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SOUNDTRACK: RHEOSTATICS-Fall Nationals, Night 10 of 10, The Horseshoe Tavern, Toronto (December 17, 2005).

This was the 10th and final night of their 10 night Fall Nationals run at the Horseshoe.   And their final show on the Rheostatic site before the “final” shows in 2007.

Great guest moments including Anthony Fragomeni reprising his Drumstein character from Dave Reid’s Centennial High School Production, Selina Martin and Jenn Foster guesting on I Dig Music/PROD, Robin Lowe taking another shot at Sweet, Rich, Beautiful and Mine due to issues with Martin’s Rig on Guest Vocalist night, Ida Nelson and Tim performing Listening, Kaitlyn and Nevil guesting on the Pogues Fairytale of New York and an awesome version of Powderfinger wedged inside Feed Yourself. Great show to end the final edition of the Fall Nationals.

The show opens with “a folk song for all you drinkers here at the hustling Horseshoe Hotel”  It’s a big friendly welcome that introduces the band as well.     Martin: As the song says, “Welcome.  Things have been pretty hairy the last few nights.”

As they start “Northern Wish,” Dave says, “Hey, who is that guy.  You’re not in our band.  Someone call security.”  It sounds great. Then Ford starts playing the “Everyday People” chords.  They sing the song and fun and then Tim segues his bass line perfectly into “It’s Easy To Be With You.”

There’s a very nice “Introducing Happiness.”  Ron Koop from Peep Show comes out, “He’s been our knight in shining armour.”

During “Queer,” Ford gets a lengthy piano solo which suddenly changes to Gordon Lightfoot’s “Alberta Bound” (send this one out to Dutch)

Up comes Ms. Robin Lowe, she’s been selling you shit for the last ten days.  There’s some talk about Roger Clemens.  Martin “What?”  Robin: “The Astros.  Baseball.”  This leads to a discussion about the Italians on the Moon.  Dave: “The Italians wouldn’t go to the moon because it’s just too far from home, from mama’s kitchen.  Unless mom could go too and lay out his spaceman clothes on his space bed.”  Martins mom is there tonight.  “So no cussing, Martin.”

“There’s no swearing in this one.”  On “Sweet, Rich, Beautiful, Mine” Robin makes up for the problem the other night and does a great job–such high notes!  The only thing I miss in the song is when Martin’s guitar soars at that one mention of “rich.”

Martin then says “This is Ford’s set list.  I wrote this song when I was a teenager.  And I think the last time we played it i was still one.”  For the line: “And mother said [Mike: tonight] lying’s wrong.”  Martin: “I like that song.  I forgot about it.”  Ford: “It got played last year. I didn’t think it would be such a big deal.”

Selina Martin and Jennifer Foster come out for “I Dig Music.” Ford: “now there are beautiful women, who knows what will happen next.   They sing backing vocals but not very noticeably.  Mid song, Dave notes: “we defer to the velvet fog or in this case the Polish fog.”  (MPW’s vocal about “Senor Slime.”  They get really insane by the end with everyone screaming “jazz animal.”  Dave says with just a little bit of hard rock thrown in there.  It turns into “P.R.O.D.”  Ford plays the horn.  Dace: “That’s a big horn. What hardcore needs is more French horn.”  Tim is called on for a bass solo, but it’s the wrong bass. “Shall we pause while Tim puts on the right bass.”

It’s our last night so we feel required to walk the tightrope–always on the edge of trying too hard.

Send this out to George Collins: “Making Progress.”  At the end Tim says, “That’s for Lisa.”  Dave: “No I already dedicated it to George.”

Ford plays a long wavery weird keyboard note as a transition to “Who Is This Man And Why Is He Laughing?”

Dave says “On Wednesday we did Whale Music and we brought some songs out of the woodshed and here’s one of them in case you missed it.”  It’s a nice version of “Who?”   Tim: That was definitely from my They Might Be Giants phase [I can hear that].

But it takes a bit to start because Michael’s having a pee.  Every time he plays that red guitar he has to pee.

Martin says “We’re gonna tighten up the space between songs from here on.”
Dave: “That was peeing problem.”
Martin: “I’ve noticed as a general trend.  It’s not a gabby night.  Last night was a gabby night.”
Tim: “incontinence was a trend.”
Mike: “Tim is one of those toque guys who when he takes it off you think male pattern baldness but then he peels it off and he’s got lustrous hair.”
Dave: “hair pride, hair shame, hair shame, hair pride.”
Tim: “You guys are talking not rocking.”

I Am Drumstein.  Anthony Fragomeni (formerly Anthony until he went to jazz college, now he’s Tony).  He was the lead of Centennial High School’s Story of Harmelodia.  Tim says it was a career highlight seeing that.   Tony adds personalized notes about the band in the lyrics and they really rock the end.

