Feeds:
Posts
Comments

Archive for the ‘Nostalgia’ Category

SOUNDTRACK: PEARL JAM-“History Never Repeats” (1995).

On December 2, Pearl Jam announced that their fan club holiday singles will be released to streaming services.  Their first holiday single was released back in 1991.  It was “Let Me Sleep (Christmas Time).” They are rolling out the songs one at a time under the banner 12 Days of Pearl Jam.

These releases are coming out as a daily surprise.

I was not aware of this recording at all.  It is, indeed, the Split Enz song.  It was recording during a Pearl Jam show on March 24, 1995 in Auckland, New Zealand.   It must be during a quiet middle section, because it’s just Eddie with Neil Finn & Tim Finn live at the Mount Smart Stadium.

It is a bare-bones version with just voices and one electric guitar.  Neil Finn plays guitar and sings the first verse.  Eddie takes the second verse.  Tim Finn sings the third verse.  All three share  backing vocals and the chorus.

It’s a rare treat to hear an old recording like this, especially one of a song they’ve not played since.

[READ: December 13, 2019] “The Infinite”

This year, S. ordered me The Short Story Advent Calendar.  This is my fourth time reading the Calendar.  I didn’t know about the first one until it was long out of print (sigh), but each year since has been very enjoyable.  Here’s what they say this year

The Short Story Advent Calendar is back! And to celebrate its fifth anniversary, we’ve decided to make the festivities even more festive, with five different coloured editions to help you ring in the holiday season.

No matter which colour you choose, the insides are the same: it’s another collection of expertly curated, individually bound short stories from some of the best writers in North America and beyond.

(This is a collection of literary, non-religious short stories for adults. For more information, visit our Frequently Asked Questions page.)

As always, each story is a surprise, so you won’t know what you’re getting until you crack the seal every morning starting December 1. Once you’ve read that day’s story, check back here to read an exclusive interview with the author.

Want a copy?  Order one here.

I’m pairing music this year with some Christmas songs that I have come across this year.

I really like César Aira’s stories.  He’s a fascinating guy and insanely prolific.

He has written nearly a hundred books.  Most of his novels are quite short, so I’ve never really thought of him as writing actual short stories.  This one comes from his collection The Musical Brain: And Other Stories which was translated by Chris Andrews.

The unnamed narrator says that as a kid he played some extremely strange games.  I love this line, “They sound made up when I explain them, and I did, in fact, make them up myself.” (more…)

Read Full Post »

SOUNDTRACK: THE DIVINE COMEDY-“Don’t Mention the War” (2019).

The Divine Comedy contributed a song to the Amazon Prime series Modern Love.

I don’t know anything about the show, but I was delighted to hear a new song from Neil Hannon.

This is a much quieter songs than he has put out recently. It features acoustic guitars and strings and over a slightly bouncy melody, he gently sings.

Do you remember when? No I don’t either
All this remembering we’re none the wiser
It’s time to let go and say

The chorus is similarly bouncy but more nostalgic than happy.

Don’t mention the war
Don’t talk of those days
What good is it for?
Don’t mention the war
Let history lie
Kiss the old days goodbye
They’re no help anymore
Don’t mention the war

This song isn’t mind blowing (an apparently is a left over from something else). but it’s a delightful slice of chamber pop.  I’d like to think it might introduce him to a whole new audience who will love him, but realistically, I think it will get some nice plays on Spotify and that’s good enough.

[READ: November 29, 2019] “Hurricane Season”

Sedaris says that when you grow up in North Carolina, you know not to get too attached to a beach house. If this year’s hurricane doesn’t get you, next year’s will.  And so it was in 2018 that Hurricane Florence took away their house, the Sea Section.

While Hugh was devastated David could only think to mock the old fashioned hurricane names “they sound like finalists in a pinochle tournament.”  Where’s Hurricane Madison or Skylar? Category 4 Fredonté?

They were in London when the hurricane hit, so their friend, owner of the Dark Side of the Dune checked on their house for them.  The pictures made  the place look so tawdry he was embarrassed to share them.

Luckily for them they had purchased the house that’s next door to the Sea Section as well –preemptively avoiding a McMansion (eight bedrooms were common, spread over three or  four stories).  The place is ancient by Emerald Isle standards (vintage 1972).  But what you really didn’t want next door to you was a swimming pool.  All you hear is Marco Polo over and over. (more…)

Read Full Post »

SOUNDTRACK: RHEOSTATICS-“Here Come the Wolves” (2019).

