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Archive for the ‘Rush’ Category

[ATTENDED: October 8, 2018] Death Cab for Cutie

I can remember listening to a compilation CD [I believe it came with Future Dictionary of America] in my car and “Title and Registration” was on it.  I couldn’t stop listening to the song.  I had heard of Death Cab for Cutie but didn’t know them.  And this song set me on a years-long path of enjoyment.

So I’ve liked the band for some 15 years but I’d never seen them live.  I was pretty much okay with that because from videos I’d watched, they didn’t seem like they were very dynamic live.

Then they announced this show at the Tower (which sold out and they announced a second).  When WXPN played the extended version of “I Will Possess Your Heart” and S. said how much she liked the intro and that was enough for me to get us tickets for the show.

The seats were great (3rd row mezzanine) and we could fully enjoy the lighting spectacular.

Yes, lighting spectacular.  I never assumed that Death Cab for Cutie would have a big light show.  It just doesn’t seem to fit with them.  And it wasn’t crazy big or anything but it was pretty dramatic and worked very well with the music.  There was a video screen above the band too but it just seemed to be projecting nonsense so–whatever about that.  Occasionally there were colors which added to the visuals, but mostly it was half images of static.

DCFC’s latest album Thank You for Today (I enjoyed this welcoming video) had recently come out but I hadn’t had much opportunity to listen to it (except for single “Gold Rush”).  They played 7 of 10 songs from it, so there was a lot that was unfamiliar to me.

But here’s the thing about DCFC for better or worse.  A lot of their songs sound similar.  Not that they are indistinguishable, but that the opening chord patterns and playing style are pretty much the same before they turn into their own animals.  So a number of times I thought they were starting one song bu it turned out to be something else.

They interspersed those new songs with songs from nearly their entire discography, which was awesome.  After playing two new songs, they played one from 2015’s Kingusti which I realized I hadn’t listened to very much.

But then we got into really familiar territory.  They played the wonderful “Long Division” (to be a remain… remain…. remain… remainder) from Plans.  And then they played “Title and Registration” and I was instantly swept back to that day driving in the car.

The new song “Gold Rush” is fun to sing along to but they went really far back into their catalog (2001’s The Photo Album) for the delicate “A Movie Script Ending” (I was on the high-way… high-way… high-way).

They followed this with two more songs from Plans.  First was the tremendous “Crooked Teeth” (I love that bass line).   Then Ben Gibbard moved back to the piano for the lovely ballad “What Sarah Said.”  They followed it with another piano song, the new “60 & Punk” which I was sure was an older song–it must have sunk in when I listened to the record. It’s a great melancholy song.

Gibbard played piano, electric guitar and acoustic guitar. And the overall sound of the band was fantastic.  I loved that you could very clearly hear Zac Rae on guitar–especially when he played some crunchy chords.  Which was often.  I was delighted with just how noisy the show was.  Not ugly…just not polished and sleek.  It was also cool that Dave Depper on keys also played guitar from time to time–there could be three guitars on stage at once.

Then came the moment S. and I were waiting for.  That awesome bass line of “I Will Possess Your Heart.” “Not only did they play the extended intro they jammed it for about 10 minutes and it was fantastic.

They followed it with the oldest song of the night, 2000’s “Title Track.”  I have always liked this guitar riff and it was great to hear it live.  Then back to the new album with “Autumn Love” and then to Kintsugi with the awesome “Black Sun” (I guess I have listened to that album a bit).

Then it was onto Transatlanticism for “Expo 86.” The crowd went nuts when we heard those opening notes (they had recently played all of Transatlanticism the other night in Chicago, but I’m glad they didn’t for us (kind of).

I was intrigued that they kept playing new songs throughout the night.  Sometime the end of a set can get hits-heavy, so it was nice to keep everyone on our toes.  I was amazed at how much “Northern Lights” and especially “Doors Unlocked and Open” sounded like a Rush song circa Grace Under Pressure–the way the bass and guitar intertwined.

Next up was “Cath…”  It was on this song that I was really aware of how great the drums from Jason McGerr sounded.  It sounded terrific, but it was nothing compared to the excitement the crowd felt during “Soul Meets Body.”  The crowd sang along perfectly to the bah bah bah bah bah part (and pretty much everything else).

A few songs earlier I realized that I didn’t know how long they had been playing and I didn’t know how long the show was going to be.  I assumed that DCFC would not play a super long show, and yet they have been around for 20 years, so they could play forever.  And as they played “Soul Meets Body” I realized that there were probably a half dozen songs that I loved which they hadn’t played.

Turned out they were ready to end the main set and they returned Transatlanticism (they played 5 of 11 songs) for “The Sound of Settling” (bah bah, bah bah, this is the sound of settling).

After a fairly short encore break, Ben Gibbard came back out with an acoustic guitar.  The lighting was great and Ben started singing the opening to “I Will Follow You Into The Dark.”  The sound was great and the crowd was initially respectful as Ben started singing.  But it was hard to hold back and soon everyone was singing along with him.

It was a beautiful moment and could have easily ended the show.  But they were not done by a long shot.

A recent trend, it seems, is to include a new song in the encore.  It’s disappointing if you are expecting a favorite hit, but it usually means that there will be a few more songs.  So you can sit back and enjoy a song like “Near / Far” and appreciate it and want to listen to it more.  Once the other songs are done, of course.

They ended the night with two more songs from Transatlanticism (which was great).  The first, “Tiny Vessels,” a sad but lovely song (“she is beautiful, but she don’t mean a thing to me”) that builds to a pretty big rocker in the middle.