MPW plays a drum fill through the end–I just did that because I blew the ending and I thought I’d do an interesting beat to a new song.
Tim: “That drum part reeked of cover up.”
Mike: “You’re right.  Me and Karl Rove.”

After a pause.  Mike says, “Let’s do something sprawling and epic.”
Martin: “Almost as sprawling and epic as the space between songs.”

Martin introduces “CCYPA” as “this is a little blues number I wrote to sell chicken wings.”  Mid song Tim advises, “Remember they call it conservative but it’s still spelled Reform.  They’re like wolves in dogs’ clothing.”  Dave: “Stephen Harper eats babies.  You can see it in his eyes.  He takes off his face and there’s a  lizard face.”  Mike: “He went to France to get dead eye transplants.”  Tim: “And under the face of the lizard is the face of a Reform party member.”
By this time, they’re down to just a few bass notes playing.  “If Tim stops, are we still inside the song?”

Mike asks Martin if mid-song patter is okay, and Martin says, “yeah, I’m enjoying this.”

This next song is also brought to you by Ford Pier (Mike: and his incessant caterwauling).  They play a fun “Triangles On The Walls” and Martin modifies a line to: “her name was Satan, but I guess she called herself that for her own protection because she was perfectly nice.”  It’s followed by a very nice “Try To Praise This Mutilated World.”

Up next is a surprise cover of “Fairytale of New York” sung by Kaitlyn and Nevil (“and we’re both wearing matching outfits tonight.”  Nevil does a great Shane/Tom Waits style.  Kaitlyn is less impressive.  After the first verse, no one does the penny whistle fast part, but that doesn’t stop them. They kind of fight their way through the song and it’s overall pretty okay.

There’s a really intense “Feed Yourself” with Dave singing/screaming “I wanna see her face” and getting really creepy: “open up the grave.”  They play a decent “Powderfinger” in the middle of the song and then come back to finish it.”   We’ll stay in the suburbs for this next song: “Stolen Car.”

Dave thanks everyone for the privilege of playing for them “It gives us lots of fuel for the future.”  (Rats)

The end of “Song Of The Garden” is just insane with Dave freaking out and screaming about the beauty of Harmelodia.  But as the song ends, Mike won’t stop his insane drumming and Martin is making all kid of feedback noises.  Dave even tries to get everyone to stop “Hey children, you know what time it is?  Rock n roll children, do you realize what time it is?”  But Mike won’t stop.  Dave starts playing “You Are Very Star” and Martin starts singing even while mike thunders away.  They finish the song in a childlike way and someone says, “Aw young’uns you’re all so adorable.”

“The Land Is Wild” starts with Dave solo.  It builds but people mess up the end on him.”  Then Tim plays a new one (“Listening”) with Ida from Vancouver  Great Aunt Ida has opened for them the last few nights).

“Legal Age Life At Variety Store” starts.  Dave says, “I think it’s time.”  Tim: “For me to play the drums?”  It’s tradition.  Every year for the five years or maybe even longer…  I don’t mean Martin playing the bongos, or mike playing the bass or Tim playing the drums.  It’s the fifth annual Horseshoe twist contest.”

Mike is terrible at the bass and Tim screws up a fill, “I know, I know, I’m back on the bass.”  “Timmy ‘smooth fills’ is fired.”  “I’m not fired so much as demoted, downsized.”  The contestants, are Melissa, Eric “that’s Eric with his version of the twist.”    Stephanie fulfilling her life-long dream to twist with the Rheostatics.  Susan, Paul and James.  As the twist continues, Martin starts talking in a crazy Russian accent: “Hi, my name is Wendell Clark (presumably he has the Wendell doll). Can you twist with Wendell.? I guess i think Wendell Clark is Russian or something.”

Then he introduces “the twist champion of the greater Ottawa Valley Ron Koop.  All of our contestants have been super fine–they all get something from the merch table and the honor of twisting with Ron Koop.”

After nearly 20 minutes of Legal Age Life and twisting they play “Power Ballad For Ozzy Osbourne.”  Dave switches the words to “Wendell, dear old Wendell” and Ford gets on organ solo.

After a jaunty “PIN,” Dave says, “don’t worry fellas, you guys are going to get to the leather bar.  Things don’t really get started until 5 clock.

And after all of that, they end the nearly three hour show with a ten minute scorching version of “Horses.”  When they get to the Talking Heads part, Martin sings it in the robot voice–which sounds pretty awesome.  It’s a great ending, a great set, and quite a shame that the band broke up a few months after this.:.

