pavel (Paul Kolinski) and then Karen Ng on “I Got No Clue.”

The next song’s entire lyrics are the band members meowing while they play.  I can’t find the name of the song.

Dave introduces the next song as a dancing song dedicated to one of the greatest guitarists to walk the planet.  It could be me or you or anyone on the planet because were all great then we try.  But this is for “Levon Helm” who looks like he was a bout to die on stage but still gave two hours of the slinkiest, grooviest music.

Next, Karen Ng is going to play you a song and then teach it to you: “Seasons of our Lives.”

Dave says, “We’re good for two more numbers or so and then we’ll take it out to the hallway.”

Then: “Let me name some names: Geezer Butler, Erica Badu, the guy from Crazy Horse who doesn’t t move but he’s got a really good voice.  Tim Vesely.”  This is all an introduction to their song “Geddy Lee.”

Want to hear a sing about sex?  “Clothes Off” features the line: “Come on take your clothes off I wanna see you naked.”

The final song is dedicated to each and every one of you and people you don’t get to see.”   “Penny & Mousie’s Antidotal Lullabye” is a sweet slow number, a nice send off of love and tenderness.

Considering that Dave Clark was always the weirdo in the band, and he is still a bit of a goof, this music is really sincere, and really good.

[READ: April 16, 2017] Birthright Volume 1

The name of this book intrigued me when I saw it in the library.  And I really liked the cover image.  So I grabbed it and volume two.

And man, did  I love how quick and abrupt the beginning of the story came.

On page one a dad is throwing a ball to his young son.  On page two the dad talks to his wife while the boy, Mikey, runs into the woods for the ball.  On page four Mikey is officially missing and the police have been called in.  On page five the dad is being accused of killing his son and by page ten the parents have filed for divorce.  Yowza.

In that time the mom has started dating one of the detectives (I think).  The dad, Aaron, has become a useless drunk.  But there is some news on the case.  The detective calls both of the parents and their older son Brennan into the precinct because they have brought someone in.

The man is in his mid 30s, totally muscular and wearing intense armor.  They immediately think that this man abducted Mikey. But the dad says no, that IS Mikey.  WHAT?  The detective says that the DNA matches. It makes no sense, but there are real indications that it is indeed Mikey.  It’s just that time moves faster where he went, obviously.

Mikey tells them it was destiny and then we see how he was grabbed by some flying creatures and some large orc-like creatures.  There is a brief story of Mikey’s introduction to Terranos–where it is his destiny to be the world’s hero.  And he has come back to earth to protect it from the bad guys of Terranos who plan to invade.

Twists upon twists and great storytelling.  But a pretty standard premise, right?

No, because Williamson has one more twist up his sleeve. (more…)

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SOUNDTRACK: PHISH-Ventura (2013).

Not content to have just one concert on a release, Ventura contains two complete concerts from July 30, 1997, and July 20, 1998, at the Ventura County Fairgrounds in Ventura, California.

It’s an opportunity to compare the band at the same location one year later–these two shows exist in the vacuum between the release of Billy Breathes (1996) and The Story of the Ghost (1998), so there’s a few “new” songs in 1997, but it also doesn’t mean that they are playing the same sets–not by any means.  In fact, between the two shows they repeat only two songs: Water in the Sky (new) and Prince Caspian (from Billy)

1997 sees the band in good form.  After two solid openers with “NICO” and “Wolfman,” they play a wild “Chalk Dust” which has some crazy dissonant soloing in it.  “Water in the Sky” is a slow countryish version with piano and twangy guitar.  There’s a great “Stash” with appropriate audience clapping (I really want to see that live) and then a typically fun “Weigh.”  This is followed by lovely versions of “Piper” and “Cars Trucks Buses,” and the set ends with a slow funky version of “Character Zero.”

Set two opens with a groovy “Pinch You in the Eye” (9 minutes) and a great jamming version of “Free” (almost 12 minutes) with a funky solo.  “Free” is one of my favorite songs by them and I always think of it as “new” because it is rather poppy.  But it’s from way back in 1996 so it’s surely not new. After about four and a half minutes of trippy sounds and echoes. they start “David Bowie” (which includes The Simpsons riff and a Doh!).  The solo is long with a lengthy piano section and a mellow jazzy middle before it turns a little funky and then to a groovy jam to the end.  It runs for just over 21 minutes and the end of the song starts the chords for Talking Heads’ “Cities,” which the band segues into perfectly and then segues back into “Bowie” fop another 6 minutes.  There’s a scorching end of the song with a lot of noise before the end.  Those last scorching solos each have a break where the band sounds like they are collapsing before resuming perfectly.  It is a spectacular 32 minutes of music.  (Their live releases have me believing that they “Cities” a lot more than statistically they do).

They slow things down with a relatively mellow version of “Bouncing around the Room” (as mellow as that song can be anyhow) and then the bluegrass version of “Uncle Pen.”  The end of the second set comes with a mellow jam to start “Prince Caspian.”  Even the jam is mellow for about 9 minutes, but the set ends with a raucous version of Jimi Hendrix’ “Fire.”