Then came the slow buildup of the title song “Transatlanticism.”  It starts on piano and effects.  Then the beautiful guitar riff–two three note melodies and a big slow chord  that propels the song forward.  I have always like this song because of that riff, but I never expected what they would do with this song.  It takes about three minutes for the drums to begin–a slow steady rhythm which is joined by the bass (Nick Harmer).  Then Ben came from behind the piano and picked up his guitar.  The band began jamming the middle of the song–repeating that guitar riff and the lyrics “I need you so much closer.”    And the song just kept getting bigger and bigger and louder and louder.  They must have repeated that section for three or for minutes just getting fuller and fuller until was almost unbearable.  It felt like the walls might come down.  I still get chills thinking about it.

It was one of the best endings to a show I’ve ever seen.

SETLIST

I Dreamt We Spoke Again ¥
Summer Years ¥
The Ghosts of Beverly Drive  ℘
Long Division ⇑
Title and Registration ™
Gold Rush ¥
A Movie Script Ending ∏
Crooked Teeth ¶
What Sarah Said ¶
60 & Punk ¥
I Will Possess Your Heart ⇑
Title Track ϖ
Autumn Love ¥
Black Sun ℘
Expo 86 ™
Northern Lights ¥
Doors Unlocked and Open ⊗
Cath… ⇑
Soul Meets Body ¶
The Sound of Settling ™

Encore:
I Will Follow You Into The Dark ¶
Near / Far ¥
Tiny Vessels ™
Transatlanticism ™

 

 

 

 

 

 

 

 

ϖ We Have the Facts And We’re Voting Yes (2000)
∏ The Photo Album (2001)
™ Transatlanticism (2003)
¶ Plans (2005)
⇑ Narrow Stairs (2008)
⊗ Codes and Keys (2011)
℘ Kintsugi (2015)
¥ Thank You for Today (2018)

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[ATTENDED: September 18, 2018] Naked Giants

I had never heard of Naked Giants before this show.  But apparently I was in the minority, because everyone in the club seemed to know these guys (even though they apparently have never played Philly before?).  The dudes next to me knew every word of every song and slammed and pogoed through the whole set (and I was pretty far back so this was irritatingly out of place–keep the slamming to the pit, dudes).

Naked Giants is a three-piece from Seattle.  Sure they play grunge, but they mix in some pop elements and a full dose of indie rock as well.  Both the guitarist and the bassist sing lead.  The drummer is a maniac and he left his kit several times to walk around–sometimes mid song.

They are one of the most fun bands I’ve seen live in a really long time.

The band came out and they played a huge intro of noise.  It went on for quite a while–noise and flashing lights and everything and then they settled into “Dead/Alien.” Both guitarist Grant Mullen and bassist Gianni Aiello sang lead on.

It was followed by “Regular Guy” which is indeed about a regular guy–but with a wicked guitar solo–because even though they play indie rock, Mullen totally shreds.

They played a new song called “TV” which has a very new waves-sounding staccato guitar line.  It is sung in a detached new wave style until the bass and fuzz guitar kick in and it turns onto a heavy grunge song for a few measures before reverting to the new wave sound.  The middle has a long noisy jam/freakout section which was a lot of fun.

They were jumping around like lunatics during most of the show with Aiello doing a great left/right jump kick through one of the rocking sections.

On one occasion when Henry LaVallee got our from behind his kit, he walked around the drums, hit one cymbal from the other side and sat down.  Another time he got up and engaged with the audience.  I love this picture in which he was showing the audience his phone (no idea why), but it looks like the guy in the crowd is holding a tiny light.

When they announced the song “Everybody Thinks They Know (But No One Really Knows),” a kind of bratty surf punk song, the guys near me went berserk.  They sang along and even added their own call and response to the vocals (which you can hear in this clip).  The band really appreciated it and waves to the guys.

Then they played the title track from their recent album, Sluff.  About this song, Aiello told Billboard

“I just needed a word for the chorus of that song,… I knew I wanted to shout something, but I didn’t know what. I was hanging out with my girlfriend and I said, ‘Hey, what’s a good grunge-sounding word?’ She thought for a minute and then said ‘Sluff!’ I said, ‘That’s perfect!’ It sounds like something Soundgarden might do. It’s just a nonsense word.”

And he is totally right, it is a ton of fun to sing along to “oh oh oh oh oh sluff!”

Toward the end of their set they played a song called “Twist” which was in fact, more or a less a twist (Aiello turned and faced the crowd and shook his butt at us twist-style).  There was a middle part that had a solo or two from each guy.  In Aiello’s solo he did a bass line from Rush’s “Tom Sawyer,” which was pretty cool.

It was followed by ta total freak out called “Green Fuzz.”  This song went on for about ten minutes.  There was a middle section that involved all of them making as much noise as possible and Mullen ultimately lying on his back, feet in the air, doing whatever it was he was doing (I couldn’t really see him).  He stayed down there for a good five minutes while Henry LaVallee went bonkers on the drums–it was like a drum solo but without the pretension.  Meanwhile, Aiello was keeping things mostly under control with his bass, although he was also playing behind his head at one point.

They ended with “Ya Ya” an incredibly fun song and perfect set ender with the wonderfully deep chorus of “Oh, ya ya ya ya hey, Whoo hoo!”  It’s basically one more wild jam before the set crashes to a conclusion.

They were fantastic and I’d definitely see them again.

It turns out that Naked Giants are also part of Car Seat Headrest’s live band.  They became friends with Will Toledo several years ago  “I think it’s been pretty fun, though, kind of like a big boost. We get to play way bigger shows than we would by ourselves. We open for them, too, so it’s a lot of hard work. We’re playing two and a half hours a night, but it’s worth it. It’s what we signed up for.”

Setlist

  1. Dead/Alien $
  2. Regular Guy
  3. TV $
  4. Everybody Thinks They Know (But No One Really Knows) $
  5. Sluff $
  6. Slow Dance II $
  7. Twist ¥
  8. Green Fuzz
  9. Ya Ya ¥

 

¥ R.I.P. EP

$ Sluff

 

 

 

 

 

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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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SOUNDTRACK: RHEOSTATICS-Fall Nationals, Night 9 of 10, The Horseshoe Tavern, Toronto (November 19, 2004).