[READ: July 26, 2017] The Stone Heart

It had been a year since I’d read the first book in this trilogy.  I was worried that I’d forget what had happened, but Hicks catches us up pretty quickly and, more importantly, her storytelling was so good in the first book that it was easy to get right back into this exciting story.

The story opens on Rat and Kaidu–Rat has been doing some physical therapy on her hurt ankle and is feeling pretty much all better.

As a nice reminder, we see Rat and Kaidu meeting Ezri, the son of the General of All Blades.  In the last book, it was Rat and Kaidu who saved Erzi and the city.

We also see that a monk is there to discuss things with the general.  Rat knows the monk (named Joah) who used to be a soldier but rescinded violence when he joined the monastery.  Then we also see that Erzi’d guard Mura also knows the Monk and doesn’t seem to like him much. (more…)

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SOUNDTRACK: RHEOSTATICS-Fall Nationals, Night 9 of 10, The Horseshoe Tavern, Toronto (December 16, 2005).

This was the second to last night, the 9th night of their 10 night Fall Nationals run at the Horseshoe.

This show seems to be a confluence of technical difficulties and goofs.  The band is probably loopy after eight nights.  They even got under way late, apparently.

They open with “Saskatchewan.”  The song sounds great, the band is really into it. The backing vocals are great and the song soars.  But then they spend nearly 6 minutes trying to figure stage issues out.   Martin says, “Tim’s acoustic guitar is strung in Nashville tuning.  You should try it sometime.” (I wonder what that means).

Thanks to Great Aunt Ida for opening for us tonight.

Martin says “This is the Cazostatics.  Hugo Boss’ line of clothing. You notice Tim’s flannel shirt.”  Dave and Martin talk about “guys touching their nipples, a  21st century phenomenon.”  Martin: “It was funny 12 years ago.  There’s one person who can do it I love him.”  (I wonder who that is).

After a few minutes, Dave says, “Be careful or I’ll start talking about merch….  All right, I’m talking about merch (merch bassline).

This song (Tim’s new song) is worth it, I like it a lot.  Tim: “this better be a good fucking song is all I have to say.”  “Sunshine At Night” sounds good.

Don’t forget the bongos.  Martin:  “last night, I got to play the bongos with a black turtleneck on.”  Dave: “I think you mean you got away with playing bongos wearing a black turtleneck.”

Then comes two songs from Introducing Happiness.   “Fish Tailin'” and “Me and Stupid.”  At the end, Dave says, “Tim, a little horn pipe on the bass.”  Which he does.  And then Dave says, “one thing we don’t know about Ford Pier–have you ever recited poetry?”  “Never have done, sir?” Anything that rhymes?  Greeting cards?”  When pressed he comes with a verse from 7 Seconds’ “Colourblind.”

There’s nothing funny when you think about
All the hate in this world makes me just wanna shout
Whether Black, White, Brown, Red, Yellow, or Blue
All the caring in the world will depend on you
We gotta fight to change things; help rearrange things
Get along; stand together; live as one
But the only way to do it is to get right to it
Communicate, ?, and getting things done

Martin: “This is a weird night.”  Dave: “Here’s “Marginalized.”  The bass is off.  After a verse, Dave stops the song.  “The bass is really out of tune and the bass is vital.  I wouldn’t have stopped if it wasn’t really out of tune.”  Tim: “That’s the “Palomar” tuning form like two nights ago.”  Dave: “Sorry this shows gonna take 14 hours.  Have you heard about the merch?” (jazz chords).

Pick it up at the first chorus.  Dave stops it again.

Tim: “Hang on a sec, I think you might have just been playing the wrong notes.”
Dave: “Even a moron like me can play a G.”
Martin: “Cazostatics”
Dave: “I could fucking kick this bass with my foot and G would ring out.”
Tim: “That’s the approximate bass.”

Tim just picks up again and finished the song with “Little Caesar” by Vic Chesnutt.

Martin has a lot of fun with the goofy voice saying “Hi there.”  They play a great version of “The Tarleks” and then “Fan Letter To Michael Jackson.”   Near the end of the song Dave says, “let’s rock.”  Then pauses and says, “but first let’s reluctantly rock.”  Tim: “may we rock?”  Dave:  “Not yet.”  Martin: “Sorry.  May we sheepishly rock?”  Dave: “Martin is exhibiting a slight degree of frock on his very unrock guitar.  Tim’s digging in.  Ford has put away that nasty French horn and is coming to the dark side.  Now we must rock.”

At the end, Martin takes off with “RDA” but after he starts it gets shut down.  “Aww, wrangler Dave.”
Mike: “It’s only good when Dave calls out the chords.”
Martin: “Sorry dad, I didn’t mean to come out like that.”

