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Archive for the ‘Nature’ Category

SOUNDTRACK: KAIA KATER-Tiny Desk Concert #832 (March 13, 2019).

This Tiny Desk Concert was posted under a different category than the others and so does not appear on the Tiny Desk page (yet).  In order to find it you need this link.

The expectation upon seeing a banjo hanging is one of rollicking rowdiness, but when Kaia Kater began to strum her five-string, the mood in the office turned plaintive and a bit mournful. The Afro-Caribbean-Canadian singer and songwriter, who studied Appalachian music at West Virginia’s Davis & Elkins College, often references the Black Lives Matter movement, within a music form that doesn’t exactly snap to mind as being in dialogue with modern issues.

“Nine Pin” is, indeed, a slow, plaintive song with great lyrics.  After a couple of verses, the band (it wasn’t obvious she had one) adds some very sparse accompaniment–low upright bass notes, gentle guitar chords and brushed drums.

These days, Kaia Kater records for Smithsonian Folkways, and some of the songs she brought to the Tiny Desk come from her recent recording Grenades, a record she worked on while exploring her father’s home country of Grenada.

The song feels old, except for the lyrics.

These clothes you gave me don’t fit right
The belt is loose and the noose is tight

and I love the chorus which seems like it should be sung quickly but in the way she sings it it’s meaningful

I’ll be your nine pin, eight ball, seventh day, six pound, diamond quarter girl

Before she gets to “Canyonland” she introduces her band: Andrew Ryan: bass; Brad Kilpatrick: drums; Daniel Rougeau: electric guitar, lap steel guitar.

She says this is from her new album and begins a much faster, but still quiet, banjo picking.  The bowed bass adds a new kind of tension.  The lap steel guitar brings a different kind of tension, especially when the song speeds up for the second half of the song.  This song is compelling in a different way.

I find it interesting that she seems to have a more Canadian delivery (based on the Canadian country/Americana that I know of) which I rather like.

Before the final song she speaks about Grenada and how it impacted the title of her album Grenades.

It’s a country that has “experienced a lot of political turmoil,” she says. “My father left when he was 16 years old and he came to Canada as a refugee, on his own. It’s a story I ran away from for a long time, where I didn’t want to reconcile with myself being this kind of hyphenated Canadian.”

For this final song she doesn’t play an instrument.  She just sings (in a lovely torch song vocal).  Without the banjo, the entire tone of the song is different.  The guitars, bass and drums make this song far more jazzy than folkie.  But it works well once again with those lyrics in which

Kaiatries to come to terms with that history “Rain heavy like carpet bombs, sweetgrass, and lemonade / Fold the memory into your arms and whisper it away.”

There’s much power in her understated style.

[READ: March 21, 2019] “Dandelion”

I rarely think much about how old an author is.  For the most part it’s not relevant unless the story identifies intensely with someone of a certain age.  So this story begins, in a surprisingly clumsy opening that you need to unpack:

That Henry James, when he got old, rewrote his early work was my excuse for revisiting , at ninety, a story I had written in my twenties.

Segal is 91 so this is not a far-fetched claim, although it is a bit odd to include within the story itself.

The original story (unnamed in this story, if it exists at all) is about a hike that she and her father took up a mountain.  She had wished her mother had come too, but her mother had had a migraine. (more…)

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SOUNDTRACK: CHRISTMAS All-Time Greatest Records (1990).

This is one of those Christmas compilations that S. or I buy every year.  This one came from S.’s stockpile.

This one is meant to be on the traditional side, with a few surprises thrown in.  Amazingly there are songs on this compilation that we don;t have on other ones.  I mean, how many different versions of these songs are there (Answer: quite a lot).  This collection is almost entirely unique in that there are about ten songs that don’t appear on any of our other collections.  Cool.

BING CROSBY-“White Christmas” is a classic, but man, it’s kind of a downer.  It’s not nearly as much of a downer as…

“I’ll be Home for Christmas” which is a truly lovely song and everyone loves singing it.  And yet, lyrically, wow, it’s a bummer.  “I’ll be home for Christmas, if only in my dreams.”  It was written for soldiers overseas during WWII.  This version is by GLEN CAMPBELL it’s quite slow and somber.  His voice is quite nice too.  When I listened to it I had no idea it was him.

NAT “KING” COLE-The Christmas Song is one of my favorites.  It’s great to hear it every year.

