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Archive for the ‘The Beatles’ Category

SOUNDTRACKTHE KING’S SINGERS-Tiny Desk Concert #768 (July 23, 2018).

There are so many a capella groups in existence.  Some are collegiate (there are three alone here at Princeton) and others move beyond that.  The Nassoons started in 1941.  The Footnotes started in 1959.  The Tigerlilies, (the all-female group) started in 1971.

So when this blurb talks about The King’s Singers being fifty years old, well, that’s not so impressive in some respects.  But anything that has lasted that long is still pretty impressive.  As is the fact that  they have 150 recordings out.

Fifty years ago, a group of six guys walked on a London stage to perform for the first time as The King’s Singers. They were choral scholars and graduates from King’s College, part of England’s venerable Cambridge University.

The group quickly earned a reputation for its precise and warm close-harmony singing, which is as strong as ever today. There have been more than 150 King’s Singers recordings, Grammy and Emmy awards, and countless concerts and television appearances. New singers, of course, have cycled through over five decades, but the six-man vocal setup has remained constant: two countertenors, one tenor, two baritones and a bass. Also unchanged is the group’s penchant for singing just about every style of music.

So it is no surprise that the current iteration of The King’s Singers — in the midst of their 50th-anniversary tour — brings a diverse set list to the Tiny Desk, including a Beatles tune and a bawdy madrigal from the 1500s.

Notice the glistening top end on Lennon and McCartney’s “I’ll Follow the Sun,” courtesy of countertenors Timothy Wayne-Wright and Patrick Dunachie.

I also enjoyed hearing the occasional bass notes from Jonathan Howard.  It’s fascinating to see how the tenors like Julian Gregory take various parts of the song, sharing the lines.

“Shenandoah,” the traditional American song, sports a velvety carpet of accompaniment for baritone Christopher Bruerton’s lead. The blend of light and color shifts beautifully in Bob Chilcott’s diaphanous arrangement.

Christopher Gabbitas’ introduction (and plug for their album) is quite amusing.  The way the five singers start with “ooohs” in harmony is really striking.  In addition to the lead, the gorgeous high notes of the countertenors are absolutely striking in this song.

“Horizons,” with its cinematic hissing, humming and other special effects, tells a tragic story of the San people of Southern Africa.

Howard introduces this song by saying that somewhere in a cave in South Africa there is a San bushman painting of a Dutch or English ship dating back to early 1700s.  It celebrates the incredible powers of observation of the now virtually extinct San people.  The people the San saw as gods because of their stature and opulence were soon to become their executioners.  This is what the South African born writer and composer Peter Louis van Dijk writes in this song which celebrates their humility and their oneness with the environment.  It also laments the demise of these people at the hands so-called progress.

This song really toys with my idea of what a “traditional” a capella group might do.  There are hand clasps, hissing sounds, snaps and other vocal sound effects.  Sung initially by baritone Christopher Gabbitas, everyone eventually takes a turn doing vocals and vocal/hand percussion.

The rhythmic and risqué “Dessus le marché d’Arras” channels a bustling 16th-century French marketplace.

This madrigal takes them back to the 1500s.  It’s a pop song written by from the renaissance era written by Orlande de Lassus in which a Spanish soldier in the Northern French town of Arras asks a woman how much….  And they walk off, hand in hand. The madrigal doesn’t say what she is selling, and The King’s Singers don’t want to say (as it is being broadcast).

The singers intertwine their voices beautifully.  It’s a fast spirited number and a lot of fun (even if you can;t tell what they are saying).

The King’s Singers remains a vocal juggernaut, playing 150 concerts in this anniversary year. With its power, finesse and silky blend, the group is like some close-harmony Ferrari that can purr and growl, leaving you amazed at the splendor of the human voice.

[READ: October 11, 2017] “The Wizard of West Orange”

I have enjoyed most of Millhauser’s stories.  This one irritated me though. The fact that it won me over is a testament to the quality of the story, but I was really annoyed by the style.