This is the first new officially released Rheostatics song in 15 years.  And it’s a doozy. A six and a half minute epic with a few different parts and styles within.

I’ve heard this song on a few of the the recent RheostatcisLive recordings, but this studio version explores depth and detail in a way that the live version could not.  And it’s really fantastic.

The video is also cool because it shows guitarist/singer Martin Tielli in a timelapse video finishing the cover art.

Starting with a menacing riff including Hugh Marsh on violin (and some interesting whoos! in the distance), the chorus opens the song.  Then comes a stomping series of catchy verses.

After 2 and a half minutes, the song slows down and Martin picks up a quietly sung middle section.  He sings over some eerie violins and keys before the guitars slowly build.  Quietly picked acoustic guitar flesh out the song as Martin continues.

After two minutes of this quieter section, it picks up again with a piano-based version of the melody.  This takes on a more uplifting feel as Martin sings in his whispered vocals.

The song has a nice climax and then a short denouement.

It’s nowhere near as weird as some of my favorite songs by them, although it is far from a guaranteed radio hit.  Nevertheless it is pure Rheostatics, and I love it.

I’m delighted to have them back making new music and holy cow, if I have to go to Toronto to see them play live, so be it.

[READ: June 24, 2019] “Back Then”

This is a story of a woman looking back on her burgeoning adulthood.

In the summers she and her family would go to a lake (in Ohio).  The story begins with them watching the Perseids.  She and her sister wanted to go down to the lake to see them fall into the water, but her mom always said no.

The story is full of sweet details–her sister peeing behind the furnace in her grandmother’s room, walking in flip-flops to buy the paper for their dad, the goat in the neighbor’s yard, even the trailer park.  They had enforced lunch and “quiet time.”  Quiet time was supposedly to prevent them from getting cramps, but it was really just for their mom to have some peace.  And how the last day always brought a double feeling of wanting to stay forever and wanting to go home. (more…)

Read Full Post »

SOUNDTRACKRHEOSTATICS-Copps Coliseum, Hamilton, ON (December 11, 1996).

This is the 22nd night of the 24 date Canadian Tour opening for The Tragically Hip on their Trouble At The Henhouse Tour.  This is the last date of the tour (so far) for which there are recordings.

The show opens with a great “Midwinter Night’s Dream” followed by a rocking “Fat.”  As the song ends with the “bye byes” Dave save “see you in the next song, Martin.”

“All the Same Eyes” is a rocking good time.  And then, after a little riff, Martin starts “Motorino” which sounds great.

Dave says, “Hi we’re the Rheostatics, not to be confused with The Howl Brothers–they couldn’t make it.  But we’ve got their jackets.”  He mentions that they have a new album out, “get it before its reduced to clear.”

During “Bad Time to Be Poor” after “feeling winter through a crack in the door,” Tim goes brrrrrr.  More Tim on “Claire” with some great soaring harmony vocals before Martin’s rather grunting solo.  Although at the end, instead of spelling C-L-A-I-R-E, Tim seems to be singing Steve L.A. yea yea yea confides in me”

The set ends with two scorching tracks.  A terrific “California Dreamline” and a roaring “Feed Yourself” (with a really intense ending).

As the feedback fades, Dave says, “Thanks to the Tragically Hip.  God bless.”

It’s a nice way to end the tour–but maybe someday we’ll hear those last two shows.

[READ: April 9, 2019] “The Unexpected”

This was a darkly amusing story (yes, it is Joyce Carol Oates) that I had to wonder if it was in any way autobiographical or just horrifyingly possible.

The story is about a writer receiving an honorary doctorate of humane letters from the community college near her home town in update New York.  She left and never came back, but has been writing about her home town for much of her career.

She is awkward from the start, “Thank you for the honor.  I am very–honored.”

She receives applause–not thunderous, but polite, even warm .  But her speech seems to fall flat (if it can even be heard over the fighter jets).  But when she is finished, she pauses and the response is enthusiastic and she wonders “Is there where I belong now?” (more…)

Read Full Post »

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…)

Read Full Post »

SOUNDTRACK: Y&T-“Mean Streak” (1983).

