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Archive for the ‘Metallica’ Category

[ATTENDED: June 11, 2019] Baroness

Baroness is, for the most part, the work of John Baizley.  There are others in the band, but there hasn’t really been any consecutive albums with the same lineup.  I first heard of John Baizley on March 10, 2017 when he was brought out as as special guest at a Strand of Oaks concert.

I thought Baizley was great at that show and I really liked his voice.  So I investigated and I discovered the wonder that is the prog metal of Baroness.  Baizley writes beautiful passages and tacks them onto brutally heavy metal.  His voice is a rich baritone and it all works perfectly.  I later found out that all of the art is done by him and that he has crafted some amazing heavy metal covers as well (here’s his art site).

In 2017, Baroness was between albums (their previous one came out in 2015, their new one is coming out in a couple of days).  But I listened to his older records and really liked them a lot.

They have recently toured for this new album, but the two shows they played near me were not ones I wanted to see.  In April they played the Decibel Magazine Metal & Beer Fest which sounded like a terrible thing to go to, quite frankly (even if they were the headliners) –7 bands and all that beer, no thanks.  A few days earlier they were playing Starland Ballroom with Deafheaven.  A double bill I would have liked to see, but I was already seeing Voivod that night.

They announced a tour of the rest of the lands and I was a little bummed.  But then they announced this little acoustic tour to coincide with their new album.  I was planning on getting the album anyway, so to travel to Fords to get that record and to have Baroness play an acoustic show was a no brainer. (more…)

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[ATTENDED: May 24, 2019] Slayer

I have been a fan of Slayer since their debut album, Show No Mercy.  I was a major metal head in high school, always searching for heavier and heavier music.  Metallica was great but then came Slayer.   I more or less stopped listening to them after college.  Although in 2001 (with the release of God Hates Us All on 9/11) I reintroduced myself to their newer stuff.  And since then I have been checking out each release.

Their final album, Repentless, came in 2015 and they have been touring it ever since.  This is–and I assume it’s true–their Farewell tour.

They’ve had a remarkably stable line-up over nearly 40 years.  Drummer Dave Lombardo left and then came back and then left again.  I would have loved to see Slayer with Lombardo, but I was able to see him (and actually see him) when he played with Dead Cross (I was five feet from the stage).  I would never have actually seen him with Slayer (so much stuff on stage.  I never saw Paul Bostaph behind the kit).

The only other line up change came when guitarist Jeff Hanneman died.  That was pretty major, since Hanneman co-wrote so many of the songs.  But Exodus guitarist Gary Holt filled in and has been in his place for six years (he recorded Repentless).  Holt has a different playing style (his solos are more structured), but he comes from the same heavy, dense guitar background and fits in just fine.

I had actually been intimated about going to a Slayer show, especially as an adult.  I have seen my fair share of metal shows, but I assumed the Slayer audience would be a step more intense.  Just waiting online was intimidating with every other person shouting “SLAYER!” at the top of his lungs.

I finally decided to see them in 2017 at The Electric Factory, but when I called on the night of the show to secure my ticket it had literally just sold out.  So I figured I’d never see them live.

Then they announced this farewell tour.  It was going to be at an arena (which would be less insane than a club, in terms of fan behavior) and I was able to get decent seats.  [This show was better than that one for setlist, and I have to assume pyro as well]. (more…)

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SOUNDTRACK: Y&T-“Mean Streak” (1983).

In the early 1980s Y&T had a couple of albums that made it onto my radar.   This one, Mean Streak, had this song which I liked enough. It’s got some cool riffs and Dave Meniketti’s raspy but distinctive voice.

I remember liking this song, even though I really had no idea what was going on in the lyrics.  The chorus where everyone sings “mean streak” behind his lyrics was certainly the catchy selling point.   But this is hard rock more than metal and is not really my thing.

I may have bought this album, but I know I have the follow up In Rock We Trust, which was more poppy (and they were more pretty).  I had forgotten all about “Lipstick and Leather” yet another cheesy pop metal song about, well, lipstick and leather.

People who were fans of Y&T (like Posehn) were die-hards, but even listening now I see why I never really got into them, even if I liked them for a bit.  Maybe it was a California thing.

[READ: January 2019] Forever Nerdy

S. got this for me for Christmas after we saw Posehn on a late night show and he talked about his nerdy obsessions, including Rush.  It seemed like an obvious fit.  And it totally was.

Posehn is a few years older than me, but if he had lived in my town we would have totally been friends (except I would have never talked to him because he was older).  Anyhow, we had more or less the same obsessions and the same nerdy outlook.  Although I was never really picked on like he was so perhaps I was a little cooler than he was.  Although I never smoked or drank when I was in high school so maybe he was cooler than me.

Things to know about before reading this–Posehn is a vulgar dude–there’s not much kid friendly is in this book.  Also this book isn’t really an autobiography exactly. I mean it is in that he wrote it and its about him, but if you were dying to find out fascinating stories about his crazy life, this book isn’t really it. I t’s more about the things he was obsessed with–in true nerdy fandom.

