Feeds:
Posts
Comments

Archive for the ‘Scholarship’ Category

SOUNDTRACK: KHRUANGBIN-Tiny Desk Concert #743 (May 16, 2018).

The sound of the guitar that Khruangbin create is so dead on for an old sixties band that as they started this set I thought perhaps it was a sample they were opening up with.

But it was all live.  And as the camera comes on for “Maria También” we see this trio jamming this really groovy instrumental song (with whispered words from bassist Laura Lee).  The guitar melody is full of circular riffs but when it shifts to the main body, I love the way the bass and guitar play the same thing but it sounds like a fresh addition of low-end (his guitar seems to eschew the low-end entirely).  The middle of the song is a cool guitar solo with lots of hammer-ons and chords thrown in to generate a really wonderful sound–the tightness of the ending is really cool too.

So Khruangbin is a

trio from Houston, Texas heavily inspired by 1960s and ’70s funk and soul from, of all places, Thailand. That musical passion has taken them on a journey that, these days, incorporates music from Spain, Ethiopia and the Middle East. Khruangbin’s largely instrumental music is grounded in Laura Lee’s bass, with Mark Speer playing those melodic, richly reverbed guitar sounds and Donald “DJ” Johnson on drums and piano.

“August 10” is a jazzier number with lots of slow but evocative bass. The main part of the song is gentle chords with some cool riffage.  The middle slows things down with some very gentle na na na nas from all three members. Johnson’s drums are pretty simple and standard throughout–keep the beat and add some accents.  It’s that funky bass line that is so great.

Two of the three songs performed at this Tiny Desk Concert are from their 2018 album Con Todo El Mundo, which is dedicated in part to Laura Lee’s Mexican-American grandfather. He’d often ask her how much she loved him and the response that pleased him most was when she would say, “con todo el mundo,” (with all the world.)

The third track in this performance is one of the band’s first forays into vocals, from their 2015 debut album, The Universe Smiles Upon You. “White Gloves” gently pays homage to a “classy lady” who was “a fighter” and who “died in a fight.” Its open-ended lyrics could imply a battle that was violent or an illness. It isn’t clear.

“White Gloves” is more mellow and less jamming.  I am fascinated that Johnson switched to piano (no drums on this track) for this song. Unlike the other two songs, this one needed to grow on me, but I enjoyed it by the end.

[READ: January 28, 2018] “The History of The History of Death”

This story is written as a speech given at a Symposium held at the University of Melbourne, 2— The Symposium was called “Postmortem of the Printed Word.”

The speaker announces that in 490 BC Hermodorus tried to refute Heraclitus’ claim that “everything changes and nothing remains still.”  He did so by writing a History of Death in which “only those things which had ceased to change” would be recorded.

After writing the first volume, he died of a seizure.  Another scribe had just recorded Hermodorus’ death when he himself fell ill and died.

Future writers chronicling this History of Death also died in complex ways.  One was trampled by a horse, one died of stomach cancer.  When it was translated into German, it became like something of a light for moths as so many scholars wound up dead. (more…)

Advertisements

Read Full Post »

  SOUNDTRACK: KING KRULE-Tiny Desk Concert #681 (December 6, 2017.

King Krule is one of those artists that I love on paper.  But who in actuality I find really rather unpleasant.  He was raved about by so many people this year, and yet, aside from a few parts of these songs that were good, this was all kind of slurry jazz to me.

The blurb says the music is a kind of mashup of “cool” and “jazz” and an acquired taste well worth dipping in.

I guess I don’t have that taste.

They play three songs with instruments including sax, guitars, bass, drums, live vocal processing of Archy’s voice and electronics

“Midnight 01 (Deep Sea Diver)” has interesting sound effects and echoes on his voice, which I like.  But his voice is deep and mumbly and the music is pretty standard lite-jazz.   There’s a sax solo and a jazzy guitar solo.