LENA HORNE-“Winter Wonderland”  I have a bunch of Christmas songs by Lena Horne, but again, not this one.  This collection really is rather unique.  Lena puts a fun zing in most of her Christmas songs.  Maybe its time to get a collection of just her.

THE BEACH BOYS-“Little Saint Nick” is much more fun now that I’ve seen it live.

LOU RAWLS-“Have Yourself a Merry Little Christmas” this has a swinging side (even if the tempo is slow).  Rawls’ voice is pretty great I must say.

ELLA FITZGERALD-“Silent Night” I love this song and I love Ella, but I don’t love this version of this song for some reason.

TENNESSEE ERNIE FORD-“The Star Carol”  One of these things is not like the others. I actually never heard of this song before.  And Ford’s voice is crazy operatic.  I hadn’t realized the slight country angle on this disc until this song which sounds not-country, but with that name.  It’s a weird song to have amid these others for sure.

BING CROSBY-“Do You Hear What I Hear” Bing is back.  I love this song, it’s a lot of fun to sing, and Bing makes everything better.

MERLE HAGGARD-“Silver Bells”  This country addition is also weird.  It doesn’t sound like a country song, but Merle still has that accent.

DEAN MARTIN-“Rudolph the Red-Nosed Reindeer” Eight years ago I said this was one of my most-hated Christmas song versions.  I don’t really feel that way now, although the things that bugged me then are still weird to me:

I guess it’s supposed to be funny or cute, but I don’t understand why he starts messing around with the song and sings: “Rudy, the red beaked reindeer” or why he suddenly busts out the pseudo-German: “Rudolph mit your nose so bright/Won’t you guide mein sleigh tonight?”  It’s just weird.

Was it cool to make Santa German in 1959?  Were we over the war by then?

And I hate the way the backing guys all chant “Rudolph” like it’s some kind of threat.

Of all the classic crooners, Dean is my least favorite, but maybe I just need to embrace the possibility that all Dean Martin songs are Drunk Dean Martin songs.

BING CROSBY & THE ANDREWS SISTERS-“Jingle Bells”  Bing is a little over-represented in this collection, but The Andrews Sisters are always under-represented.  This has a manic piano opening and some over the top horns, but the Andrews Sisters are always a hoot.  This is a marvelous ending to the collection and again, one more song that I don’t have anywhere else.

[READ: December 6, 2018] “The Glamour of the Snow”

Once again, I have ordered The Short Story Advent Calendar.  This is my third time reading the Calendar (thanks S.).  I never knew about the first one until it was long out of print (sigh).  Here’s what they say this year

Fourth time’s the charm.

After a restful spring, rowdy summer, and pretty reasonable fall, we are officially back at it again with another deluxe box set of 24 individually bound short stories to get you into the yuletide spirit.

The fourth annual Short Story Advent Calendar might be our most ambitious yet, with a range of stories hailing from eight different countries and three different originating languages (don’t worry, we got the English versions). This year’s edition features a special diecut lid and textured case. We also set a new personal best for material that has never before appeared in print.

Want a copy?  Order one here.

Like last year I’m pairing each story with a holiday disc from our personal collection.

This is the story of Hibbert who was normally conscious of two worlds but who, while visiting a mountain town in the Alps became conscious of a third.  (more…)

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SOUNDTRACK: SILK ROAD ENSEMBLE-“Saidi Swing” (Field Recordings, March 26, 2014).

I really enjoyed the Silk Road Ensemble’s Field Recording, so I was delighted to see that they did a second recording from the same session [A Field Recording Bonus Track: The Silk Road Swings].  I have no idea how they cleared everyone out and cleaned up the place for this video (how long did these four guys have to hang around?), but it was worth it.

What I find so magical about this piece is that it is four percussionists and yet they make such beautiful music.

They’re playing a piece written by Shane Shanahan called Saidi Swing. While it’s inspired by a traditional rhythm from Upper Egypt called saidi (which goes “dum tek dum dum tek” in its simplest incarnation, for those of you who want to find its seeds sprinkled through this piece), Shanahan uses that pattern just as a launching point. And with such fantastic collaborators — from left to right, Sandeep Das playing the Indian tabla, Shanahan playing the riq, or tambourine, Mark Suter on daff frame drum and Joseph Gramley playing the goblet-shaped dumbek — Shanahan can really let his imagination take flight.

The piece begins with the four drummers playing together.  Then comes the individual moments

First comes a solo by Sandeep Das playing the Indian tabla. I love that it’s mostly finger tapping–the tabla is a fascinating instrument.