Although, Brian, what nerd doesn’t have an index in his own book? (more…)

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SOUNDTRACK: JOHN PRINE-Tiny Desk Concert #717 (March 12, 2018).

For all of the legendary status of John Prine, I don’t really know that much about him.  I also think I don’t really know much of his music.  I didn’t know any of the four songs he played here.

I enjoyed all four songs.  The melodies were great, the lyrics were thoughtful and his voice, although wizened, convey the sentiments perfectly.

The blurb sums up things really well

An American treasure came to the Tiny Desk and even premiered a new song. John Prine is a truly legendary songwriter. For more than 45 years the 71-year-old artist has written some of the most powerful lyrics in the American music canon, including “Sam Stone,” “Angel From Montgomery,” “Hello In There” and countless others.

John Prine’s new songs are equally powerful and he opens this Tiny Desk concert with “Caravan of Fools,” a track he wrote with Pat McLaughlin and Dan Auerbach. Prine adds a disclaimer to the song saying, “any likeness to the current administration is purely accidental.”

I thought the song was great (albeit short) with these pointed lyrics:

The dark and distant drumming
The pounding of the hooves
The silence of everything that moves
Late in night you see them
Decked out in shiny jewels
The coming of the caravan of fools

That song, and his second tune, the sweet tearjerker “Summer’s End,” are from John Prine’s first album of new songs in 13 years, The Tree of Forgiveness.

He introduces this song by saying that.  This one is a pretty song.  It might drive you to tears.  He wrote this with Pat McLaughlin.  We usually write on Tuesdays in Nashville because that’s the day they serve meatloaf.  I love meatloaf.  We try to write a song before they serve the meatloaf.  And then eat it and record it.

For this Tiny Desk Concert John Prine also reaches back to his great “kiss-off” song from 1991 [“an old song from the 90s (whoo)…  a song from the school of kiss off 101”] called “All the Best,” and then plays “Souvenirs,” a song intended for his debut full-length but released the following year on his 1972 album Diamonds in the Rough. It’s just one of the many sentimental ballads Prine has gifted us.

He says he wrote it in 1968…when he was about 3.

Over the years, his voice has become gruffer and deeper, due in part to his battle with squamous cell cancer on the right side of his neck, all of which makes this song about memories slipping by feel all the more powerful and sad.

“Broken hearts and dirty windows
Make life difficult to see
That’s why last night and this mornin’
Always look the same to me
I hate reading old love letters
For they always bring me tears
I can’t forgive the way they rob me
Of my sweetheart’s souvenirs”

The musicians include John Prine, Jason Wilber, David Jacques and Kenneth Blevins.

 

[READ: December 11, 2017] X

I really enjoyed Klosterman’s last essay book, although I found pretty much every section was a little too long.  So this book, which is a collection of essays is perfect because the pieces have already been edited for length.

I wasn’t even aware of this book when my brother-in-law Ben sent it to me with a comment about how much he enjoyed the Nickelback essay.

Because I had been reading Grantland and a few other sources, I have actually read a number of these pieces already, but most of them were far off enough that I enjoyed reading them again.

This book is primarily a look at popular culture.  But narrowly defined by sports and music (and some movies).  I have never read any of Klosterman’s fiction, but I love his entertainment essays. (more…)

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McSweeney’s 49: Cover Stories: Contemporary writers reimagining classic tales (2017)

SOUNDTRACKBIG K.R.I.T.-Tiny Desk Concert #714 (March 5, 2018).

A while back I downloaded one of Big K.R.I.T.’s mixtapes and rather liked it.  Since then he seems to have become pretty huge and I feel like he has really expanded on his style.

K.R.I.T. sings/raps three songs from his new album.

4eva Is a Mighty Long Time, a double album in which he covers everything from blessings to depression while plumbing the carnal and spiritual depths of his own duality. All three songs performed here come from side two, titled after his birth name Justin Scott.

The first song “Mixed Messages” is really thoughtful.  He sings and raps

I gotta whole lotta mixed messages / in my songs am I wrong / to feel this way
I got me a lover but I still wanna cheat / I wanna be saved but its fuck the police
i never really liked the fake shit / but I’m attracted to the fake ass and fake tits
i really wanna sing but id better rap

K.R.I.T.’s backing band, which includes Burniss Travis II on bass and Justin Tyson on drums, also features on keys Bryan Michael Cox — the hitmaking producer and songwriter behind a slew of Billboard chart-toppers. Together, the trio delivers stripped-down versions of the latest thought-provoking material in Big K.R.I.T.’s catalog.

Introducing the second song, “Keep The Devil Off” he says his grandmother introduced him to gospel.  She brought him to church and “she would wake me up when i fell asleep saying wake up you gotta hear this.”  He sings beautifully.  And then the rapped verses are really well structured.

And when he stops to pay homage to his church-going grandmother before performing “Keep The Devil Off,” it’s clear that everything she instilled in him is keeping him alive, too.