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

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

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

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

[READ: January 2019] Forever Nerdy

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

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

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

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

Read Full Post »

SOUNDTRACK: PHOEBE BRIDGERS-Live at Newport Folk Festival (July 28, 2018).

I saw Phoebe Bridgers three days after this set at Newport Folk Festival (I had no idea).  She plays five more songs at my show than here (yay, me).

The size of the crowd does’t seem to intimate her in any way and she sounds just as great (and intimate) as she did in the small club where I saw her.

A few songs into her sun-drenched Saturday Newport Folk set, Phoebe Bridgers paused and proclaimed, “I am a puddle of sweat.” It was a one-liner that primed those huddled at the Harbor Stage for the 2018 Slingshot artist’s catalog: details delivered with specificity and a subtle sense of humor.

I will say the one thing about this recording is that I don;t think you can hear all of the percussion as clearly as I could at Asbury Lanes.

The show started much the same as mine did with a beautiful languid version of “Smoke Signals” and a try-to-hold-back-the-tears reading of “Funeral.”

For the next song, “Georgia,” she brought out songwriter Christian Lee Hutson who is “going to help me sing harmonies.”  Whether it was the song itself of Hutson’s addition, but Bridgers’ voice really soars on this song.

Even Bridgers’ stage banter reflected her striking style, mixing straightforward address and astute observation. “This song is about how every time I smoke weed, I remember why I don’t smoke weed,” she said of the plainspoken plea “Demi Moore.”

She continued: “I face plant and my brain is erased for many hours and I think I’m thinking too loud.”

There’s some gorgeous harmonies on the darkly sweet song, “Killer.”  Then she played “Steamroller” solo on the acoustic guitar.

Later, she called “Steamroller,” a devastatingly candid cut from her 2015 EP, Killer, “another dark love song, thanks.”

Introducing Gillian Welch’s song “Everything Is Free” she said. “This is my friend Marshall.  We’re going to sing my favorite song about music streaming ever written.”  I loved hearing this live and it sounds just as solid here.

Up next was a song she did not play at my show.  She welcomed Christian Lee Hutson (playing guitar with Jenny Lewis) and Sharon Silva (from The Wild Reeds) played bass with me for exactly one week and I waited for a really bassist…Emily.  Chris wrote this song for me.”  The chorus goes “”lets get the old band back together again, and there’s even a line, “with Emily on bass, it doesn’t feel the same.”

The crowd reacts strongly, as they should to her awesome song “Motion Sickness.”

Despite its venom, it’s a song that unspools with a sonic ease that feel refreshing, even for an overheated festival audience.

The songs sounds great live and she holds a 17-second note just for kicks.  The sets ends (as did ours) with “Scott Street.”  She says “This is about L.A. where we live;  where it’s hot all the time.”  It’s a quiet song, sounds and represents her music pretty perfectly–quiet, sad, with clever lyrics.

At our show, we got two encores after this, so again, yay for us.  But this is a great example of her live show.

[READ: April 22, 2016] “Playing with Dynamite”

Back in February of 2017, I posted about an essay by George Saunders from 2009 in which he remembers John Updike “Remembering Updike“.  He says that back in 1992:

 It was going to be in Tina Brown’s first issue and they marked this occasion by running two stories contrasting the new writers (Saunders) with the established.  Of course the establishment writer was going to be Updike.  Saunders said he was chagrined because he knew the contrast would go something like this:

Wonderful, established, powerful representative of the Old Guard kicks the butt of the flaky, superficial, crass poseurish New Guy.  Saunders’ story was “Offloading for Mrs. Schwartz.”

I can see why they paired the George Saunders story with this particular Updike story.  Both stories deal with grief and memory loss, although Updike’s does so in a very different way.  On the other hand, their writing styles are so very different that it’s nearly impossible to compare the two stories.

The story begins with an interesting image from childhood: “one aspect of childhood Fanshawe had not expected to return in old age was the mutability of things–the willingness of a chair, say, to become a leggy animal in the corner of his vision.”  But living now “in death’s immediate neighborhood” he allowed that things like that might happen and it wouldn’t be the end of the world.

There is then an episode in Fanshawe’s day when his wife, who was younger and more spry than he, passed him going down the stairs.  She caught her heel on her dress and fell down the stairs.  It was only after all the guests had left that she said to him, “Wasn’t I good, not to tell everybody how you pushed me me?” (more…)

Read Full Post »

Older Posts »