Up next is Joseph Gramley playing the goblet-shaped dumbek.  To start his solo, he plays the side of the drum which rings out almost like a tambourine before returning to the proper method of playing.

The third solo comes from Mark Suter on daff frame drum (I assumed it was a bodhran, I wonder what the difference is…ah, the daf has metal rings inside of it and can be made of fish skin (!)).  Suter bangs it for a big open sound but then he rubs his fingers along the skin to create even more fascinating sounds.  It’s awesome.

Then they return to the main rhythm.  All four play loud then quiet and then it’s time for each of them to get a very brief (2 seconds, maybe) solo in order left to right.

Then it’s time for Shane Shanahan playing the riq, or tambourine, to get a solo.  It’s the most conventional instrument except it seems quite different from the one that we see in folk bands.  He does some pretty nifty tricks with it too.

In the last part they each play a solo that’s about a second.  Again, left to right, which sounds cool and probably sounds even better in person.

World music percussion is really fascinating and I’m glad it gets showcased in this way here.

[READ: February 7, 2018] “The Ecstasy of Alfred Russel Wallace”

I never understand why people write fictionalized accounts of true stories.  There must be a reason for doing it–maybe you can’t write a five-page biography and have it get published anywhere?  I don’t know.

This is the true (I assume) account of Alfred Russel Wallace.

Wallace was a student of nature–it filled whim with an ecstasy that sometimes felt like lust.  He was not one for theory–he was all about the search.

He collected specimens and he wrote letters home to his mother about his joyful expeditions.  He traveled endlessly, exhaustively.  Even when wracked with malaria he continued. (more…)

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[LISTENED TO: August 2018] Tuck Everlasting

Normally when we go on long car rides we listen to many audio books.  This summer, we drove to Chicago (12 hours each way) and listened to only two!  Two!  And this one was only three discs long.

I actually didn’t know anything about this story when we started it (somehow this classic children’s book written during my childhood totally escaped me).

What’s fascinating about this story is how little there is to it.  This is not a criticism.  It’s a remarkably compact plot.  Although there is an awful lot of description.  And while Peter Thomas did a great job with the action of the story, the descriptions tended to drag on a bit (you could blame Babbitt or Thomas I suppose).

The story focuses on the Tuck family.  Tuck, whose first name is a rarely used but is Angus, is the father.  Mae is his wife.  They have two children, Jesse who is 17 or so and Miles is 22 or so.

There is also Winnie Foster, a ten-year old girl.  Her family is the oldest family in Treegap, New Hampshire. (more…)

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SOUNDTRACK: BETSAYDA MACHADO Y PARRANDA EL CLAVO-Tiny Desk Concert #707 (February 16, 2018).

How can you not love a band that is decked out in wonderful colors and whose only instruments are percussion?

I love the first song, “Santa Rosa.”  The chorus is super catchy and when they raise the note in the chorus on the “Oh! Santa Rosa” the song just soars.  Although Betsayda Machado sings most of the songs, this one opens with one of the men (in yellow) singing and I really like his voice, too.  I could even figure out the gist of the words.

And the percussion?  Two floor drums, 2 hands drums, shakers and that friction drum.  So cool.

So who are these folks?

The roots of the music of Betsayda Machado y Parranda El Clavo extend to the Venezuelan slave trade, and while the vocals are in Spanish and not an African dialect, the instruments the group plays date back more than 500 years.

The large bamboo cylinders, the djembe-like drums and the large friction drum together create a symphony of interlocking polyrhythms that was unlike anything I’d heard. Machado’s vocals soar over the unrelenting rhythms, and when she harmonizes with the other singers, it creates a choir-like display of African call-and-response vocals.

When discussing African-influenced music from the southern hemisphere, we often focus on countries like Brazil and Cuba, places where the folk music eventually made its way into popular music. Afro-Venezuelan culture and music is rarely featured or even acknowledged outside of the country. As you’ll see in this video, that should change once music fans take in the beauty of Machado’s voice and the power of her historical message.

“Alaé Alaó” is much more somber, but the percussion is incredible–three men playing bamboo sticks against bricks–the details of what they do are fascinating.  The song starts to pick up with bongos and other hand drums as the guy starts singing again.  During the middle of the song one of the women goes out dancing on the main floor with some of the crew.  This can only lead to more dancing.