Definitely in these times we need to keep the negativity away–keep the devil off.

His grandmother was clearly very important to him.

Big K.R.I.T. has kept her spirit alive through his music since his breakout mixtape, K.R.I.T. Wuz Here, which he released in 2010, the same year she died.  So it only makes sense that he would bring her with him for his Tiny Desk concert.

Halfway through his three-song set at NPR Music headquarters, K.R.I.T. stops to pull out an old-school tape recorder — the same one his grandmother would use to record him singing and reciting poetry as a child. “I have to feel like my grandmother was my first mix engineer,” he says before pressing play to reveal him and his brother as kids singing a duet of R&B crooner Donell Jones’ 1999 slow burner, “Where I Wanna Be.”

He plays the tape and cracks up listening to it.  He gets the audience to sing the refrain with his younger sell.  And then his grandmother introduces he and his brother as an R&B singer, “but I’m sticking with the rap thing.”

It’s a sublime interlude — one that resonated so strongly with K.R.I.T. that he had to start his last song, “Bury Me In Gold,” over to catch the proper beat. “I’m super emotional from this, too,” he says, laughing in a moment so genuine it was only right to leave it unedited.

He says “Bury Me in Gold” is not about gold really, it’s about having something so that in the event he gets to heaven he’ll give everything away.

He tells us to remember that peace of mind and your soul are more important than gold.

I’ve always enjoyed thought provoking rap and K.R.I.T.’s lyrics combined with his voice really work wonders.

[READ: May 29, 2017] McSweeney’s 49

It has been a long time (three years or so) since the previous McSweeney’s volume.  During that silence, the publishing house went non-profit and that seems to have taken up a lot of their resources.  They even address this a bit in the interdiction to this book.

But regardless of the reasons why, it is great to have them back.

As the subtitle says, this is a book of “cover stories.” What that means is a little vague–the contemporary writers model their story after a classic story.  I try to compare it to music covers, although in music covers the music and words are typically the same with some kind of variations.  Typically, the words are the same but the music is different.  I liked to flip this idea on its head for describing these stories in that the words are different by the music is the same.

Since I don’t know most of the original stories here I don’t know how similar these are to the originals–same character names?  Same ideas?  Same plot?  I don’t know.  And perhaps it would affect the way I read these stories if I was familiar with theory original pieces.  But without knowing them, these just turned out to be good stories from good writers.

Interspersed between the stories were poems and, in a wonderful commentary on our current shitty president and the cowardly house of representatives who on the day I finished this voted to strip 24 million people of health care, are comparisons of classic historical figures’ speeches with the petty garbled tweets of out current crap in chief.  Can we impeach this motherfucker already?  And send the whole lot of them to jail, please.  #ITMFA

As many McSweeney’s do, this one opens with letters.  And of course they aren’t really letters at all, even if they are addressed to McSweeney’s.  Many deal with cover songs, but a few are much more serious, political and right on.

WAJAHAT ALI writes from Camp FDR in Washington DC where he and his fellow prisoners were finally able to cobble together WiFi.  Ali explains that the Executive Order was inevitable the ban, the vetting, the registry were all just prelude. The need to protect against terrorism outweighs the individual rights and the rights of American Muslims…read the Supreme Court decision.

NICK JAINA writes about the Sept 23, 1970 episode of The Johnny Cash Show in which Ray Charles appears and plays “Walk the Line” and then “Ring of Fire.”  The letter states that the creator of “Ring of Fire” is actually mis-attributed.  The story is that June Carter wrote it after seeing a page in her uncle’s book of Elizabethan poetry.  But Johnny first wife claims that Johnny wrote it while drunk about a certain female body part: “all those years of her claiming she wrote it and she probably never knew what the song was really about.”  Then it reverts back to Ray Charles’ performance with an unseen band playing behind him–especially a great baseline–and as the song ends he lets out one last shudder and cackle like he just invented the orgasm.  “Johnny returns to the stage looking like a man who just watched someone have sex with his wife but was so in awe of how good he was at it that he could only thank him.”

ROBIN TERRELL talks about trumpmania in the Czech Republic from the perspective of a black woman, lesbian, child of civil rights activists, mother of a black man living in Prague.  The look in the eyes of people after the election: The U.S. is going to fuck us over again.  It stunned Europeans that the U.S. could generate someone fouler than Europe’s own crop of white male extremists.  She is now a refugee from her own country.  #RESIST #ITMFA

KIMBERLY HARRINGTON says she always believed that even in the darkest times humor has its place.  But lately she’s been bursting into tears rather than cracking a smile.  She hopes she can find things to laugh at–even death in these horrible times.

MARY MILLER says that for the longest time she thought her uncles wrote “Stagger Lee.”  Her uncles were musicians who wrote songs but also threw some covers into their shows.  She believed that “Stagger Lee” was one of theirs. She realizes that they are not famous and that no one will remember them–but she promises them that she will remember them.