Martin:  “I’m playing a double neck guitar.  The upper neck has 12 strings.  The lower four of which are in octaves although two appear to be missing.  The lower neck is a normal 6 string guitar.”  In a cheesy voice: “I love this axe.  It has rocked me through many a show.  Check this out.  The lower neck resonates in the upper neck.  That’s no gizmo.  That’s in the axe.  Have I blown your mind?”

Ford: “Your inner pedagogue has really reared its head for this last Fall Nationals.  You’ve been giving away all your shit.  Kiss wouldn’t even tell people how they kept their make up from running.”

Dave says he wants to make a parody instructional guitar DVD.  Ford: “Parody my nutsack.”  Would anybody buy that?  Tim says he would buy it if it was called “Parody My Nutsack: Dave Bidini on Rhythm Guitar.”

Ford says we’re demonstrating the chatter-to-music ratio.

This one’s called “Smokin’ Sweet Grass.”  They start “Making Progress” which Tim says is “for the guy who just shouted ‘fucking play.'”  It’s followed by a nice “Little Bird Little Bird.”

Ford tells a story about finding moth larvae on his suit pants.  Every time he pauses, Dave plays a rim shot.
Tim tells his own story (Dave still doing rim shots).  He says they  got a dog which the cats hate.  The vet gave him something you plug in the wall to release pheromones to make you cat feel good.  Like cat prozac.  Dave: “I snorted that backstage at the Duran Duran reunion.”  Tim: “He gave us a sample and we’re on it tonight.  So everything is okay.  Until the end of the world.”

“Here Comes The Image” features MPW on the synth.  Martin: “Mike forgot his mustache wax.  It’s followed by “Who Is This Man and Why Is He Laughing?” with Jennifer Foster (better known in some parts as JFo).  Tim: Dave Bidini on drums for two songs in a row.  Pretty awesome.”

“Pornography” starts slow, but the end picks up and rocks.  Martin says “Tim Vesely, the lizard king.”

Tim says this night is full of a crowd full of people who came from shitty office parties.  Dave: “Our office party was tonight, two clubs over.”

“In This Town” rocks and is followed by “PIN”  Dave says it’s from Night of the Shooting Stars, the black album.  At the end, Martin starts making goat noises (??).  Eat me, feeeeeeeed me.

Next comes “Four Little Songs.”  Martin sings his verse like a goat.  For our third little song, last night’s comedy guests The Imponderables.  Their bit is all about dreams.  Three guys tell their dreams.  The fourth guy comes out.  He’s certainly naked, possibly with an erection. Everyone reacts appropriately. Dave: “That’s The Imponderables and that’s John’s cock.”  In Dave;s verse he sings “your voice will ring out like a giant…schlong.”  He ends the song saying, “There’s certain things that make our Horseshoe stands that much more memorable.”

Ford plays a roller rink version of “I Saw Mommy Kissing Santa Claus.”  After two minutes, Tim starts singing “Shangri-La” (by The Kinks) which segues into “Bad Time To Be Poor.”   Man someone’s guitar is way off playing sour notes through the whole thing.

Then the return to “RDA.”  It rocks and they have guests from Lowest of the Low Steve Stanley and Paul (can;t find his last name).  Mid song they launch into a heavy version of “I’m So Bored With The USA.”  Paul rails about middle management and wants cultural diversity he wants middle management to get out of public broadcasting.  Dave: “Will someone save Canada from itself?”

Ford sings The English Beat’s “Save It For Later.”  And then they end with a 20 minute medley

“Takin’ Care Of Business” (anybody bring a cowbell?), into “My Generation.”  Martin sings “One More Colour.”  It jumps to “P.R.O.D.” with Mr Ron Koop.  Over to G.  after a few bars, Ford says, “the suspense is killing me.”  So Dave plays “Bud The Spud.”  He kind of mumbles it very fast, “that’s the closest I’ve ever come to rapping.”  It turns into “Radios In Motion” and then into “Blitzkrieg Bop.”  Dave: Take it down to Bflat… never mind take it back to A.  Ford sings “Monkey Man” by Amy Winehouse.  It becomes “Green Sprouts.”  Dave: “You know what I hate in this song?”  The bridge?  Tim: “Take it to the bridge.”  The audience chanting 1,2,3,4.  Tim instructs them.

Thanks to the Lowest of the Low, Great Aunt Ida, The Imponderables and TruthHorse tomorrow.

[READ: August 8, 2017] Demon Vol. 2

I really enjoyed the far out and rather over the top premise of volume 1 of this series (of four in total).

Volume 2 is much larger than Volume 1 (about 50 pages larger).  And that extra size allows for more complexity.