“Sentimiento”  The guy in yellow sings the beginning of the song and then Betsayda comes in.  The friction drum is back along with all the shakers and percussion.  I love the way they all stop perfectly at the end.

The band includes: Betsayda Machado, Nereida Machado, Youse Cardozo, Blanca Castilo, Adrian “Ote” Gomez, Jose Gomez, Oscar Ruiz.

[READ: November 20, 2017] Science Comics: Dogs

I have enjoyed every Science Comic that has come out, but this might have been my favorite.

In addition to being about a great topic: dogs, it was also updated with a ton of new information that I had no awareness of.  On top of that there’s a ton of scientific information about genetics, evolution and natural selection.  To top it off, it’s narrated by an adorable pup named Rudy who loves a tennis ball.

Once Rudy drags his owner to the dog park, Rudy can tell us all about dogs.

He explains that all dogs are from the species lupus, and yet look at how different all of the breeds are.  So Rudy rushed back to 25000 BP (before present). (more…)

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SOUNDTRACK: AHI-Tiny Desk Concert #693 (January 16, 2018).

AHI is apparently, inexplicably pronounced “eye.”  He is an Ontario-based singer.  There’s nothing strikingly original about his sound, but his songs are pretty and thoughtful and his voice has a pleasing rough edge.

Bob says,

AHI’s gruff but sweet voice and openly honest words were my gateway to this young Ontario-based singer. AHI says he sings Sam Cooke’s “A Change Is Gonna Come,” at the end of every set with a sense of hope. It was powerfully moving, without a note that felt clichéd or overly nostalgic. At that moment, I knew he needed to play a Tiny Desk Concert.

With a tasteful band comprised of Frank Carter Rische on electric guitar, Robbie Crowell on bass guitar and Shawn Killaly (a man of a million faces) on drums, AHI put his heart into three songs in just about 11 minutes, all from his debut album We Made It Through The Wreckage, which came out a year ago this week.

“Alive Again” builds slowly, but by the time the chorus comes around and he adds some whoops, the song really moves. I’m quite intrigued at the constant soloing from guitarist Frank Carter Rische.  It’s virtually nonstop and really seems to propel the song along.  It’s a catchy and fun song the way each round seems to make the song bigger and bigger.

About “Closer (From a Distance)” he says, we all have relationships.  Some are good; some are bad and some are just awful.  You may care about someone with your whole heart only to realize that you care about that person more than they care about themselves.  No matter how strong you are your strengths may not be as strong as their weaknesses.  Sometimes the only way to save the relationship is to walk away–“maybe we’ll be closer from a distance.”   This is a really heartbreaking song.  The lyrics are clearly very personal and quite powerful.  And the soloing throughout the song is really quiet and beautiful.

“Ol’ Sweet Day” is bouncy and catchy with a propulsive acoustic guitar and lovely licks on the lead acoustic guitar.  The drums are fun on this song as Killaly plays the wall and uses his elbow to change the sound of the drum at the end of the song.

The burning question that is never addressed is way he is wearing a helmet –motorcycle? horse riding?  It stays on the whole time.  At one point he even seems to “tip” his hat.  How peculiar.

[READ: December 8, 2017] Glorious and or Free

The Beaverton is a satirical news source based in Canada.  It began as a website in 2010 and then added a TV Show in 2016 (now in its second season).  To celebrate 2017, the creators made this book.

They have divided the history of Canada into 13 sections.  As with many satirical history books, you can learn a lot about a country or a time from the kinds of jokes made.  Obviously the joke of each article is fake, but they are all based in something.  Historical figures are accurate and their stereotypes and broadsides certainly give a picture of the person.

Some of the humor is dependent upon knowing at least a little about the topic, but some of the other articles are just broadly funny whether you know anything about it or not.

When we made this book our goal was to transport readers back to grade school to remember what they were taught n Canadian history class.  And so what if your teacher was hungover most of the time?

~30,000 Years of History in About Four Page (3,200,000,000 BCE – 1496)

“What the hell is that?”  –God after forgetting he made beavers. (more…)

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SOUNDTRACK: BIDINIBAND-The Carleton, Halifax, NS (February 13, 2015).

This is the most current solo show from anybody on the RheostaticsLive webpage.

Bidiniband’s third album came out in 2014 and this show chooses from it pretty heavily.