RICK MOODY writes at length about Elektra’s 1990 tribute album Rubaiyat: Elektra’s 40th Anniversary.  I remember it coming out and I remember not getting it because it was too expensive. But Moody talks about what a great conceit this collection was to have contemporary artists cover classic songs.  He also talks about how the tribute album was quite popular in the 1990s (was it ever).  Some thought: He loves Bjork, but he thinks of the Sugarcubes as a cheeseball imitation of the B-52s (and that their “Motorcycle Mama” is pretty bad.  He mentions a few great tracks, like Kronos Quartet covering “Marquee Moon,” Metallica doing “Stone Cold Crazy,” and even a Howard Jones cover of “Road to Cairo” by the cult hero David Ackles.   But he says fully half of the collection is bad, some of it even awful–not worth its list price at the time but it has a great number of masterpieces on it.

Will Buttler (from Arcade Fire) wishes to make some amusing corrections: some errors during concerts, and apologizing for singing “I’m So Bored” with the USA because he is not.

ARIEL S. WINTER-This is an interesting philosophical question wondering whether or not Marty McFly actually created “Johnny B. Goode.”  How could he cover it before Chuck Berry had released the original.  As a child this blew her mind.  This facile beginning then goes on to say that before recorded music the notion of a cover didn’t really exist.  And indeed in the 1950s people recorded songs without concern for copyright.  It’s also true that when Chuck Berry plays Johnny B. Goode live, it’s not considered a cover of his original.  She concludes by that the Back to the Future is probably the first time she ever heard Johnny B. Goode.  So Marty McFly’s is the original to her (as it is to all the kids at the dance).  So in addition to a song having an original for the performer there is also an original for the listener.  Anyone who has loved a song for years before finding out that it’s a cover has had that experience.

INTRODUCTION BY THE EDITORS

This introduction talks about how the first time they did a “cover story” was in 1999 in issue 4.  Rick Moody covered Sherwood Anderson’s “The Egg.”  They had been planning to do an entire issue of covers as far back as two years ago and then things happened in the McSweeney’s universe to delay it.  And now : this issue is being born in a moment of racial, social and economic reckoning and imminent fascism…into a country that looks much different from the one in which it began, fronted now by a mean and disingenuous imitation of a president.   As such: Tucked between these thirteen beautiful renditions of thirteen classic stories are instances when a cover is not an homage but rather a perversion of its predecessor”  And by that they offer examples of eloquent speeches by former leaders and then tweets from our pervert in chief.

GARY BURDEN-excerpt from Nobody Knows (an autobiography)

Gary Burden created the cover images for this issue.  I had no idea who he was, but this autobiography tells me just how interesting a fellow he was.  He has been responsible for some of the most iconic album covers of the last 60 years!

These excerpt shows his origin story–he was 8 on December 7, 1941 and he has had vivid memories of WWII.  When he was 16 he joined the Marines.  But he was restless, got involved in bad things, was dishonorably discharged and got mixed up with even worse people (he says he can’t believe the things he did back then).  In 1964 he met “Mama” Cass Elliot. They spent a lot of time together and this opened him up to meeting all kinds of people: David Crosby, Stephen Stills, Graham Nash.  Eventually he met and hung out with Jim Morrison and designed Morrison Hotel (a fascinating story that).  In one of the nicer things I’ve heard someone say he says that Jim was a real poet, someone who was unafraid of delving deeply into life irrespective of the personal cost.  Then he met Neil Young. He says that Buffalo Springfield has been his favorite band and then one day Neil came to Mama Cass’ house in his 1948 Buick Hearse.  He was also hanging around when CSN decided to become CSN&Y and then he and Neil became friends. and Neil sold him his house in Topanga.  Eventually he made the cover art for After the Gold Rush (and he gives a little story about the old lady there on the cover).  I’m kind of curious to read this whole book now, especially if it includes album covers.

EMILY RABOTEAU-“The Babysitter” after “Some Women” by Alice Munro
This is the story of a babysitter for Mrs Fagan.  She is a young girl and her employer is very rich and locally famous.  And quite eccentric (she went to East Africa and allegedly witness the Ark of the Covenant and then wrote a controversial book about it).  But in their town she was known as the white lady with black kids (Maya 3, Eddie 10 months old).  The story reflects back on the babysitter as child (she is now the same age as Mrs Fagan was when the babysitting began.  The babysitter’s mother is kind of jerk and is very sarcastic about this babysitting arrangement.  She is also a very strict Jehovah’s Witness, so when the narrator gets her first period rather than tell her mom, she just takes products from Mrs Fagan.  As the story opens Mrs Fagan’s son has just arrived and that changes the dynamic in the house.  How will Mrs Fagan take it when the narrator accidentally sets fire to the kitchen? I really enjoyed the way the end of the story plays on the notions of memories and the impact people have on others.