This is a diary.  And I hate the way it is written.   I get that a diary can be truncated, but why did he chose to make this such a tough read; “A quiet day in library; this morning overheard a few words in courtyard.”  Ugh so frustrating.  And the whole story–all 12 pages of it is written in that halting style with limited articles.  Man is it annoying.

It starts out on Oct 14 1889 and was written by the librarian who works with Thomas Edison–whom he refers to exclusively as The Wizard.  The first few entries are pretty dull–The Wizard is secretive going about his business.  I was afraid this was just going to be one of those imaginings of what someone who worked with Edison’s job was like or blah blah blah.  And it is much like that.  A book comes in and one of the scientists looks for it.  The Wizard is working on his phonograph and his talking doll.

There are two main characters beside the narrator.  There is Earnshaw who is very much devoted to the idea of motion photography–he’s thinking about something with sprockets in it.  And there is also Kirstenmacher whose time is devoted to the kinescope.

It gets interesting when the entries reference a wired glove.  And Kirstenmacher determines that the librarian is fascinated by the inventions, in particular the kinescope

Turns out that Kirstenmacher has invited both Earnshaw and the narrator to test out this new device–the wired glove has a silk lining and little metal points throughout.  When the librarian puts the glove in, and Kirstenmacher turns the wax cylinder, the librarian feels weight in her hands, tickling sensations.  It is amazing.

And as the entries go on, the details of the experience grow.  Eventually it becomes a full body suit and the feelings are uncanny.

Earnshaw meanwhile hates the experiments–he wants nothing to do with that infernal machine but Kirstenmacher won’t let him quit.

“Today at a little past two, Earnshaw entered library.”  ugh

Kirstenmacher has high hopes that in twenty years it may be possible to create tactile sensations by stimulating the corresponding centers of the brain. Until then we must conquer the skin directly.

The Wizard filed a caveat with the patent office for the haptograph–protecting his invention while acknowledging its incompleteness.  He announces to the paper that he hopes to have it presentable in six months.

Kirstenmacher says that if three more men are put on the job, and ten times current funds diverted to research, the haptograph might be ready for public in three years.