The show starts (Dave sounds either like he has a bit of a cold or he’s just worn out) with Dave saying “We’re going to start with a song about the cold, because it is.  Fucking snow, eh  Wow.”  “The Grey Wave” has great chord changes in the chorus.  It is a slow folkie song about cold and snow.  I like that he whispers “let’s go” before the buzzy but quiet solo.  The chorus comes out of that fairly rocking (a least for this set).

Dave continues, “I have some news.  Last night I was offered cocaine in the bathroom of the Alehouse.”  (Don, on drums, whispers, “in exchange for what?”).  Dave: “I think the guy just wanted to be my friend.  He was a bit of an asshole.  Cocaine is the one drug I think where when people offer it to you and when you say no, they apologize for having assumed you wanted any.”

Someone else notes: “I like that we’re the rock band from Toronto and we’re the ones shocked by all the drugs everyone is doing.  We were in BC and we were shocked at the big jug of MDMA being passed around.”

“Everyday Superstar” is a rocking, swinging song.  I love that the chorus is “I’m an animal out of control” but it’s kind of slow and mellow and at one point he says “its true.” And there’s this lyric: “When it’s hot, I’m gonna be Bon Scott you be Lita Ford.”  At the end of the song, someone asks, “Does everybody in the house know what bass face is?  You never know when Haddon is going to a picture of you with that face.”  Dave tells a story that Haddon Strong had a subscription to a magazine and it was addressed to Hardon Strong.

Introducing “My First Rock Concert” he says, “this is a song about music.  I bet you think it’s ‘Proud Mary’ but it’s not.  That was done last night.”  He sings it kind of whispering/spoken.   In the middle, Paul plays the riff to “Brown Eyed Girl” while Dave is singing “you’re either a mouse or Steven Page.”

“Take A Wild Ride” is s short song that segues at the same fast tempo into “The List” which is, again, almost spoken.  He throws in some other people who have made the list.  Jian Ghomeshi and Joel Plaskett (he was in Thrush Hermit) and at the end he says, “only kidding about Joel.”

“Big Men Go Fast On The Water” is a great-sounding song–in this version, the guitar riffs between verses sound like Boston.  They played this song last night at “Stolen from a Hockey Card” at the Spats Theater.  Dave was disappointed there were no spats there.  He says, “If I’ve over pattering, just tell me.”

We wrote this song “Bad Really Bad” about the Toronto Maple Leafs.  Three chords and the truth.

“In The Rock Hall” is about the Rock n Roll Hall of Fame in Cleveland from a poem written by Paul Quarrington  Once again he almost whispers, “C’mon Halifax, let’s rock.”   About “Ladies of Montreal,” he says, “I didn’t think there were enough songs in indie rock well, elderly indie rock, independent seniors, about beautiful women… boobs, you know.  It came in a dream.  I had to write it.”  Dave says it is sexist although I don’t exactly know what he’s saying with the French words.

Getting ready to play “The Motherland Part 1,” he asks, “Jerry you brought your flute, did you?  Oh fuck’s sake.  It’s okay. I think I told you last night but we were both pretty hammered.”  “The Fatherland” is “a heavy metal political song…political metal… politometal.”  It totally rocks and at the end Dave says “I don’t understand, the dancing girl left and we’re playing our most uptempo tunes.”  Before they complete the trilogy with “The Motherland Part 2” someone in the band asks, have you got the cocaine?–its pure MDMA.  Don rehashes the story about him throwing up at a party in the closet because of hot knives.  The middle of Part 2 really rocks.

“Last Of The Dead Wrong Things” is quieter for sure but the chorus and backing vocals are great.  Where there’s usually a drum solo there’s a kind of quiet freak out.

He says, “we’re going to do one more” (boo) …well how many more do you deserve?  Seventeen, eh, you have a very inflated view of yourself.”

“We’ll do ‘Fat,’ (a song “by Rheostatics band”), it has similar chord shapes don’t hold that against us.  Did I tell you we were playing this one?”  “Would it matter?” Let’s have a round of applause for Kevin Lacroix on the bass and Don Kerr on the drums.  Paul Linklater on guitar.

“We played with Corb Lund yesterday, from Alberta.  He’s very handsome and very accomplished.  “Really really handsome.”  Kevin: “I made out with him.”  Dave: “I made out with a guy who I thought was Corb but who was really the cleaning guy for the hotel….  Last night on this very stage he intoned, he evoked the name of Washboard Hank Fisher….  You’re not going are you, it’s going to be a good song.”  They have Lots of fun with “The Midnight Ride Of Red Dog Ray”  with over the top backing vocals.  And in the solo, we get Paul Linklater, one more time pickin’ and grinnin.’