The Rheostatics, live at the Legendary Horseshoe Tavern in Toronto, November 19, 2004. This was the 9th night of their 10 night Fall Nationals run at the Horseshoe. This is the final night with a recording.

I compared all of the setlists from the nine shows and was somewhat surprised to see just how much repeating they did (you can see the grid at the bottom with all of the songs for each night).

Kevin Hearn joined them.  And this 2 hour and 45 minute show ended with a Twist competition and a “Whole Lotta Love” jam which went on for 19 minutes followed by Neil Young’s “Powderfinger.”  Two versions are available – Mark Sloggett’s soundboard recording and 8-track files provided by Steve Clarkson.  As with the other shows with these two recordings, the Clarkson one is audience recorded and louder, but with audience noise.

The show starts with a song by Martin and a song by Tim.  There’s no Dave for a full ten minutes!

“Self Serve Gas Station” has loud keyboards that fill out the introduction.  In the middle of the song, when Martin sings “worry about their son?” Tim asks “which one?”  And Martin sings, “What went wrong with Johnny, is he dumb?”  “What about Doug?”  It’s followed by Tim’s “Soul Glue” which sounds great.

Tim seems to be having a lot of fun this night.  When Dave sings “Me and Stupid” Tim is full of backing vocals, including chanting “Gabba Gabba,Hey!” when Dave mentions the Ramones.

“The Tarleks” has a bit of a rough opening, but after a quick tuning, all is well.  “Claire” opens with some interesting washes of keys before the familiar guitars come in.  Tim is still goofy this time singing “horrify me, Claire, roto-till my hair.  Let me see you say a line that isn’t there.”

Tim says they’d like to send “Power Ballad For Ozzy Osbourne” to The Buttless Chaps.  Thanks for coming and rocking.”

During “Four Little Songs” Dave says, “Kevin, Sing us a song.”  He sings his song “This Is It” “There was fresh butter melting on a waffle…”  As the song moves to the fast part Martin sings “who stole the kishka,” a nod to the previous night. It ends and Tim yells, “Someone call the cops” and Martin plays a siren on his guitar.

Dave introduces the Bastard Brass who will play with them for three songs.  They are Brian on trumpet, Alexi on trumpet Alain on the ‘bone and good ol Seth on the saxophone.  Unlike some of the horns they have play with them, these guys are the real deal and they sound great.

They bring a lot of depth to “P.I.N” and I love when they play the riff of “Mumbletypeg.”  However, there is an interruption during the song, which I assume is real.  Tim sounds very concerned, asking if “you know that guy.”  Then he calls for Security.  When the song is over, he says, “It’s okay to have a good time but don’t be gross about it.”   Then…  “This guy’s gotta go.”  Then “Well okay, you can stay.   But seriously mind the person next to you.”  even Mike gets in on it: “You know you’re gonna get turfed it you keep it up, buddy.”  Then quieter: “Granted not by me.”

Things must settle down, because they play “Marginalized” and Tim thanks the guys “that was worth listening to all the practicing in the dressing room.”

They play a beauty couple of songs: “Shack in the Cornfields” and “Try to Praise this Mutilated World.”  Dave explains that “Pornography” is another song about America.

And then Martin says that they are the Rheostatics, but Tim says, “We are the Toronto casts of the Rheostatics.  That’s Mike’s line.  I thought it was good.”

They send “Making Progress” out to Mike Dunne who named the band back in Grade 11 (or earlier).  Thanks, Mike its all your fault.”  Mike: “very new wave.”  Tim: “This goes out to the city of Bolton, Ontario.”  Why is that?  That’s where Mike lives.”  “Well, somebody’s gotta.”

For “My First Rock Concert” they bring back Kevin Hearn.  The Kevin Hearn Revival.  Him and his fancy T-shirts.  Dave says that Kevin and Dave will interweave their songs.  This is Dave and Kevin’s journey of rock and roll awakening.  Dave sings his parts and Kevin’s first shows include: Mr Dressup, Peter Appleyard;   Then Santana (where the guys in front and behind him threw up).  Then playing a gig between Bon Jovi and Cheap Trick.  At the after party, the guys who sing “Everybody Wang Chung Tonight” showed up.  Kevin sings a few choruses and then segues into “Surrender” (with nice harmonies from everyone).

Dave asks if Kevin has any Joe Jackson stories.  Tim interrupts and says he took a full bottle of Heineken off of the stage at a Joe Jackson show, wondering whats in that green bottle.

Kevin follows that with: Once I went to Burl Ives’ house for chocolate cake and he looked out the window and it was almost a full moon and in that Frosty the Snowman voice he said, “Oh look someone’s taken a bite out of the moon.  It’s true.”

When the song is over Dave says, “I imagine the UN General Assembly sitting together with the world on the brink of war and deferring to Kevin and he will tell that Burl Ives story and save the world.”

Tim continues, Dave and I, Bo Donaldson and the Heywoods, Disneyworld in Florida.  Dave and I were both in the crowd.  We did know each other but we were both there.  My first show.”  Dave: “Five seconds of complete bewilderment.  What the hell is that guy going there?”  Martin: “Who is Bo Donaldson.”  Tim: “Remember ‘Billy Don’t be a Hero?’ The greatest protest band ever.  Or was that The DeFranco Family?”

Tim continues, “We’d like to celebrate our ethnic heritage with this next song.”  Jennifer Foster is back on accordion for “Who is that Man, and Why is he Laughing?.”  It’s followed by “Yellow Days Under A Lemon Sun” with verses from Kevin, Tim and Dave.