MEGAN MAYHEW BERGMAN-“The Lottery, Redux” after “The Lottery” by Shirley Jackson
“The Lottery” seems like a pretty easy story to cover–I think everyone knows everything about it and it has been covered in things like The Hunger Games in their own ways.  I don’t know if this story references the original (with the redux),  for this story the people of the island of Timothy were exiled from America fifty years earlier for crimes against the environment.  They were gathering on July 27th, the day of the lottery.  And indeed the lottery is a death sentence, although it’s not entirely clear why.  Interestingly, the story is more about the girl chosen and what her life up to that point has been like.

ANTHONY MARRA-“The Tell-Tale Heart” after “The Tell Tale Heart” by Edgar Allan Poe
This story doesn’t diverge all that much from the original except for the wonderful modern twist on the beating heart.  It’s hard to say more without giving things away but I loved the modernization.

JESS WALTER-“Falling Faintly” after “The Dead” by James Joyce
I didn’t know all that many stories before hand, but I knew this one very well and this is wonderful homage.  It is not in any way rewriting the story–it’s a very different story, but it alludes to the Joyce story and directly mentions it and it is quite clear where the connection between them is.
Michael is a writer.  He is married with kids but has moved temporarily out to New York to write for this new police procedural.  The show is doing well and the female star is quite beautiful.  They bond over cigarettes–she is foreign and smokes like a European, he recently started again.  As stories like this tend to go, Micheal gets the wrong idea about this young, hot actress.  And given that she is not American she misunderstands the subtleties of his behavior (which isn’t very subtle admittedly).  But he wants her to know that his story is a tribute to Joyce’s “The Dead.”  When he talks about the dead she thinks he means real dead people and is pretty freaked out.  This leads to a restraining order and a police intervention–not how he thought his life in New York would go.  What doe sit have to do with “The Dead”?  Well they are standing smoking in the snow as it gently floats to the ground falling through the universe, faintly falling.

LAUREN GROFF-“Once” after “Wants” by Grace Paley
I loved the way this story started.  I saw my enemy at the beach.  With that as a groundwork we slowly learn just how this woman has an enemy (it’s an old boyfriend’s mother) and how they have grudgingly begun to respect each other decades after the two broke up. I really enjoyed this short piece.

ROXANE GAY-“Men on Bikes” after “Rape Fantasies” by Margaret Atwood
I can’t imagine what the original of this story is.  The actual story of this is pretty peculiar itself.  Basically, the men in town have all started riding bicycles everywhere.  It started when one of them was arrested for drunk driving.  He didn’t lose his license but his wife took it away from him.  He dug out a bike and began riding it.  She thought he looked ridiculous, but when another man had his license taken away, they began riding together.  It was quite a sight, although I’m not sure what the point of it was.

NAMWALI SERPELL-“Company” after “Company” by Samuel Beckett
I like Beckett, and I know that he can be confusing.  I don’t know what “Company” is about so I have no idea how it relates to it, but man I did not get this at all.

It was confusing and really long.  It is broken into many small sections which might be connected.  The first is about the brightening which happened although many people missed it. Then we learn about the ship which is electro epidermal, which is cool but not really explained  and then the story turns into a quest for melanin and just when you think it’s a sci-fi story, it becomes a story about race.  There is a pale man tied to a tree hitting a sack (pound pound).  There’s a lot of vomit.  If the white man inseminates even one person, finding pure stem cells is impossible.  Dark skin marked you as  lucky when the darkening came.  But then she says the mission is over.  There’s more vomiting.  A fellow is supposed to be invisible in the village but Pound sees him.  There’s more vomit, a section titled rape, where Pound rapes Lila every once in a while and then who the hell knows what happens at he end.

KIESE LAYMON-“And So On” after “Hills Like White Elephants” by Ernest Hemingway
Weeks ago 64 black folks changed the world.  You are the 11th.  Aside from the direct address to the reader the story is pretty straightforward and interesting.  Chanda Stewart was 8th, the narrators research assistant was 9th and Doug E., Chandra’s boyfriend was 1st.  They are at a fancy restaurant, Chandra, the narrator and you.  She swears that Doug is a porn star, but the narrator argues that having 1089 twitter followers and awkward consensual sex with a few white women filmed on an iPhone 2 in his fake Timberlands, blue knee brace and yellow wrist bands makes you a porn participant, not a star.  The story comes down to which side the narrator is going to choose.   sides or run for our lives.  Because while they were talking, Doug E. and about sixty young black kids were marching down the street.  To the school.  They each had an ax and a shovel.

MEG WOLITZER-“If You’re Happy and You Know It” after “A Perfect Day for Bananafish” By J.D. Salinger
I haven’t read this Salinger story in a long time, so I don’t really know how it connects to this, but I really enjoyed it.  I enjoyed the way that it was written which was a little confusing but in an intriguing way.  Set in a hotel on Miami there is the young woman in 609 who arrived with her new husband.  She’d sent him off to the beach.  We see her telling her parents that he is taking it easy, but they want to know if he is taking the Klonopin.  Later that night in the lobby, a four year old girl, Chloe, is in the lobby of that hotel watching a man play piano.  The man is a guest also and he is playing and really getting into it.  Another boy asks if he can play This Old Man and the player jokes about the boy calling him old.  But Chloe asks if he can play “If You’re Happy and You Know It.”  He says he might be happy but he may not know it. She is puzzled by that.  He says she is breaking his heart.  We soon realize that the pianist is the Klonopin man, and while things don’t get dark exactly, they certainly get strange.  And Chole’s parents have foisted her off on a poor babysitter the whole time.  This was one of my favorites in the book.