I don’t know if it’s the whole picture but this vibe turns me off:

lyrics that talk about the sorts of depression singer and guitarist Archy Marshall has dealt with in his young life (he’s 23).  “Why’d you leave me? Because of my depression? / You used to complete me but I guess I learnt a lesson.”  All this comes from someone who honestly looks like he couldn’t care less, which seems like a far cry from the words and care he puts into his twisted, woozy tones.

His “whatever” attitude annoys me and I can’t hear these words anyway.

“Lonely Blue” There’s some interesting things going on in this song–the shifts in tension and volume.  But those few moments can’t rescue the song for me.

“Logos/Sublunary” is 7 minutes and is either one long song or two shorter ones.   He switches to keys and I like it a bit more.  This song sounds like some other songs I like but those jazzy elements (two saxes!) bug me.  After 4 minutes it switches to a more funky style (that would be “Sublunary,” I guess).  The end is my favorite part.

But once again, I feel like I was set up to be blown away, and it sounds too much like jazz to me.  The musicians include: Archy Marshall; Connor Atanda; John Keek; George Bass; Jack Towell; James Wilson.

[READ: September 17, 2017] Science Comics: Plagues

This might just be my favorite of First Second’s Science Comics series.  I love the topic, I really love the art, and I love the way Koch has created a compelling story as well.

The book opens with a Bubonic Plague creature (a cute blue hot dog with yellow bits) meeting up with Yellow Fever (a yellow-green ball with nodules).  They are in a host body and are looking to take advantage of their surroundings. Before they can do any damage, though, they are attacked by a large, scary T-cell.

A fight ensures bit it is short-lived because, in fact, everyone is in a simulation created by ECHO [Education Control Hologram Overseer].  They are in CHAMBER [Center for Holographic Advanced Microorganism and Bio Engineering Research].

In CHAMBER, the researchers observe cells–like way white blood cells learn about germs (anything that makes us sick) and is able to fight it. (more…)

Read Full Post »

SOUNDTRACK: RHEOSTATICS-Fall Nationals, Night 6 of 10, The Horseshoe Tavern, Toronto (December 13, 2005).

This series 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 6th night of their 10 night Fall Nationals run at the Horseshoe.  It was a free Tuesday night.

Note:  After the encore break Ford Pier plays a solo version of Diaphanous Heart and then Dave fortuitously jokes that the band just decided to break up.

As the show opens, Dave says they’d like to that Kat and Leeroy for playing with them tonight.  He then says that this is their fifth night, “lucky number 5.” But it clearly isn’t.

They open the set with a stretched out version of “Fat.”  Mike asks, does that stand for “File Allocation Table?”  Dave: “Of course is does.”  “Aliens” has an unusually heavy riffing opening but then the song is played fairly straight.  During the quiet part, Dave doesn’t play anything else but there’s some pretty twinkling keys from Ford.  The song ends with an unexpected guitar solo.  And as the band starts to play the next song, there’s more soloing–a solo unlike what Martin typically does.  I assumed it was a guest but apparently not.  And yet, it lasts for just a moments before the song becomes “Claire.”  Martin’s got some interesting guitar sounds going on for the lengthy solo.

Martin tries the opening of “Torque Torque” but it sounds wrong–naw it didn’t work.  Dave: “Bit of a clunker.”  The next try is fine although there’s a really ugly moment in the middle of the song where the chord is just wrong.  But they get past it pretty quickly.

Dave announces that that was from the film Whale Music, the soundtrack to which is available on zunior.com, a site that is making our musical available digitally.  “We also just released a recording called Calling Out the Chords Vol. 1 which is a recording of last years’ Fall Nationals.  It’s a 12 song souvenir of that event.”
Ford: “I’m astounded that this is volume one.  What do you need someone to take out a fistful of money and burn it in front of you before you get a goddamn clue?”
Dave: “I thought vol, 1 because you know those albums like Cruisin Vol 1.  No one every goes, ‘Wheres Vol. 2?”
Ford: “I felt that way about Kill Bill.  There’s more? Ew.  A martial arts movie with no martial artists?”