They play “Aliens (Christmas 1988)” and before the final verse, when the song gets mellow, Tim starts singing “ABC, 123” and then Dave picks up “Michael Jackson.”  But then he says, “Why don’t you just give us some “It feels good to be alive.”  Tim asks what kind?  Phoning it in?”  Dave: “Oh no, big sale. ”  And after doing some of the song in a slightly different way Martin says now I feel like doing the riff, so they rock out.   At some point, Mike asks, “Are we still playing aliens?”  They get into some jazzy chords–merch chords.  Jazz and merch sales go together so well.  Jazzy Swag.  Martin comes out of the jazz with some blistering punk chords to open “RDA.”  They’re having crazy fun now, Dave starts singing “They don’t give a fuck about anybody else.”  After they wail, Mike asks, “Where’s the no solo sign?”

At the end of the song, they thank The Imponderables, and The Buttless Chaps.

After the break, they play “Legal Age Life” and jam it for 13 minutes.  The middle of the song features the Fall Nat’ls annual Twist competition.   Tim asks for gaffer tape to tape up “Wendell.”  It’s gonna be a really great bit when it’s ready.”  Tim: “I want to give Martin a laugh when he comes out.”  When Martin comes out, Tim asks, “Martin is that a Steinberger hockey stick?” (It doesn’t seem to go over well).

When the Twist competitors come up, Tim asks, “You’re not obnoxious drunk guy, are you?”  “No he knows all the words.”  The audience votes for Ann.  And Mike says, “Make that guitar talk for me Martin.”  he does and they have a “conversation.”

Tim asks, Do you know “The Things We Do For Love?”  I just wanna hear it.  Is that Hall and Oates?  It’s 10cc (Mike then explains the origin of that band name).

Martin starts “Record Body Count” by speaking the ending: “Joey stepped up on a block of ice, put a rope around his neck and fell asleep before he fucking died.”  Mike: “What a goof!”

Dave says, “We’re here tomorrow for one more night.  Good night!”  And yet, there’s 25 more minutes of music!  There’s some general jamming fun–in fact this jam (the Whole Lotta Love jam) runs about 19 minutes.  Someone takes a “Vegas walk off.”  And then Dave I think plays the Green Sprouts Theme, but there are washes of chords overwhelming everything.  Then people just start jamming song riffs: “Cat Scratch Fever,”  a Led Zeppelin riff or two, “Daytripper” “Tom Sawyer” Martin does the zooming sounds from “Bullet the BLue Sky” (or “Whole Lotta Love”).  And then someone starts jamming “Whole Lotta Love.”  About 7 and a half minutes into this, Tim says “We’re gonna do this all night long, so you might as well go home and gets some sleep.”  While “Whole Lotta Love” is playing, Kevin begins singing “In Dreams” by Roy Orbison (“Candy Colored Clown”).  Then Tim says, “I’m serous, this shit’s going on all night.  Get the fuck out of here!”

Dave says, “On that note, Good night.  I gotta go to St. Catherine’s Ontario in the morning.  I’m reading in the mall.”  Mike: “Two Vegas walk offs.”

There’s a sample played from Colonel Sanders “This is Colonel Sanders here to tell you about my exciting new chicken..  in addition to herbs and spices there’s  shampoo and dish soap in it, so while you’re eating, you’re cleaning.”

At about 12 minutes, Kevin starts singing “Whole Lotta Love.”  Martin mocks the “every inch of my love” part and Mike and someone else do the moaning.  Then Kevin starts singing “I’ve Been Everywhere” while samples galore play.  Finally Kevin sings a mellow version of “Like a Hurricane.”

And then a proper start to “Powderfinger” which makes up for the depravity of the previous night.  When they finish someone asks, “Hey are you still here?”

It’s not the final night of the residency, but it’s a really fun and kind of loopy night.  Some great playing mixed with some real silliness.

[READ: April 12, 2017] Bats

This has been my favorite Science Comic yet.  I love bats and this was great way to learn even more about them.

The book begins with Little Brown Bat flying through the night sky.  But he is lost.  And he happens upon a group of people in the desert hoping to see the Mexican Long-Tongued Bat and the Lesser Long-Nosed Bat, two nectar eating bats who help to pollinate flowers.

While the nectar bats do their things and the people enjoy it, one of the bats talks to Little Brown Bat about whats’ going on.  Finally the bat convinces Little Brown to dive down to eat all the bugs that the light is attracting–the humans won’t mind.

We learn about bat predators–foxes and snakes (which is why they stay off of the ground), but they can’t do much about owls. (more…)

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SOUNDTRACK: RHEOSTATICS-Fall Nationals, Night 2 of 10, The Horseshoe Tavern, Toronto (November 12, 2004).

The Rheostatics, live at the Legendary Horseshoe Tavern in Toronto, November 12, 2004. This was the 2nd night of their 10 night Fall Nationals run at the Horseshoe.  This show was exactly 13 years ago!

I compared all of the setlists from the nine shows and was somewhat surprised to see just how much repeating they did. Most of the repeated songs are new ones–they played a lot from 2067, which makes sense.  But for a Fall Nationals, there’s really not a lot of “popular” or “rare” stuff.  But the band is in terrific form for all nine shows and the recordings are consistently great.

They open intensely with “Christopher.”  It’s a great version and Martin is in very good voice.  Similarly, “King Of The Past” sounds terrific.  Once again, “Pornography” opens a lot like “Bread, Meat peas and Rice,” but the backing vocals sound great .  At the end, Dave notes: “a bit of folk disco there for ya.”

Introducing “The Tarleks,” Dave says it’s “from our new album called 2067.  It’s the year of Martin’s 100th birthday and Canada’s bicentennial and the year we get a hit single.  We’re having a party and you’re all invited.  Martin: “Unfortunately so are these guys, the Tarleks.”  The song is perfect and segues right into “Marginalized” which is also great.  The whole band is in great form and I love the guitar sounds as it segues to the chorus.