And I admit I was a bit confused from time to time.  The whole premise of the story is a little confusing in a wrap-your-head-around-it kinda way, but he added a new element that was a major Wha?? moment.

So Jimmy Yee, is a boring 44-year-old actuary.  He didn’t realize that he was actually a demon until the day before when he tried to kill himself.  Now whenever his body dies, the demon jumps into the nearest body.  His personality transfers to the new body, and Shiga represents this by having Jimmy’s face on each new body (but if someone else looks at that person he still looks like what the now-possesed person’s face.

Jimmy has been experimenting with this whole Demon thing.  And that means inhabiting various body and killing them (which looks like suicide).  The police are after him for the series of murders he has committed (even though he himself is technically dead). (more…)

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SOUNDTRACK: RHEOSTATICS-Fall Nationals, Night 8 of 10, The Horseshoe Tavern, Toronto (November 18, 2004).

The Rheostatics, live at the Legendary Horseshoe Tavern in Toronto, November 18, 2004. This was the 8th night of their 10 night Fall Nationals run at the Horseshoe.  Featuring a crazy 17 minute medley followed by Neil Young’s Powderfinger.

Kevin Hearn played keyboards for much of the show and they played a number of songs from the Group of 7 disc and Harmelodia.  The show ran for 2 and a half hours.  There’s only one recording of this show, and it sounds great.

The show opens some what mellow-ish with “Digital Beach.”  It’s a pretty version of this unexpected song and it’s followed by an awesome “Boxcar Song” with Kevin Hearn on keys.

“P.I.N.” sounds lovely.  Midway through, you can hear bongos playing and Martin sings “I’m in the snow / playing bongos.”  He’s quite growly through the song.  After the song, you hear people shouting: “Come on let Martin sing!” Dave: “I think he is for hire, sir.”  Mike: “But only as a mohel.”

Kevin Hearn is on the organ for “It’s Easy To Be With You” and he sings on “Yellow Days Under A Lemon Sun.”  Actually everyone seems to take a verse on this song (but I think they’re making them up as they go along).  At the end, Tim says, “We started off with no keyboard players and now we have two.”

Mike asks if he can get more of Kevin’s sampler?  Dave: “Careful what you wish for–he’s got some Buddy Hackett in there.”

It’s followed by three more from Harmelodia: a sweet “Loving Arms,” a fun “Home Again” and a romping “I Am Drumstein.”  Tim says he is disappointed because he missed a perfect bongo opportunity in that last song.

After an introduction of Chris Stringer on “the organ and effects and other stuff,” they move toward 2067 with “Marginalized.”  There’s a sweeping, trippy keyboard solo in the middle.  And then some guys start shouting “Whale Music” and other things.  Dave says “Loud guy crowd.  Every Fall Nationals there’s a loud guy crowd.”

Introducing “The Tarleks” Dave says, “Dr. Johnny fever was here last night in the flesh, it was rather exciting.”  (Did they really not mention Howard Hessman the night before?).

Over the entire run there’s been constant requests for monitor sound level changes, especially by Mike.  Mike says he could use less of Martin’s vocal (groans from the audience) and says he can’t hear Martin’s guitar.  Martin asks if his guitar sounds okay out front.  There is much applause.  Mike: “you’re just fishing for a compliment.”

Before “Pornography,” someone asks where the bongos are.  They are put to good use in the song.  After saying how proud they are of the new album the  opening of  “Shack In The Cornfields” sounds a little off.  But it is quickly righted and off they go.  The song ends with what sounds like a skipping record and very quiet percussion playing as the s song slowly segues into “Try To Praise This Mutilated World.”  Martin says, “I like that song.  Dave wrote it.  We’re the Rheosatics.  Are you having a good night?”  Someone shouts something and Martin snarks: “You wanna hear our older, funnier stuff?”

They go old, but stay mellow.  Tim is “gonna serenade you with a song.”  “All the Same Eyes” is one “we don’t do anymore.  And now one we just started doing, ‘Here Comes the Image.'”  Tim introduces it by saying “This is a lesson for all you drummers out there.  Never be late for a rehearsal or you will be banish-ed to the keyboard.  Because everyone else wants to play those drums, including me and Dave.  This next song takes place in 2067, so best of luck to you all.”  It’s followed by another mellow song “Who Is Than Man, And Why Is He Laughing?” with Jen Foster on accordion.  After the song, Dave says, “I don’t know if I was dying back there or if someone is cooking but I smelled pancakes.  Kevin, you got a griddle back there?”  Mike also says, “Shameless plug.  Jennifer has her CD for sale at the merch booth.”  Tim: “It’s called Shameless Plug.”