The encore is a rollicking run through “My Soul” with a very fast “mymymymymymmysoul oh my soul.”  It’s a great show with lots of perfect peaks and valleys.

There’s a bonus track–a 9 minute soundcheck jam.  There’s some casual singing of some “dah dah dahs” and some high pitched “ooohs.”  A keyboard solo follows and it ends with a noisy section and a scream of delight.

In 1998, the band opened the show with a 21 minute “Bathtub Gin.”  It’s not that often that their opening song is a big ass jam.  (I’m sure someone has stats to back that up).   There’s a lot of piano riffage in the middle too.  After this, the band plays mostly short songs for a while: a mellow version of “Dirt.” Then a  fast and fun “Poor Heart” (in which Trey introduces Mike as the author–which he is).  Then a jazzy “Lawn Boy.”  There’s a romping “My Sweet One” which segues into a rocking “Birds of a Feather.”  By the time the get to “Theme from the Bottom,” which sounds great, they’re ready to stretch out.  It’s about 9 minutes long with a nice long solo.

They repeat “Water in the Sky” from last year.  It’s pretty although a minute shorter than 1997.  There’s a 4 minute jam before “The Moma Dance” starts proper (that will be on Ghost).  The set ends with a 14 minute “Split Open and Melt.”

Set 2 opens with a really long (14 minute) version of The Who’s “Drowned” and a dark moody jam although the reggae chords of “Makisupa Policeman” start long before “Drowned” ends.  And as the reggae jam starts, Trey sings “woke up this morning… SKUNKED” to much cheering.  The song ends with a trippy synth section that segues into “Maze.”  Page continues The Who theme with a solo version of “Sea and Sand.”  It’s interesting that in 1997 their second to last song was “Prince Caspian” (about 9 minutes). A year later their second to last song is also “Caspian,” this time 12 minutes with a rocking solo.  It segues into a stellar set-ending fifteen minute “Harry Hood.”

The encore is a crazy “Sexual Healing” sung by fish.  It’s goofy and it goes on way too long (nearly 8 minutes), but they follow it with a 12 minute jam of “Haley’s Comet.”  I love the harmonies.  The song ends with some rumbling noises as the guys leave the stage.

The bonus soundcheck is a reggae riff with them reciting the lyrics “I’m your Venus, I’m your fire.”  It’s a decent enough jam for a soundcheck although I’m most impressed with how Trey ends with a wrap-up riff instead of just stopping the song.

The bonus soundcheck songs aren’t that great to have–more like special feature on a DVD.  But the main sets are fantastic.  And you get 35 different songs between the two shows.

[READ: November 22, 2016] Tales Told in Oz

I read the 16 Madras Press Books some time ago and posted about half of them.  So here’s the other half coming up.  So what is Madras Press?

Madras Press publishes limited-edition short stories and novella-length booklets and distributes the proceeds to a growing list of non-profit organizations chosen by our authors.

For this particular book, “The author of the bestselling Wicked Years series returns to Oz with a compendium of folktales.  Proceeds to benefit Friends of West Hartford Library.”

I’m probably the only person who would read this book not knowing who Gregory Maguire was.   Well, I’ll amend that.  I knew who he was and I loved Wicked when I read it.  But I forgot who he was (his name  did sound familiar, though).

As I said, I loved Wicked but didn’t read anything else in the series.  I was only vaguely aware that there was a series–evidently there are 4 books and this book is considered 0.5.

All of this is introduction is to set up why I didn’t really enjoy this book that much.  Not realizing that it was part of Maguire re-imagining Oz, I thought it was weird and arbitrary that it was “set” in Oz.  Why not just make up your own world to tell these stories about.

Now realizing what was at stake, I appreciate it more, but since I’m not invested in his series (or really in Oz itself–I’ve never read more than the first book of that series either), these were just amusing tales. (more…)

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[LISTENED TO: January 2017] A Dragon’s Guide to the Care and Feeding of Humans

We listened to this book on our recent trip to Vermont. dragon

It was utterly unnerving to have the delightful Susan Denaker read this book because she was the author of the Penderwicks series which we love.  And her voice of Batty in that series is identical to the voice of the main girl, Winnie in this series.  But once we got past that (and it did take a while, we found this story to be fun and enjoyable.

But this story went in a direction I absolutely was not expecting–especially based on the title.

Each chapter has a heading like in an instruction manual for the care and feeding of Humans: If you value your happiness and sanity, take your time and choose your pet wisely.  To train your pet you will need three things patience, patience and above all patience.

And it seems to start out with that premise in mind.

For this book is narrated by a dragon, known as Miss Drake.   As the story opens, Miss Drake is in mourning because her pet, Fluffy, has died. Fluffy is the name she gave to Amelia, and older lady whom the dragon appeared to.  When Fluffy died Miss Drake planned on going to sleep for 20 or 30 years to get over it.  But just two days later, a little girl waltzed into her den–the girl had the key and everything! (more…)

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