“Power Ballad For Ozzy Osbourne” is slow and fine.  And Dave says, “and you doing the super tokes you are…. from the country.  Tim: “Mmm smells good. Smells like grade 12 math class.”  MPW:  Shop class.  Dave: Back in the 70s they let you do that sort of thing …80s.  Tim, snapping fingers: “It’s cool.  Foosball is like soccer crossed with shishkabobs.”

“Fish Tailin'” rocks and then comes “Me and Stupid,” which hasn’t been played in a while.  Tim plays the riff and sings “Dave is tuning, tuning his guitar, Dave is learning how to use a tuner on his guitar.”  Dave starts the song and after the first verse he stops the song “I gotta re tune.”  Tim: “He’s just leaning.”  MPW: “That’s okay my hands hurt a little.”

“PIN” and “Mumbletypeg” sound terrific and mid song Dave says, “We’re the Rheostatics were from Etobicoke, it’s west of here.”

Dave: “We’re gonna take it down a bit.”  Tim: “We’re gonna take it down but its gonna become very heavy” with “Here Comes the Image.”  While waiting Tim pays the bass riff to “Tom Sawyer.”   Tomorrow at 2 o’clock we’ll be at Sam the Record Man.”

“Shack In The Cornfields” sounds quite different with Dave’s bass backing vocals.  It takes a while for the song to start really rocking but once it does it’s so much fun.  I like the chorus of “Try To Praise This Mutilated World” more and more.  I’m assuming by now that the spoken part is prerecorded.

“In This Town” starts quietly but martin sings a big growly ending.  “Dope Fiends and Boozehounds” slows down in the middle with a drum solo and a clapping solo.  After the solo, Selina Martin comes out and sings the end with Martin.

Martin: “Dave Alexander Herschel Bidini wrote that in 1972.”
Dave: “Hell of a year.  What with Ian Sunter’s field goal and everything.   This refers to the 60th Grey Cup in which Hamilton ran the clock down while getting close enough for Ian Sunter to kick a 34-yard field goal on the last play of the game to win.]

Tim plays a great “Bad Time To Be Poor” and Dave says “We will conclude with a song from 2067.”
Someone in the audience shouts: “what do you mean conclude?”
Dave: “what do you think I mean?  We’re fucking right off after this one.  The limo is idling, baby.”
Tim: “conclude the first set.”
Martin: “it’s really just a smoke break for me.”
Dave: “oh we got rail and hoo-ers waiting, don’t worry.”

“Making Progress” is lovely as always.  “Feed Yourself” starts off a little rocky but it sounds great.  Dave gets a little crazy with the “inside his head” bit at the end (and someone is manipulating his voice to echo and process in one way or another, which is cool).

After a quick encore break, they’re back with a Dave song while Martin smokes.  In “My First Rock Concert” he changes The Ramones to Johnny Winter for some reason.

Someone keeps shouting “Saskatchewan” and you can hear a rhythm guitar playing the melody.  Mike says this ones for the greasy wheel, but then the guitar switches to “Self Serve Gas Station” and Mike says “make up your mind I’m trying to decide which way to adjust the chair.”

Before “Desert Island Discs,” Martin notes: “We stayed in the same hotel as Van Halen a week ago.  (Those hookers in the lobby were not for us).

Desert Island Discs is sloppy and fun with people picking these discs:

Dave: Ramones-Rocket to Russia; Cars-Cars; PiL-Metal Box.
Tim: Bob Marley-Survival; Tom Waits-Closing Time (huge cheer); Pavement-Crooked Rain, Crooked Rain.
MPW: It’s his first time.  He says it’s like ordering last in a restaurant.  Anything by Gino Vanelli; Music for a Large Ensemble; Steve Reich (Tim: try to follow the groove) Metal Machine Music-Lou Reed.
Martin: my first record is (plays “Tom Sawyer”); Second Mary Margaret O’Hara-Miss America; Third uh… uh… uh… uh…  Mood Music for Beer and Pretzels
audience members
first one has a hard time: Led Zeppelin, Martin Teilli-Operation Infinite Joy; Rheostatics, of course.
second one: Weakerthans-Left and Leaving; The Beatles-Rubber Soul  and… [Dave: you don;t want to hear the E minor chord] Weezer-Weezer.
As they wrap up the song Mike keeps going after the final chord.  They bust his chops and say he is in the legion hall trance.

The set ends with a great “Legal Age Life At Variety Store.”

They take an encore break and Martin comes back out with  a ‘suede banana’ jacket “Very Century 21–he sold the most houses in the band.”

For the encore, they play “Rain, Rain, Rain” and Martin introduces “Mister Dave Bidini on lead” (it’s sloppy but fun).

This show runs about 2 and a half hours and it sounds great.

[READ: April 6, 2017] Star Scouts

Boy I loved this book.  I loved everything about it, from the understated to the perfectly stated.

The book opens with an alien creature getting yelled at.  Her name is, humorously, Mabel.  Mabel is scanning planets to collect a new species.  It turns out that she is doing this for a badge for scouts.  She selects a newt.  But she accidentally switches from Newt to New Kid (an amusing joke if not a little strange) and the teleportation begins.

The New Kid is Avani.  Avani speaks Hindi (which in itself is pretty awesome).  She and her dad (there is no mention of a mom) have just moved to a new place.  Avani has no friends.  She thinks everyone thinks she’s weird.  Even though she feels like an outsider she is also keeping people away, determined to feel sorry for herself.