Dave notes that they are “just entering the ‘shang’ part of the evening, folks.”  Whatever that means, the first song is a rollicking “Stolen Car.”  It feels a bit shambolic, but never out of control.  There’s some cool keyboard sound effects during the middle jam.  There’s a pretty “Little Bird, Little Bird”and then a powerful “California Dreamline.”  It segues somewhat oddly into a grooving “Horses” (the only time they’ll play the song during the nine nights).   Kevin gets a wild keyboard solo in the middle of the song.

Dave says there are here the next two nights and the Loud Guy says “we’re coming tomorrow.”  Dave: “Thanks for the warning.”  Dave seems a bit tired of the bozos.  But he does seem to like the fans up front: “You guys have great looking twin shirts there.  I can’t read what’s on the second bus though.  Nowhere and Boredom.”   Mike says he’d choose Nowhere over Boredom, but Dave’s not so sure.  “Boredom gives you something to work with.”

Tim says, “Bear with us while we do this song for our friend Ron Koop.  He is having a hard time right now and hopefully he draws something from this.”  It’s a lovely version of “Making Progress” which is followed by an upbeat and rather silly “Monkeybird.”

And then comes the above mentioned 17 minute medley.  I’m glad Darrin wrote all the songs down, because it’s hard to keep track:

The Horseshoe Medley (The Pooby Song / The Hockey Song / Devil Town / The Ballad Of Wendel Clark Part II / Bees / Folsom Prison Blues / Ring Of Fire / Old Vancouver Town / War Pigs / Human Highway / Rockaway Beach / Walk On The Wild Side / So Long Farewell / Who Stole The Kishka / Let’s Go Skiing In The Morning).

It begins with Dave playing the acoustic guitar and singing “The Pooby Song.”  “Take one, Kevin” and Kevin gets a simplistic guitar solo.  Dave shouts “take it to C” and they start Stompin’ Tom’s “Hockey Song.”  After the “second period” Dave notes: “last game of the lock out season that didn’t exist.  Doesn’t matter, we got enough hockey stored up in our heads that we’re skating all the time anyway.”  The songs ends, but that isn’t the key from the first tune, we gotta go back to the first tune.  Tim: “Take it to B flat.  I love B flat.  Now, back to D.  You got any chords you like?”  Kevin starts singing Daniel Johnston’s “Devil Town.”  Up to E sharp (or F, whatever you want to call it).  Back down to D take it to C.  They start “Wendel.”  Kevin’s got one.  “‘There are bees, there are bees, everywhere’  you know this one, right?”  Tim: “Does this take place in the devilish town?”  Take it to C, for Dave to sing Johnny Cash’s “Folsom Prison Blues” then Kevin switches it to “Ring of Fire.”  Tim picks up with Stompin’ Tom’s “Bridge Came Tumbling Down.”  Kevin resumes with a hilariously upbeat and folksy “War Pigs” with Martin doing some suitably metal guitars sounds.  They even try to do the heavy staccato part before resuming the bluesy part.  “Go to G.”  Dave sings Neil Young’s “Human Highway” but messes it all up, “Okay, never mind go back to E again.”  Tim: “Take it up to A” for “Rockaway Beach.”  Then it’s Kevin with an amusingly upbeat take on “Walk on the Wild Side.”  Mike jumps in with a goofy stab at “So Long, Farewell” and then Dave takes over with “Who Stole the Kishka.”  Tim is yelling “someone call the motherfucking cops.”  The medley should end there but someone keeps it going “a two-step nightmare.”  Dave sings Frankie Yankovic’s “Let’s Go Skiing” while about three other songs go simultaneous.  Someone chants “four more years” and then Dave starts “Powderfinger” in the medley.  He kind of screws it up and as it fades, Martin asks, “What’s the next verse?”  “Something about hunting” and then Martin takes it over for real. He knows some of the words, and they kind of salvage it.”

At the end Dave even says “Thanks, I think.”

But after 8 days in a row, you’re allowed a bit of a fun meltdown.

As they walk off, Martin asks, “Hey Dave what’s a kishka? A sausage type thing?”  A fans shouts, “a small donut.”  Dave: “It’s not a small donut.  But that’s funnier.”  It’s a great and funny end to a wild show.

[READ: July 11, 2017] Real Friends

I’ve enjoyed Shannon Hale a lot recently, so I was pretty happy to read a new book by her.  Sarah had told me that it was a really excellent portrayal of girl friendship in grammar school.  It is also biographical and makes me think that it’s pretty amazing that Hale made it through to high school at all.

The book is divided into sections with friends’ names, and each of these sections is basically how she met these friends.

Shannon was the middle child between a pair of older girls and a pair of younger siblings.  She was kind of alone and was very clingy to her mom.  But on her first day of kindergarten, despite being nervous and sad, she made friends with Adrienne.