When they start “It,” Martin jumps a ahead to the dinosaurs verse and then says  “Is it the wrong verse?”  Dave tells him to go back and they more or less start over.  This time when he gets to the dinosaurs, he roars.   Next up is “Queer” which rocks.  Before the end coda, Ford take a lengthy jazzy piano solo.  It’s followed by “Pornography” which feels a little rushed. There’s some ugly static on the guitar.

When the song is over Ford asks who watched the Grey Cup.  “Everybody did, naturally.  And you all saw The Black Eyed Peas and enjoyed them very much.  And you know that woman Fergie?  She was one the voice of Charlie Brown’s little sister Sally in the Peanuts cartoons [this is true].  And now, when you watch the special and she says ‘My Sweet Babboo’ you’ll hear her saying ‘My humps, my humps’ and that’s just wrong.”
Dave: “Yeah, but what a band.  And what a great cup.”

After a nice “Sunshine at Night” Dave introduces Ford: “all the way from Edmonton, via Vancouver, via Eastern Europe, that’s Ford Pier on the keyboards.”

Then Dave thanks everyone who donated to Alpha and Huron Schools (Tim’s daughter goes to Alpha and my son goes to Huron, and they’re both co-op and they need it.  You gotta love a new toilet, right?  Everybody remembers their first toilet.  You probably had some pretty crude toilets in Caprino, eh Martin?”
Martin: “oh yea!  Toilet technology is catching up, but in the 70s it was primitive.  In my aunt’s bar, there was a hole and two porcelain footprints.  And it reeked.”

Martin starts tuning and then does a really awful chord–“whoa, I tuned it cool.”  Mike: that’s some serious positive reinforcement…  Shit, I slept in.  Cool.”

Martin says the next song is about a rock musician with a special haircut, a pompadour.  It’s a great version of  “Sweet, Rich, Beautiful and Mine” and it’s followed by a particularly intense version of “The Land is Wild.”  Written by “Dave Augustino Bidini.”  Dave really screams during the “it didn’t have to be” part.  And he has now added the final verse about Fogarty’s death.

There’s a huge reaction when “Here Comes the Image” begins and it features Augustino on the rums and Wojewoda on the synths.

Out of the blue Dave asks, what was your favorite Triumph album, hammer or anvil?  Then Dave says that the band Anvil were from Etobicoke and were originally called Lips.

Dave says the next song is dedicated to Ford’s shirt (someone in the crowd shouts we love you Ford Pier).  It’s “P.I.N.” and this time it ends with them chanting “I love my humps, my lovely lady lumps.”

Dave says that “Mumbletypeg” is one of those jump up and down songs, just like the last one.  They end the set with “Satan Is The Whistler: which totally rocks.  Martin ends it with his robot voice and then go to an encore break.

After the break, Ford comes out to sing a solo song on guitar. It’s his song “Diaphonous Hairshirt” which I’d never heard before.  It’s catchy but also a little odd, with some interesting vocal lines. Then he goes back to the synth and plays some pretty intro music.  Dave says he wants to tell everyone the band wants to break up.  Mike: “And then we can get on with our lives.”  (They would officially break up in January).

Martin starts counting 1, 2, 3, and keeps going up to 18.  Dave says “if my kids heard you do that they’d think you were a god.  How did he remember so many numbers in order?”  They play “Fan Letter To Michael Jackson,” but instead of the “Michael” chant, Dave shouts Autobahn!  Then during the slow part, Dave sings “fun fun fun in the autobahn.”  He continues, “Always defer to the Germans.  Always defer to krautrock when you’re looking for a good rock n roll slogan.”  Martin starts singing “It feels good to be alive” with a German accent.

The end the night with Part 2 of “The Ballad of Wendel Clark” It segues perfectly into Stompin’ Tom’s “Bridge Came Tumbling Down.”  Before continuing Dave chastises, “Stop looking at your camera, sir” and then they end “Wendel” and say good night.

That’s nearly two hours of free music.