The only social activity she has is Flower Scouts. Back home he Scouts were awesome, but here they just talk about make up and boys.  When Avani tries to talk about rodeos, the other kids laugh at her.  And they are equally horrified when she doesn’t swoon over Chaz Wunderlip the boy band sensation.  She would like nothing more than to get out of Scouts but her dad won’t let her quit. (more…)

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pinballSOUNDTRACK: RHEOSTATICSFall Nationals The Horseshoe Tavern Toronto, ON. Night 5 of 13 (November 14, 2003).

This was the 5th 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’s Big R night (see below).

There’s an introduction by J.C. who says he used to be the owner of the legendary Horseshoe Tavern “but as of tonight I am the owner of the R club.”  As he’s saying there’s a burst of “It’s Not the End of the World from Super Furry Animals–probably a mistake).

“Last night this band was here and they didn’t sing a single lead vocal the entire night.”  J.C. also mentions upcoming shows at the Horseshoe: Skydiggers will be doing an annual residency, Luther Wright, The Sadies, Royal City, Northern Pikes and the last two Watchmen shows ever.”

Then back to Rheos: “Next Wed will be the wheel of fortune–all requests by spinning the great wheel and next Thursday is all covers night.”  I’d love to see the set lists from these nights.

One of the greatest legendary Canadian bands:

“Power Ballad for Ozzy” is fairly mellow with lots of acoustic guitars.  It segues right into “PIN” where Martin recites “In the dirty boulevard” during the end chords.

“Aliens” brings a bit more loudness.  In the middle of the song, someone starts playing the melody for “When Winter Comes.”  The band starts grooving it but Martin will not be hijacked and he finishes “Aliens.”

A funky, percussion-heavy version of “Marginalized” is followed by a sweet “Loving Arms.”

As Dave starts playing the opening jazzy guitar to “I Dig Music,” Martin sings “The bed’s to big without you” (which fits pretty well).

Then you hear Dave say, “please sir don’t touch the setlist.”
Mike: “It’s still drying.  It’s like an infomercial for inverted reading.”
Dave: “Did it feel good to touch?”

“The Tarleks” has a really raucous guitar ending with lots of noisy loud chords.

Dave explains that “Tonight is giant R night.  The giant R was in Martin’s parents basement for the last 13 years–Otobicoke cultural prison–since the “Aliens” video.”  And since they’re returning to the olden says they’ll do an old song: Woodstuck.”  There’s a false start, wrong temp, but then they play a solid version.  Martin repeats “Hippie child” and Dave says “little protest song there.”

Then we learn that Dave is now playing drums.
Tim: “All because Michael showed up late for practice one day.” [rim shot].
Dave: “Anyone else want a rim shot–it’s not what you think–it’s the first thing they teach you in amateur drummer school.”

Tim sings “Here comes the Image” with MPW on keys with a great solo.

Someone shouts “Bad Time to Be Poor” which is followed by someone else shouting “Yeah! ‘Bad Time to be Poor!”

But they play a ripping version of “Fishtailin'” which Dave says they recorded in the Bahamas.  Someone growls and Dave says it’s about a giant cat–the mascot of the Bahamas.

The first surprise comes when Tim starts playing the then there the bassline that can only be a cover of “Teenage FBI” (!) by Guided By Voice.  They play a respectable version of the song with Tom on lead vocals.

Dave: “Yup, Guided By Voices.  Since we can’t be there we figured we’d simulate the experience.”  (GBV were at the Opera House in Toronto that night).  Were doing a covers night next Thursday so were working through a few tonight.  From then on someone keeps shouting “Horses” but they will not hear that song.  Next song is “From that up and coming Greenwich Village folk duo Simon & Garfunkel.  It ends with someone loudly going “doh duh duh doh duh duh doh duh duh doh…as  wrote.”

Someone yells do you plan to do any Rush covers?  Martin says, “If we had enough time I so wanted to do “Closer to the Heart” or “Red Barchetta.”  Mike says they might have time.  And Dave says, “No but we’ll do about four I Mother Earth tunes.  Mike says, “Why because that’s the equivalence weight?”

One more scream for “Bad Time to be Poor” Martin says, “Okay, we know.”
Mike asks if anyone knows what a ballyhoo is: When they sweep the lights over the audience like at the beginning of a game show.  He says the stars are doing that tonight–whatever he’s talking about.

Then Martin says to Dave: “I see you’re selling hockey cards of yourself”
Dave: Sold out!  Just get a picture of yourself, charge 50 cents, people will buy anything.
Martin: “Dirty player… you see how mean he looks on that card.”
Dave: But off the ice, the meanest are the most loving and good to their fellow citizens.”
Mike: “When you play you’re not a goon, right?”
Dave: “Just a dirty suck.”
Martin: “You told me you’re a fun loving player.  You jab people, but its friendly.”
Dave: “A gentle tickle.”
Martin: “Some of them don’t have a sense of humor.  Some of them should try harder to get a sense of humor.
Dave: Kenny Linesman was called “the rat.”  Me I’m more of a monkey. I’ll bite you, but I’m a monkey.  I’m not all bad.”

They finally play “Bad Time to Be Poor” and then a rocking “CCYPA.”  And then after a wild and rocking intro to “Song of the Garden.” the song rocks too.

Then Martin says, “Gonna slow burn on this one.”  It’s one of the best versions of “Stolen Car” I’ve heard–the climactic section is so intense.  I love the way Martin sings “drive a…  way!” at the end.

Before “RDA” Dave says, “Send this one out to Bono, coz he’s the man.”  Martin says “Rock Death America starts with R.”  Dave has a wild middle section in which he starts yelling thing like:
“Gonna be in a big fucking band with big fucking people playing for big fucking people, big beautiful guns, big beautiful hockey pucks made of fudge.  It’s a silly war, it’s an insidious war, it’s a stupid war.”  At the end, Mike says, “Good rocking, Dave.”