Then one day the machine is destroyed.   The Wizard doesn’t seem all that upset but the librarian is distraught.

~~~~~

Just this weekend we visited the Thomas Edison National Historical Park (U.S. National Park Service) in West Orange and it was pretty awesome.  Totally worth a visit.

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SOUNDTRACK: VANILLA FUDGE-Vanilla Fudge (1967).

I’m still puzzled by the existence of Vanilla Fudge.  By 1967 I wouldn’t think that a band who existed primarily on covers would be viable.  I also wouldn’t think that an album that is all covers would have been marketable.  But I guess the fascinating sound of Vanilla Fudge–lots of organ, screamed vocals and a heavy rhythm section covering recent hits at a drastically reduced speed was a sensation.

Evidently they influenced everyone (Led Zeppelin opened for them and Richie Blackmore and Jon Lord loved the organ sound and wanted it for Deep Purple) and are considered a link between psychedelia and heavy metal.

The first song is a cover of The Beatles’ “Ticket to Ride” of all songs. The Beatles released it in 1965 and two years later the Fudge put heir spin on it.  It is pretty much unrecognizable until they get to the lyrics.  Singer Max Stein takes the lyrics smooth and slow until he starts screaming like a heavy metal song (I can hear an Ian Gillan precedent).   After the “Ri-ii-iide,” in the chorus there’s a little guitar riff that stands out amid all of the organ.

“People Get Ready” (also originally from 1965) also starts unrecognizable until 90 seconds in when there’s a nod to the main riff and then a lot of harmony vocals. By nearly 2 minutes, the main melody of the song is played slowly on a church style organ and they sing the chorus in a kind of church choir.  The whole song is pretty much all organ and Stein crooning.

“She’s Not There” (recorded by The Zombies in 1964) is organ heavy with a build up for each line The song feels really psychedelic with Stein’s screamed vocals, and Appice’s drumming.  I really rather like the backing vocals.

“Bang Bang” (1966) was written by Sonny Bono is noisy with crashing drums and intermittent guitar surrounded by the Hammond organ.  About 2 minutes in, he sings in a childlike voice “Ring Around The Rosy” and “A Tisket a Tasket.”  I don;t know the original at all, but can;t imagine how it went.

After an introduction called “Illusions of My Childhood, Pt. 1” which is basically 20 seconds of keys, they get into their first hit a cool, slow cover of “You Keep Me Hanging On.”  I find that with the Vanilla Fudge, it’s the songs I don’t know as well that I enjoy their treatment of more.

“Take Me for a Little While” is less than 3:30 after the introductory “Illusions of My Childhood, Pt. 2.”  It ends with a melody of the Farmer in the Dell before the martial beat introduces us to the next song.

After the 25 seconds of “Illusions of My Childhood, Pt. 3” the official cover of “Eleanor Rigby” begins completely unlike any version of the song.  It’s just keys and such until about 3 minutes when they start singing “oh, look at all the lonely people” in a kind of choir.  When the actual lyrics come in, they are sing quietly or in a group chorale.  They end the song by chanting “they do, they do.”  It’s a complete reinvention of the songs.

The record ends with them singing a denouement of “nothing is real, nothing to get hung about.”

There really is nothing else like this band.  But they seem far more like a novelty than a foundation of a musical style.  And they’re still touring today.

[READ: February 1, 2016] “The Actual Hollister”

I really like Dave Eggers’ writing style. It always seems casual yet dedicated.  Like he might not really care that much about what he’s going to tell you but that he paid a lot of attention while he was getting ready to bring it to you.  That attitude kind of helps especially when reading something that you yourself don’t really have a care about (to start with).

This story is about Hollister, California.  Eggers says he was inspired to go there because he had been seeing those sweatshirts that say Hollister on them.  [At this point I have t confess that I have seen them, but don’t really register them and didn’t know it had anything to do with Abercrombie and Fitch].

And thus the story bifurcates into the story of the brand and the story of the town.  And never shall they meet. (more…)

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[ATTENDED: February 2, 2018] Steven Page

I was thrilled to see Steven Page play with Art of Time Ensemble back in 2015.  When I saw that he was playing (somewhat) locally again, I was really excited to get tickets.  It wasn’t until much later that I realized that he was doing a Songbook tour with the Art of Time Ensemble and not playing songs from his (excellent) solo albums.

That was fine, because I loved his Songbook release with AoT, but as always, I’d much rather see someone sing his or her own songs than covers. But Page had picked great songs for his album with AoT and he picked an even better selection for this show.