They were soon inseparable.  Shannon made up games for them in which they fought off bad guys (boys who just seemed to want them in whatever capacity a five year-old girls thinks boys might want them).  I love that their game was utterly feminist and yet they were portraying Dallas Cowboy Cheerleaders because that’s who was popular and everyone wanted to be one.  And yet these cheerleaders had pet saber toothed tigers and sharks and they beat up ghastly boys. (more…)

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pinballSOUNDTRACK: RHEOSTATICSFall Nationals The Horseshoe Tavern Toronto, ON. Night 4 of 13 (November 13, 2003).

This was the 4th night of the Rheostatics 13 night Fall Nationals run at the Horseshoe.  Rheostatics Live has recordings of nights 1, 3, 4, 5 and 7.  It was guest vocalists night with this lineup: Reid Jamieson, Mike Bell, Andy Maize, Dennis Ellsworth, Justin Rutledge, Jen Foster, Ron Koop, Kurt Swinghammer,  Donna Orchard, Serena Ryder, Matthew Crowley, Paul Linklater, Leslie Stanwyck, Ford Pier, Dylan Hudecki, Jonathan Seet, Selena Martin, Amer Diab,  Jason Plumb, Jose Contreras, Silas White, Greg Smith Sounds, Paul MacLeod.

The show opens with the instrumental introduction of “Four Little Songs” which turns into a lovely version of “Song of Flight.”

The rest of the show sounds very different from other shows.  Obviously because of the different singers, but the band is quite restrained.  Not phoning it in, but holding back, allowing the singers to really stand out.  Songs are slower, fills are quieter and the band does feel more like a backing band (without the songs suffering).

And then the guest vocalists come in.  Reid Jamieson sings “PIN.” He has the same tone as Martin.  It’s a nice version.  As he gets off the stage he says. “I’m naming my first child Rheostatics.”  Someone warns him: “think of the school grounds.”

Mike Bell (from Dunville, Ontario and the post-hardcore band Chore) says “I just did a big shot of Buckley’s so bear with me.”  He sings “King of the Past” but has rather flat vocals.  The pace is slower too.

Dave tells the audience that it’s all guest vocalists and they are flattered that this could happen.  And then there’s Andy.  Andy Maize of Skydiggers sings “We Went West,” and says, “I lent my teleprompter to Mr Chretien for his farewell address, so I apologize for all my reading.”  He sings raspy and great and I think adds some gravitas to the song.

Dennis Ellsworth sings “Northern Wish.”  Dave asks him, “Do you favor the Melville version of the song?”  “I do.”  He has some gentle singing that works well with this song.  When it’s over, Dave announces, “Ladies and gentleman Ward MacLaurin Cornell [a Canadian broadcaster noted for hosting Hockey Night in Canada] because of Dennis’ jacket I guess.

Justin Rutledge sings “Feed Yourself.”  Dave says it’s not the first time he has fronted the group.  “The first time was 4 days after I turned 19 (that would be 1998) at the Rivoli.  He has a gravelly voice that sort of works with the song although he’s a little slow, maybe.  But he really gets into it.

Next up, “Here’s Jen Foster everybody.”  She sings the new song “The Tarleks” and adds an interesting spin to it with hr voice and delivery. There’s some fun wild guitar at the end.

Then Dave says, “Uh oh here’s the big money.”  Ron Koop of Tim Mech’s Peepshow sings “Introducing Happiness” but first he asks, “Is this Star Search?  I feel under-dressed.”  Dave says, “I want to know is there a name for your beard?”  “Dudley?” “Gunther?”  Dave says just “The Koop.”   He says, “I’m a backup singer I don’t know what to do without a bass in front of me.”  Dave notes air bass didn’t really take of like air guitar did.  Koop says he loves this song, and while not really lead vocal quality, he does a really fun job with it.

Kurt Swinghammer is a Canadian singer-songwriter and visual artist.  He and Dave have a chat about a club owner named Jimmy Scopas, it’s pretty funny.  While singing “It’s Easy To Be With You,” there’s a bunch of ad libs in the middle of the song.

Donna Orchard sings a kind of operatic “Jesus Was Once A Teenager, Too” which works nicely for the high notes.

Serena Ryder “The stage hog… can’t keep you away.  How’d your set go tonight?  “Really fun. I really enjoyed it a lot.”  Dave: “You guys like it?”  “That’s what they call popular acclaim.”  She does a cool trippy rendition of “Digital Beach.”

Matthew Crowley is a mumbly singer of this mumbly song, “Earth/Monstrous Hummingbirds.”  It’s a hard song and this version is a little disappointing.