Staying political, Dave says, “Congratulation to the Liberal dynasty, the Liberal monopoly, the Liberal empire of Canada.  Don’t fucking get it wrong.  “We’re gonna gave to retire this song because it was written about a bunch of assholes in the past.  We’ll have to put it behind us.”  Sadly People in the States need to bring it back for Betsy DeVos and her own shitty people.  “Hands Off Our Schools” is an outtake from 2067 : “Hands off our schools politician scum.”  At the end of the song Tim says , “you lose.  ha ha.”

Tim says, “We’re going try to put music back in the schools.  Next Tuesday we’re raising money for an alternative public school for their music program.”

After the encore Dave says, “We’d like to thank The Imponderables for playing before us.  Up and coming young funnymen.”  Then

Dave: We have T-shirts Fall Nationals T-shirts. Martin’s two solo records and 2 of my books and most of our CDs.  Hockey cards sold out.  We have mugs too so if you don’t like us buy a mug and throw it as us.  Nothing says I hate you like a mug to the head.
Martin: nothing says you’ve made it more than having a cup of coffee with your band’s name on it in the morning.  You know, Chapters won’t stock my album [Operation Infinite Joy] because they think the image on the front might offend some people. [Boos].
Dave: “We were supposed to do an in store there but we got bumped for Lady Di’s butler.  Double lame.”

Anybody here from the prairers?  Really?  All of them!  A rocking excellent version of Saskatchewan that segues into “The Mayor of Simpleton” with MPW on drums and vocals. It’s pretty good although his vocals are too quiet and he forgets some words and he seems winded by the end.  A quiet “Little Bird” is followed by a moody and intense “Shaved Head.”

Dave thanks George Stroumboulopoulos for nominating Whale Music for Best Canadian album for the CBC.

During the second encore break, Serena Ryder comes out  and yells at the crowd to get the band back up there.  Then she sings a cool, spooky version of “Digital Beach.”  It’s followed by a fun bouncy version of “Mumbletypeg.”

There’s some discussion and you hear Mike say “So many songs.  There’s a bullion of them and you just cant think of one, sometimes.”  Not sure what they were talking about playing but they settle on “In This Town” and then a wild version of “Me and Stupid.”  They play a verse and MPW stops the song.  Dave says “Sounded pretty good to me MPW Dot Com.  Dave starts talking about the fish in the song: “when those pike start going when they start thrashing you can hear them a mile away.”

For the final song, they thank Canadians and Americans “we’re gonna do a Ron Koop song.”  Koop sang “Introducing Happiness” the night before.
As they head out they announce, “Tomorrow night, Tim Vebron and Rheostar.  You don’t wanna miss it.”

Tim Vebron and Rheostar were the Rheostatics dressing up in crazy outfits playing synth songs.  You can see some pictures here.  Wish there wad a recording of it.

 

[READ: December 30, 2016] Pinball 1973

In the introduction of this book. Murakami devotes a page to Pinball and says he wrote a sequel the following year.  He was still running the jazz bar.  Soon after finishing this he decide to stop writing at his kitchen table and then wrote his first full length A Wild Sheep Chase which “I consider to be the true beginning my career as a novelist.”

He describes the text as “a novel about pinball,” but also explores themes of loneliness and companionship, purposelessness, and destiny. As with the other books in the “Trilogy of the Rat” series, three of the characters include the protagonist, a nameless first-person narrator, his friend The Rat, and J, the owner of the bar where they often spend time.

The plot is sort of beside the point although it is more present than in Hear the Wind.

Before the story starts properly we get this little introduction in which the narrator says the story is about “me” but also about a guy called “Rat.” That autumn the two of them were living four hundred miles apart.  This novel begins in 1973.

The story begins with Pinball and Raymond Moloney.  In 1931 Moloney made the very first pinball machine (this is true). (more…)

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 SOUNDTRACK: RHEOSTATICS-Ultrasound Showbar [2nd GSMW Night 1] (February 25, 1994).

The next four shows are four of the five nights from the Second Annual Green Sprouts Music Week held at Ultrasound Showbar Feb 25-Mar 1, 1994. Setlists for all shows were fairly similar in content focusing mainly on the 25-30 songs that they would use for consideration on Introducing Happiness which began recording the following week. This first night featured 24 songs never previously released and a few that were played live very very rarely including Joey III, Floating, Fluffy, Green Xmas (which would appear years later as The Music Room on Harmelodia) and Symphony. Some of the audio on the beginning of each side of the tape is a bit warped and thus has a bit of a flange like effect for a few minutes.

That flange is very noticeable on “Jesus Was Once a Teenager, Too,” but it all settles down for “Tim Vesely going electric” on “Introducing Happiness.”  Bidini jokes that this is going to be their “up with life” album.

Introducing “One More Colour,” Dave Clark says, “Our next diddy is by a friend of ours who we last played with in Guelph.”  They follow it up with “Fan Letter to Michael Jackson” and “Full Moon Over Russia.”  After this song they ask the audience which chord they like better during one section–the minor chord wins.

They introduce “Fishtailin'” as a song about “love and life and living and loving.”  But an even better introduction comes for “Earth/Monstrous Hummingbirds” in which Bidini says it’s a song about the missing link.  Mankind was just walking around on earth drooling a lot.  And then all of a sudden they were up flying kites and making hotcakes and colorizing films and making Top 40 Radio.  Some say aliens impregnated cro-magnon man.  Dave thinks they came down for just two days and made everything happen.

Before the next song, Clark asks, “Dave what’s the best time of the year?”  Bidini says “Spring time: spring training starts.  Clark says I find around September 23rd (Bidini says, that’s coz baseball’s ending) because it’s 21 degrees–my favorite temperature.  Bidini: “yeah well spring’s better.”