T.C. BOYLE-“The Argentine Ant” after “The Argentine Ant” by Italo Calvino
I can’t imagine what the original story is like, but this one from Boyle was really icky and really fantastic.  Its’ a fairly simple premise–a family moves to a rental property in Argentina, only to find that it is swarming with ants.  The ants are everywhere–even crawling all over their baby.  They run to the next door neighbor’s house only to see that they know about the ants and might have a secret weapon.  But mostly they just seem to be putting their furniture in jugs of water–presumably as a deterrent.  There is also an Ant Man who might be fighting the ants or who might actually be bringing more.  What is great about the way Boyle writes this is that the guy renting the house is working on an academic theorem that his wife thinks is rather frivolous.  And that tension underpins everything.

ALICE SOLA KIM-“One Hour, Every Seven Years” after “All Summer in a Day” by Ray Bradbury
Again I don’t know the original, but this story was great, and also weird. The weird part is that the story seems to start over multiple times. And that’s because there is a kind of time travel component to it.  The title refers to how often the sun comes out on Venus.  There is a girl, the main character, named Nargit. She was born on Earth and so she saw the sun.  The other kids are pretty angry at her for it (as if it’s her fault).  They are abusive to her, and the time travelling is the girl’s attempt to protect her younger self.  Many things go wrong but they bring about different results.

CHRIS ABANI-“Sleepy” after “Sleepy” by Anton Chekhov
This story was pretty horrific.  Kemi, a sixteen year old black girl who is now an orphan is working for a white family.  The family has two little children, one of whom is a baby.   The family is horrible to Kemi.  Pretty unrelentingly horrible.  Kemi is tired and never gets a break and the baby cries all the time.  She can’t soothe the baby and the family blames her for her failures.  Her exhaustion builds and builds until you pretty much know the ending several pages before it happens.

TOM DRURY-“The Yellow Wallpaper” after “The Yellow Wallpaper” by Charlotte Perkins Gilman
I know the original story although not super well.  But this version feels almost exactly the same. I honestly can’t tell what the difference is (without having re-read the original again to compare).   Jane and John are renting a place on an island for the summer.  John thinks Jane is not strong and keeps her hidden away in a room with yellow wallpaper.  He more or less runs everything in her life until she starts seeing people through the wallpaper.  You know things can’t go well from there.

POETRY:

REBECCA LINDENBERG-“Having a Coke with You” after “Having a Coke with You” by Frank O’Hara

MATTHEW ZAPRUDER-“Poem for Keats” after “Ode to a Nightingale” by John Keats

STEPHEN BURT-“A Nickel on Top of a Penny” after “Piedra Negra Sobre Una Piedra Blanca” by César Vallejo

BRIAN TURNER-“The Metaphor Program” after “The Red Wheelbarrow” by William Carlos Williams

STEPHEN BURT-“Roofers” after “The Armadillo” by Elizabeth Bishop

MATTHEW ZAPRUDER-“Poem on the Occasion of a Weekly Staff Meeting” [the first two lines are taken from “A Poem on the Occasion of the Consecration of Sandford and Shippon Churches” by Rev. F. Wilson Kittermaster, 1855]

STEPHEN BURT-“Suspense” after “To Brooklyn Bridge” by Hart Crane

KEVIN MOFFETT-“Second Wonder”-a monologue that will air on The Organist.
I found this puzzling at best.