Before the next song Dave says, “What are you guys laughing at?  I can see you in the mirror, you know.  This is my favorite club coz I can watch my rock moves, they’re top ranked.”  Don:  “That’s actually Dave’s mirror, he brings it to every club and says that.  It’s embarrassing.”  Dave mentions a famous story (doesn’t know who it’s about) about a heavy metal singer who was hammered and he saw the guy in the mirror and thought he was mocking him.  So he challenged him to a fight.  That’s rock n roll.”

“You got a weak bladder Jerry?  I’ve got a weak bladder, too.  I’ve peed myself twice during this set.”

This is an album by Bidiniband called The Motherland.  It’s a delicious record and I’d like you to buy it.  All of you.  It’s only $10.  Produced in Toronto in a studio  … by professionals.  Trained professional sounds.  Nothing like what you’re hearing tonight.

There’s a great buzzy bass sound on “Desert Island Poem” which is “a funny song about cannibalism.”  Dave gets pretty crazy at the end.

It segues into a wonderful surprise of them playing”Queer.”  And then a terrific version of “I Wanna Go To Yemen” with a fun wild sliding solo.

He wishes everyone a good night and they leave for a few seconds.  “If we take a break we probably won’t play anymore.  But that was break…  We probably should have taken a longer break and milked it more… but we didn’t.”

“Do people who come to lean along the bar are they into the music?”  Kevin: “Those are some of the best people in Halifax…but the creme d la creme starts right here.”

Jerry didn’t find his flute did he?  Dave asks for a hand for the opening act, Communism Music, look them up

The first encore is the hilariously offensive song “Take A Bath Hippie.”   Sample verses:  “This ain’t the 1960s / These are brand new modern times / everyone is equal and everyone is doing fine,”  “Your revolution ended the day Trudeau retired.  A land of Stephen Harper… we got the country we desired.”   He asks, “You guys got hippies out here?  Probably not. You got Buddhists.  That’s just as bad.  They lie around in their robes  eating flowers.  Shaving each other’s heads.  Sacrificing a goat here and there.”

 We’re all getting G&Ts?  Thank you people of the night.  Kevin: “Treating us all equally?  Like my parents.  My parents would bring us all something she wouldn’t bring me a G&T without bringing one to my sister.”  Dave: They were saints.

FYI, tomorrow, there is Hockey Day in Canada–a ton of games on and footage from the concert last night with Theoren Fleury, Rich Aucoin, Buck 65, Miranda Mulholland, and the ever handsome Corb “The Boner” Lund and The Barra MacNeils.  Dave did a short movie about John Brophy, that’s gonna be on.  “Fuck, it’s Saturday… just sit at home and watch hockey.  It’s what we are supposed to do.  If you don’t, Stephen Harper will have your ass.  But I’ll save you because I’m the hockey guardian.  No I’m not, I’m just tired.”

We’ll try to do one last song.  Have we done “Take a Bath Hippie?”  We’ll save it for next time.  I’m trying to not do a typical show closer tune.

Last gig Kevin played with this band he was playing drums.   I guess it didn’t go well because he’s been demoted to bass. (ha ha).  Dave: “You’ve got the best bass player joke about what happened to Gordie Johnson.”  Kevin: “oh no that’s just nasty.”  Dave “You’re right, its for later in the washroom when were doing coke.”

They play a surprising “Stolen Car.”  It’s so weird to hear Dave sing this song (which he wrote)–he whisper sings it (and can’t really hit the notes).  It segues into a folkie
“Legal Age Life -> Do You Wanna Dance -> Legal Age Life” with them singing, “Oh yeah music is fun.  Friends are fun.  Rock n roll is fun.  Sloppy and fun.”  They end with a Johnny Cash line get rhythm when you get the blues.

Who would have guessed that just seven months later Rheostatics would reunite?

[READ: November, December 2017 & January 2018] West End Phoenix

West End Phoenix is a newly created newspaper.  It was inspired by Dave Bidini.

I have loved just about all of the music that Bidini has created (with Rheostatics and Bigdiniband) and I have loved just about all of the books he has written.  So why wouldn’t I love a newspaper created by him?  Well, possibly because it serves a community that I do not live in and have very likely never visited.  That’s right, this is a community newspaper for a community that isn’t even in my country.

And it is terrific.

But why on earth would I want to read it?  Can I really like Bidini that much? (more…)

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