The ensemble came out on stage followed shortly after by Page.  Steven explained that the purpose of the evening was that these songs were designed to have their vocal melodies remain largely unchanged but for the arrangers to push the boundaries of what  these songs could sound like.  To go as far as possible without going too far.  He thought many people wouldn’t a lot of the songs but that this might inspire them to check out the originals. (more…)

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SOUNDTRACK: STEVEN PAGE-Heal Thyself Pt. 1 : Instinct (2016).

This is Steven Page’s second solo album since leaving Barenaked Ladies.  This one features his voice sounding utterly fantastic amid a large variety of styles of music.

“There’s a Melody” opens with a tiny harmonium sound.  It’s a one minute song that has this fascinating lyric:

There’s a melody somewhere inside of me,
I can hear it but can’t get it out of me,
In my head it soaring but when it comes out it is all the same note

Ironically it is sung to a terrific melody and it will be revisited later in the Reprise which builds and builds with full orchestra.

On Page’s previous album he played around with dance sounds and that continues on this record with “The Work at Hand.”  It opens with crazy electronic noises and then shifts to a soaring dance number.   The chorus sounds a bit like Pet Shop Boys (although not in the vocals).

“Here’s What It Takes” is a fast shuffle with prominent trumpets in the melody.  It’s catchy and was the first single.  But I’m more focused on the lyrics again.  For such a peppy song the lyrics are really dark:

An 8-ball of coke / You’re angry and broke / My Mother misspoke / by telling me the truth
Here’s what it takes to believe  / Drink down the Drano ’til the demons all leave
The fridge door was open again / There’s leftover blame / You’re eating your shame / and choking on the truth

What was funny was that I heard this couplet first and thought it was an amusing song before digging deeper:

What we once kept hidden from our parents / Now we keep it hidden from our kids

That’s a great line and it’s even darker with the above verses.

“I Can See My House From Here”  is a funny/dark song about Jesus, or at least a self-identified messiah.

Jesus came to me last night
To tell me everything will be alright
He said, “Thank you for rolling the stone,
but you’re gonna have to go it alone”

Hey, have you heard the Good News?
We’re gonna make you King of the Jew

But it’s also chock full of nods to the Beatles.  Both in the backing vocals (the Hallelujah and Hare Krishna below) but also in unexpected ways

[Hallelujah] Mother Mary
[Heal Thyself] You had me
[Hare Krishna] And no religion
[Hope that helps] So Let It Be

As he sings this section, it plays with the melody of “My Sweet Lord”

And if you can’t then you know it’s a lie
Goodbye my Lord, goodbye my Lord

and he even sings the next line “I really want to…” as if it were part of “My Sweet Lord” before jumping back to the melody of the song.

It end with the guitar melody of The Beatles’ “The Two of Us” and him singing “we’re on our way home.”

The best song around is “Manchild” which features Page’s soaring vocals and terrific self-deprecating lyrics that morph over the song

Darling, you’re talking to a man now / You’re talking to a man, now, child /
Speak slowly, speak slowly
Darling, you’re talking to a manchild / You’re talking to a manchild now /
Speak slowly, speak slowly

But the album is not all big powerful songs, “If That’s Your Way” (“If that’s your way of saying you’re sorry – I don’t mind”) and “Hole In the Moonlight” are both ballads with piano and strings.

“Mama” is a kind of almost reggae romp with some excellent snark in the lyrics.  And “Surprise Surprise” was the lead single and does a great job rhyming

I was feeling shamed / you were feeling stupid
because I knew what was wrong with me / long before you did

“Linda Ronstadt In the 70s” has a harpsichord and a chamber pop feel with an emphasis on pop.  I had no idea of the origin of the song.  It was apparently written because Colin Meloy requested people write songs about Linda Ronstadt.  You can see the original acoustic version here.

“No Song Left to Save Me” ends the disc with the unmistakable bass line of “Sugar Pie Honey Bunch” but the song quickly changes tempo and direction with swinging horns and big old catchy Steven Page chorus.

This is an excellent, fun disc and really shows the range that Page is willing to experiment with.  I wish Barenaked Ladies would take more chances like this, too.  But I am especially excited to see Page next month with the Art of Time Ensemble.

[READ: March 25, 2016] “My Holocaust Memoir”

You don’t expect something funny to have a title like this.  Of course once you see that the first line is “Dear Ms Winfrey,” you can expect to not take this seriously,

Greenman begins his letter to Ms Winfrey by saying how much he admires the show, although he doesn’t watch every day).  He says he was watching “Best Life Week ” (is that really the name of segment?) in which guests discussed the challenges they’ve overcome.  He says that he has had some challenges–which he is currently putting into book form.  And he would like her to take a look at them.