PATTY YUMI COTTRELL-excerpt from Sorry to Disrupt the Peace
I read this book not too long ago.
This except was about two young children who invented a game called “Confession” in which the boy confesses his real or imagined sins to his sister.

~~~~~

The comparison quotes are called Great Speeches from History vs. the Tweets of Donald J. Trump:  I can’t bring myself to write any of the jerks tweets.

Mahatma Gandhi from the “Quit India” speech, 1942 vs. a Feb 4 2017 tweet

Abraham Lincoln’s “The Gettysburg Address” 1863 vs. a Feb 18 217 tweet (about fake news)

Martin Luther King Jr from “Letter from Birmingham Jail” vs. Feb 21 2017 (crowds planted by liberal activists)

Frederick Douglass from “The Hypocrisy of American Slavery” 1852 vs. Feb 6 2017 (negative polls are fake news).

Franklin D. Roosevelt, inauguration speech 1933 vs. Jan 22, 2017 (including all my enemies)

 

The bad thing about this issue is that the last four or five stories were all real downers, making it a pretty tough slog.  But I loved the idea, and I liked that they found the time and space to point out how stupid trump sounds and looks and is.

For ease of searching, I include: Cesar Vallejo

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SOUNDTRACK: RODRIGO Y GABRIELA-Live in France (2009).

Nothing can prepare you for a Rod y Gab concert, but listening to a live album can give you some idea of the aural pyrotechnics you’re in for.

To say it is “just ” two guitarists playing acoustic guitar, gives you a very specific picture.  If you say that they are amazing at soloing on their instruments, it gives you another picture.  Neither of which is correct.

Rodrigo plays an incredible fast lead guitar while Gabriela plays the most dynamic percussive rhythm I’ve ever seem (or heard) on her hollow bodied guitar.   When listening live, if Gabriela is not playing the rhythmic style, it’s impossible to know who is playing what,

These songs are not just virtuoso show-off pieces. They have terrific melodies that run through them.  The songs are instantly recognizable as Rod y Gab songs, but you also recognize the individual melodies too (although I’ll be damned if I can keep the names of the songs straight in any way).

If I had a complaint, which isn’t really a complaint, it’s that you can never tell when the songs actually end. They often pause mid-song and then resume after ten to 30 seconds.  Some songs could be 3 minutes but end up nearly 6.  It doesn’t really matter because the songs are great and could all be one long song because it’s terrific, it’s just a little hard to keep track sometimes.

For this CD, they play 7 of 11 tracks from 11:11 and 1 from their self-titled album.

“Hanuman” opens the disc.  After a few minutes, the song builds and Rod plays faster and louder chords and then it all drops away.  When the riff comes back in, that’s pretty awesome.  “Triveni” beings with some really heavy riffing from both of them.  “Chac Mool” is the one major exception to everything else on the disc  It’s one minute long and is  very mellow and quite pretty.  Nothing fancy, just a a nice melody.

“Hora Zero” has a few moments where Rod plays some really fast arpegiaos and the consistency of his playing is remarkable. (There’s also some wah wah on this song which always comes as a surprise).  This is one of those songs that feels like it ends after four minutes, but it still has two minutes to go.  It ends with a nod to Metallica with the ending chords.

“Gabriela Solo” and “Rodrigo Solo” are, as they say, opportunities for us to marvel at their individual skills.  Gab does a lot of percussive stuff, but also shows her chops on the strings.  Rod’s solo throws in a lot of recognizable heavy metal riffs in between his beautiful Spanish guitar playing: three from Metallica and one from Slayer.

“Santo Domingo” is one of my favorite songs.  I love the riff that is in a different time signature at the end of each “verse.”  There’s some wonderful percussion from Gab. I really dig the bass sound and heavy riffing that he (or maybe she) gets out of the guitar in the middle of  “Buster Voodoo.”

“11:11” features a very pretty, mellow echoing lead section, its kind of trippy rather than frenetic, and there’s some cool tricks that Rod pulls off that sound fantastic.  “Savitri” has some more great riffs and some cool percussive playing from Gab–it turns into a pretty fast and furious song.

“Tamacun” is from their self titled album and it elicits the biggest response, with Rod teasing out the riff and the audience singing along (to an instrumental).  The end is great with some terrific percussion from Gab as Rod wails away.

This does not compare to actually seeing them, but it’s a terrific performance nonetheless.

[READ: January 22, 2018] “Wheelers”

This rather long story seemed to be one thing and then turned into something else entirely.  As if maybe this is an excerpt from a novel rather than a short story (which I see now that it is).

The story begins with a boy talking about his family–his mother’s maiden name is Wheeler.

He grew up in a house with four sisters.  They were loud and demanding.  He tried to ride a wave between them, allowing hair braiding and the like, but they often turned on him: “You know when you mooned me and Faith? We saw your balls and they looked shrimpy.”

The girls’ were nicknames Itsy, Bitsy, Titsy and Ditsy (the dad changed Titsy to Mitsy, wisely). (more…)

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SOUNDTRACK: RHEOSTATICS-Fall Nationals, Night 1 of 10, The Horseshoe Tavern, Toronto (December 8, 2005).

This series of ten concerts contains the final Rheostatics live shows that are left to write about–except for their “final shows” and their “reunion shows” (which I really hope to see some day). This was the 1st night of their last 10 night Fall Nationals run at the Horseshoe. Ford Pier was on keyboards.

These shows seem significantly shorter that the 2004 Fall Nationals.  This show is under 2 hours–practically unheard of in a Fall Nationals.  Unlike the 2004 Fall Nationals, however, they are not promoting an album, so there is a lot more diversity of songs.