There’s some banter about rehearsal space.  Clark says the band that used the microphones after them left them smelling like cheese.  Tim: “and by coincidence the band is called “Cheesemike.”  Then Clark tells a story about them being on Lunch TV, with his friends calling up saying “hey man, what are you doing on lunch TV,” and I said, “what the fuck are you doing watching it?”  Martin is annoyed because he stepped all over his introduction to a sweet version of “Take Me in Your Hand.”

They ask if there are any complaints so far.  Has everyone who has written the band gotten a reply?  Then Tim requests that Martin sing a verse of “Fluffy” which has only been played one other time on the live bootlegs (back in 1990).  The verse about champagne  Champagne?  Martinis, sorry.  It’s incredible falsetto, but Martin stops the song and says it sucked.  The last time they did that song a dark cloud came over Saskatoon.  Martin gives himself credit for writing one of the sickest songs ever.

Then they do one of the “not sickest” songs ever written: “Claire.”  Whale Music the film is locking down on Tuesday.  Clark jokes “Lee Majors is in it!”–he isn’t.  And then a great version of “Me and Stupid” before they take a break.

Paul McCloud “and his two little clouds” played in between sets.

They come back and At the conclusion of “The Woods Are Full of Cuckoos” Dave says that song is where Jethro Tull meets Rush.  Someone shouts, “What corner?”  Dave replies, “The corner of Bloor and Symington” (voted as the worst intersection in 2012).  At the end of “In This Town” Clark asks “who’s got Olympic fever? I do!”  Bidini asks, “Who’s your favorite Olympian?” Clark mentions a sportscaster….  Bidini says, “Dave hasn’t watched one second of the Olympics clearly, or he would have said Myriam Bédard.

Then there’s “Floating” a song I don’t know at all.  It’s a slow building Bidini song with a bouncy refrain of “up in the air” and a really noisy middle section.  After that he asks, “Didn’t everyone on the Finnish national hockey team look like Great Bob Scott?”  Clark says, “It’s funny you should mention that.  If I was gonna write a song for anybody it would be for Kevin Hearn, my favorite clown.  Of course none of you know who Kevin Hearn is… (ironic that they opened for BNL the previous year)

We had an idea one night that we would do a sequel to Melville–continue the stories from the album.  They only have two, this one “Onielly’s Strange Dream: is one of them.  It starts out very pretty with a recognizable guitar riff, but midway through the tape must change or something, it gets really loud and flangy.  It’s okay, it’s virtually impossible to forget the words on record.  It’s virtually impossible to forget the words “chicken Jimmy kept em alive,” To which Martin mumbles, “yea well he did.  It’s not funny.”

“Symphony” is also new to me.  On the song Bidini plays drums.  Martin stops the songs after a few verses and Dave complains that Clark was so jealous that Dave was playing drums that he forgot to turn the snare on.  And then Martin says it was way fast.  There’s some cool riffs and a line about no one takes solos in this band.  I’d like to hear that one more clearly.

Before the next song, Bidini says, I don’t play guitars on this, thank the lord.  Then there’s some drummer jokes:

Drums is a promotion actually–a drummer told me that.
Clark yells, “If Laura Lynn’s in the audience shame on you for cutting on drummers–they’re the foundation of any band.”
Bidini: “What did she say? How do you know a drummer’s at your door?  The knock speeds up and gets louder.  Coz if she did, that would be okay.”
Clark says, “Of course the most schooled musicians sit behind the tubs.”

The slow and country sounding “Row,” gets the dramatic introduction, “This is a song… Tim wrote.”  Then comes a rocking “Triangles on the Wall.”

Before “Bread, Meat, Peas and Rice,” Clark asks, “Just acoustic guitar and voice?”  But no, “Full band.” Clark jokes, “We’ll attempt a song we don’t know.”  At the end Clark asks, “Was that cannibolically inspired?”  “Alomar” is always a fun treat especially when followed by a wild and raucous “PROD.”  At the end Tim asks, “I wonder if Steven Page had a song, “We are the people’s republic of Steven Page, how would it go?”  And they give it a shot.

They then launch into the lurching “The Royal Albert” the other song that’ s a sequel (“Joey Part II”) which ends with the guys all singing what sounds like “soooey.”  After this song, Dave says, “We’ll take some requests because we’ve run out of new material. [Much shouting] Okay we’ll do them all.”

They start with “Record Body Count” which ends with a fugue vocal of everyone singing “Joey stepped up on a block of ice,” which is pretty cool.  It’s followed by the unrecorded “Joey III” (all three parts together, just out of sequence).  “Joey III” contains the “do you believe it” refrain from “Christopher,” which is a little odd, but which works.  This segues into a slow “Self Serve Gas Station” that eventually rocks out.

They end the set with some covers: a short, sloppy but fun version of Blondie’s “Heart of Glass” (sung by Martin) and a pretty rocking version of Cheap Trick’s “Surrender” (sung by Dave) which segues into a blast of “RDA.”

Despite the slightly muddy sound, this is a great set, especially if you like Introducing Happiness.

[READ: January 18, 2017]: “In This One”

I don’t really have a sense for what Stephen Dixon is doing in his writings.  He really likes to play with convention as a way of telling a fairly conventional story.

So, in this one, Dixon uses the phrase “in this one” in nearly every sentence.

It starts out “In this one he’ll have only one daughter and no other child.  In this one he’ll be divorced and his ex-wife will live in California…”

The character being discussed is a writer, “in this one he’ll have finished a novel a month or so ago after working on it for more than three years.”

In this one, his daughter tries to set him up with a coworker but neither finds the other interesting.

It sounds like Dixon is trying to write a new story–trying to create a character based on other characters.  But as the story proceeds it seems like this story is far more self-reflective.  In this one he meets a woman and he’s off to bed with her. But he warns her that it has been a long time and he hopes he’s able to get started. (more…)

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