It begins: (more…)

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jack SOUNDTRACK: RINGO STARR-The Best of Ringo Starr: Christmas Collection: 20th Century Masters (2003).

This Christmas album came out twice.  First in 1999 as I Wanna Be Santa Claus and then in 2003 as The Best of Ringo Starr: Christmas Collection: 20th Century Masters.  The track listing is the same.  Some history suggests that when the 1999 album came out the label failed to push it and it kind of faded away.

As you can see from the images, the original cover was the same, more or less.  So, for whatever reason, this new label or maybe its the same label) decided to repackage the Christmas disc as a best of.  Well, whatever, it’s still a great Christmas album, and has quickly become one of my favorites.

Like most people, I’ve never been a huge fan of Ringo.  And yet, I feel like I have new respect for him as a musician and as a humanitarian (he has recently been knighted).  This album is also a perfect example of good will, love and happiness.  And while it may be a bit cheesy here and there, his joyfulness overrides any complaints.

There’s some new songs and some traditional songs as well, all done in a vaguely Beatles rock n roll sorta way.

“Come On Christmas, Christmas Come On” is a new song.  It’s a rollicking childlike good fun wondering why it’s taking Christmas so long to get here. I can’t believe this isn’t played on more Christmas channels.  With lots of big loud chanting.

“Winter Wonderland” is like a slower Beatles swagger, with some great backing vocals and a cool instrumentation.

“I Wanna Be Santa Claus” is exactly what you think a Ringo Starr original Christmas song would be like: light-hearted whimsical and very sweet.

“The Little Drummer Boy” is a quick-tempoed version of the song (which is good as it’s usually too slow) with some solid drumming from Ringo himself.  I was delightfully surprised at the presence of bagpipes throughout the song.

“Rudolph The Red-Nosed Reindeer” sweet and boppy with swinging bass sax and more great backing vocals.  There’s a spoken part where Ringo gets to use his Liverpudlian accent that the luved him.  There’s even a “mistake” where he speaks, “he said Santa, no he didn’t he said Rudolph” [laughs].  He even throws in a Ringo the Red Nosed Reindeer line.

“Christmas Eve” is a sad song about being alone.  But he’s not willing to totally bring us down as there is some hope.

“The Christmas Dance” is a fun skiffle song about going to, yes a Christmas Dance.  It swings and is generally good fun.

“Christmas Time Is Here Again” is my least favorite song on the disc.  Although I do like the chorus the main part is just too simple and repetitive (and long!).  It’s just repeating that same line over and over (with a weird shout of “Do it for Jesus, Jesus Loves you.”  It’s also weird that several times he states O-U-T spells out, but the song doesn’t actually.

“Blue Christmas” is almost country-sounding with a slide guitar. It’s sweet and is one of the better versions of this song.

“Dear Santa” sounds about a mash up of several songs (I expect to hear the “oooohs” from “Twist and Shout”;  there’s a bit of “Dear Prudence,” there’s even the melody of “Beauty School Dropout” from Grease.  It’s a nice sentiment but a little long.  However, I do really like the shout out to John: “Dear Santa, I’ve heard it all before, from Jingle Bells, to no more war.”

“White Christmas” is done in a Jamaican lite-reggae feel with steel drums.  It’s rather silly and fun.

“Pax Um Biscum (Peace Be With You)” is a cool Middle-Eastern sounding jam with a sitar.  There’s also vocals in several languages.  he ends this song by muttering. ” Merry Christmas, Annabelle.”

It’s a fun and enjoyable Christmas album from a fun and enjoyable Beatle.

[READ: September 9, 2017] Mighty Jack and the Giant King

I rather assumed that this Mighty Jack series would have several book s in it.  So I was surprised to see that this story pretty much ends the Jack saga (although the epilogue does leave things open…)

The story picks up right where it ended–Jack and Lilly are climbing a beanstalk to chase the monster that stole Jack;s sister Maddy.  They are clearly not on Earth and the monster seems to be rats working together as larger monster.

Jack and Lily are separated.  Jack heads toward the giant’s castle while Lily falls underground and meets goblins. (more…)

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[ATTENDED: December 12, 2017] Groovy Movies

I had never been to The Black Box before. It is a smaller club inside the already small club Underground Arts (the main room is cordoned off).  The setting is intimate and cozy with couches and a tiny bar.

When I got there, there were seven people waiting for the show to start.

I felt bad about that.  I love a show to be not too crowded, but that was uncomfortably empty.

Groovy Movies, a Philly band, came out and did their opening set.  And they were terrific.  Dressed all in white, they played the greatest not-exactly-Beatles music I’ve ever heard. (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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