Paul Linklater comes up to sing “California Dreamline.”  Dave shouts “Hey, Link, those dirty Toronto winters will get you every time.”   “You’re the bridge the half way point.”  This version is echoey and trippy and sounds very different, Linklater gets a little crazy carried away by the end.

Leslie Stanwyck from The Pursuit of Happiness and Universal Honey is gonna do a song [“Claire”] that appeared on two records…
Tim: “Is it not on the live record?”
Dave: “I don’t think so?” [It is]
Martin: “We like this one a lot.”
Dave to Leslie: “Are you familiar with the Howl Brothers version or the Rheostatics?”  Rheostatics!  Her version sounds great.

Ford Pier comes out and they tell him he’s got a lot of nerve going back into the archives.  Ford: “Entirely my own idea.”  They play “Chemical World,” a song from 1986, from “our second demo tape ever.”  They do a good job with it too.

Dylan Hudecki wonders, “How can I beat that?  This is so awesome.  I feel privileged.”  Tim describes the night as “Karaoke with a capital K.”  Hudecki says this a song [“Satan is the Whistler”] for all the people who went to Whistler and wondered what went wrong.  There’s lots of fun vocal nonsense at he end Martin even gets out his mechanical robotic voice.

Jonathan Seet does a sweet version of “Take Me in Your Hand,” and then Selena Martin comes out: “The word is dazzling.”

Selena says, “Pretty fuckin 70s, eh?”  Dave: “Look at you in your 70s outfit.  Any particular reason you chose “Dope Fiends?”  She says a friend made her a mixtape and “then I heard this fuckin’ song.   The rest is history.”  I wonder if it’s in a odd key—no one seems to be able to hit the notes.

Amer Diab gets the beloved “Horses.”  And he does a good job, but not as angry as Dave does it.

Jason Forrest Plumb was the lead singer and front man of the Waltons.  Dave asks how things are in Saskatchewan.  “Cold, snowy and the ‘Riders aren’t making it to the cup this year.   Bad calls all day that day.”  They play a slow and moody “Shaved Head.”

Jose Contreras, frontman for By Divine Right, José Contreras says, “Rheostatics changed my life.”  Dave: “for the better I hope.”  Jose: “For the better.   They taught me and a lot of other people a great lesson to dare to be glorious.”  He notes that this [“Triangles on the Wall”] is an autobiographical [he can’t get the word out] song.  “Am I singing this in the first person?  It’s kind of waltz in the key of D.”  He gets really into it with a bunch of ad-libbed jokes and whatnot.

Silas White does a good version of “Queer.”  In the end of the song Dave asks twice, Silas do you miss British Columbia?”  But we never hear the answer.

Dave says he’ll pay acoustic for this one.  Greg Smith the bassist Weakerthans, makes “Self Serve” sound a bit more twangy–“what went wrong with martin?  Is he on some kinda drug or something?”  As the song ends, they introduce Paul MacLeod also of Skydiggers (he sounds just like Martin at beginning of “Record Body Count.”  The song starts chaotic and fun and it’s a great ending to the main set.

Dave says they sent out an email about a week ago but since there are a lot of luddites among us, some people didn’t respond to the request to come up here.  So,”we will invite as may people as can fit on stage.  Don’t be shy.  Purple shirt guy be the first.  Lots of room, folks.”  They wonder if they can get the entire bar on stage.

The whole club sings “Legal Age Life,” with occasional singers stepping up to the mic.  And Dave shouting in the last verse: “Eagleson ripped off Bobby Orr.”

[READ: December 30, 2016] Hear the Wind Sing

After reading the Madras Press Murakami Slow Reader issue.  I decided it was time to read some more from the man himself.

So I decided to start with his first book–which I’d read about in the New Yorke essay.  Incidentally, the New Yorker essay that talks about his writing style is expanded on in the introduction to this version of the book (which is technically called Wind/Pinball and is a collection of the first two stories).

The essay is called “The Birth of My Kitchen-Table Fiction.”  While the New Yorker essay covers a lot of his life, this essay focuses on his early days–and gives more detail to some of the ideas he mentioned.  He says he hated the idea of working for a company so he opened a jazz club (it cost a lot less to do this back in 1974).  He shares details of the club and talks about how hard he worked.

Then he talks about the baseball game that inspired him to write.  In that previous essay he mentioned the game, but in this essay we get a lot more detail. He went to the Central League season opener: the Yakult Swallows vs the Hiroshima Carp (he was a Swallows fan, despite their perennially poor record).  He says he stretched out on the lawn with a beer and when he heard the crack of a bat, “for no reason and based on no grounds whatsoever, it suddenly struck me: I think I can write a novel.” (more…)

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