This recording is from the audience, so there’s a (shocking) amount of chatter from fans.  You also can’t hear everything that’s said into the mics, so you have to listen close if you want to hear audience interaction.

The show opens with them talking to fans from San Diego (Mike: “that means Saint Diego”).  Dave asks how long they’re here. He says well, we have three chances, then.

“Loving Arms” is a sweet opening from Tim.  Then Martin starts announcing in a smarmy voice “I’m a member.  Hi there.”  It’s a launch into “CCYPA” (Miek: “in an election year, imagine that”).  Tim follows with a quick “Song Of The Garden.”

Then Dave starts playing the opening to “Fat” to much applause.  “That’s Ford Pier on the keyboards.  That’s Tim Vesely on the keyboards.  That’s Martin Tielli on the keyboards.”  During the end jam section, there’s some loud, unusual backing vocals which I assume are from Ford Pier.

Martin: “What’s the first note of the next song, Dave?  I’m feeling a little shaky.  But that’s what this song [‘Fish Tailin”]is about so it should lend itself to this current number.  After this comes “Mumbletypeg” Martin: “That is David Augustino Bidini.  Dave wrote this song.  All by himself!”  It romps along nicely.

Next is the first of a couple new songs.  “Sunshine At Night” is actually a song hat Tim would release on his 2008 Violet Archers disc Sunshine at Night (where it is mostly the same but more fleshed out and better-sounding).

Martin is having fun with the “Hi there” smarmy voice as an intro to “The Tarleks.”  It’s followed by “Marginalized” which has a rather lengthy and dramatic piano solo in the middle.

Martin: “That was by Timothy Warren Vesely.”  Ford: “Stop shouting everyone’s middle names, Jesus.”  Dave:  “Martin is obsessed with middle names, whenever he meets someone new he says ‘What’s your middle name?”  Mike: “Yeah right but whats your middle name.”  Ford continues, “A friend of mine was engaged to a woman from Slovenia.  When she came to visit she was astonished to hear that everyone had a middle name–are you all rich?  It was a difficult thing to explain to her.  She associated middle named with wealth?  Middle names were not a concept that came to her block in Ljubljana.  Tim: “Ford tried to convince her it had something to do with wealth.”

Then came a song, “The Land Is Wild.”  This would eventually be released on Bidiniband’s 2009 album The Land is Wild.  It’s pretty much the same although this earlier version has a few lines that are not in the final.  A line about him being in his own head and listening to Metallica, Ozzy or Queen.  There’s another line about tickling the net and being lost in his head.  Both of these lines are left off in the final.  Interestingly, the final verse about fishing with his old man and his death were added later.

Martin says that for “Here Comes the Image,” Augustine is going to play the drums and Dimitrius is going to play the keyboard.”

As they start, “It’s Easy To Be With You,” Dave says, “My friend this is no time to be talking on your phone, there’s some serious rock n roll happening up here.  Take a picture with your mind.”

It’s followed by a beautiful “Stolen Car.”  Martin’s vocals are just so good.  After the song ends, properly, there’s an extra acoustic strumming section that soon becomes “Nowhere Man” sung by Selina Martin.

Dave notes that it has been 25 years since John Lennon was killed.  The world has gotten a lot shittier.

Ford then says, “You know who was really burned on that score? Darby Crash, lead singer of The Germs.  He committed suicide with an intentional heroin overdose the same day.  Five years earlier David Bowie said they only have five years left.  So he told his band mates hat five years from now he was going to off himself.  They ignored him, but he did.  And then three hours later the Walrus gets blown away.”
Dave’s takeaway: “Never take advice from David Bowie.  He told me to buy a wool suit.  Well actually Springsteen told me, but Bowie told him.”
Tim once ate some hot soup with David Bowie.

We’ll do a couple more for you seeing as how it’s Thursday.  Tim: “Can you do a little pretty intro for me that you sometimes do?”  Dave does and “Making Progress ” sounds big and more rocking than usual (the keys help).  Martin plays  a more rocking guitar solo before settling in to the pretty ending.  When it’s over you can hear Dave says “we can call him Timmy, I’m not sure you can call him…  Well, I guess you just did.  Is this your third straight year?  Fourth?  You’ve earned the right to call him Timmy.”

Thanks to the Creaking Tree String Quartet they were beyond awesome.  I can’t wait to see them again tomorrow night.  The set ends with a lovely version of “Self Serve Gas Station” with some great piano additions.  The song ends in a long jam with trippy keys a fun solo from Martin.  As he walks off Martin says, “I smoke Gaulioses Blue cigarettes, since they can’t advertise.  The flavor!  And so did John Lennon and Bruce Cockburn.”

After the encore, Dave sings and acoustic “Last Good Cigarette.”  When Martin comes back out they play a surprising encore song of “Song Of Flight” which segues into a mellow intro for “In This Town.”  By by the end it picks up steam and rocks to the end.

It was a fairly short first show, of the Fall Nationals, but they played a lot of interesting stuff.

[READ: April 20, 2017] Friends is Friends

This book had a lot going against it.  The title is virtually impossible to find in a catalog (3 words long, 2 words repeat, the other word is “is” and the one main word is incredibly common in children’s books, ugh).  On top of that, no libraries near me carried it.  And then its got that creepy-ass cover.

Reviews of the book weren’t very positive either.  So my hopes weren’t very high.

And even with low hopes, I was still pretty disappointed. (more…)

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