[READ: July 21, 2017] Science Comics: Flying Machines

I really enjoyed this book about Flying Machines. When I heard the title (without the subtitle) I assumed it was just going to be a book about various flying machines.  I didn’t realize it was going to be a story of the Wright Brothers (and their competition).

And even better is that the story is told by their sister Katharine Wright.  We get a brief bio of her in the beginning and then a longer (but still brief) sketch of her at the end.  Katharine was the youngest child in the family and when their mother died (when Katharine was 14) she took over the family work.  She was also her father’s secretary as well as Orville and Wilbur’s “public relations director”–she dealt with kings and queens for them.

The story begins with Katharine trying to teach flight to an unruly classroom of kids (including one who needs to go to the bathroom).  And then she flashes back.  I love the way Brooks does this flashback, with Katharine as a kind of blue and white ghost look where she observes the other panels in full color.  The inspiration for her brothers wanting to fly was their father’s bringing home a hélicoptère–a small wooden “bat” that spun and flew.  It was designed by Alphonse Pénaud, he never made one big enough for people to fly, but inspired many.

The Wrights were from Ohio but they drove to Kitty Hawk to test their planes because the place was flatter and windier.

The book shows all of the people who tried to master flight (and the names of their ships) (more…)

Read Full Post »

SOUNDTRACK: JOHN ZORN’s A Dreamer’s Christmas (2011).

You can never say with certainty what kind of music you will get with a John Zorn record.  It could be beautiful; it could be scary.  It could be chaotic; it could be traditional.  There’s could be death metal or gentle jazz.  There could be vocals or not.

Some time in 2008, Zorn started yet another project.  This one was called The Dreamers and it proved to be on the mellow, jazzy side of his spectrum.

The members have been Cyro Baptista − percussion; Joey Baron − drums; Trevor Dunn − acoustic and electric Bass; Marc Ribot − guitars; Jamie Saft − keyboards and Kenny Wollesen − vibes, chimes, glockenspiel.  For A Dreamer’s Christmas, Mike Patton (notorious for making a racket) sings some delightful vocals on 2 songs.

The album contains eight tracks: six traditional and two original Zorn compositions.

“Winter Wonderland” is played on vibes.  There’s a cool repeating bass signature that bounces the song along and a groovy jazzy keyboard background before the electric guitar comes in to play the main riff.

“Snowfall” is just lovely with more vibes and a delicate guitar and twinkling piano.  There’s even some hand drums to add some cool percussive effects.  the songs is primarily a lovely piano instrumental.  I don’t understand why I don’t know this song.  Why isn’t it on other Christmas albums?  It’s lovely.

“Christmastime is Here” is, indeed, the song from The Peanuts movie.  The main melody is guitar and vibes and this version is possibly more entertaining than the original.

“Santa’s Workshop” is a John Zorn composition.  It’s faster and a bit more upbeat than the others, but with a really groovy riff and some fun vibes to match it.  There’s also a fun keyboard solo.  This song first in perfectly with the others.

“Have Yourself a Merry Little Christmas”  begins with a quiet and somber piano playing the melody.  It’s a lovely piece with some fun piano noodling.

“Let It Snow” starts with a bell and a rather funky bass line.  After a minute or so the guitar takes over to play the main melody.  There’s some weird and wacky 70s keys playing around in the background that you don’t really notice right away.

“Santa Claus is Coming to Town” is the first odd-sounding track on the disc.  The guitar is plucked and the percussion seems to be all kinds of small wooden things clattering around.  I assume someone is playing the rims of glasses as well.  That goes on for a minute before the piano comes in and it gets very jazzy (with an upright bass).  It sounds a lot like the kind of piano playing featured in Charlie Brown.  The end of the song features a kind of whispered, slightly sinister take on the lyric by Patton.

“Magical Sleigh Ride” is the second Zorn original.  It is a swift-moving treat–fluid bass, repeated guitar licks and solos, and a fast percussion beat before the melody kicks in.  After about 2 minutes there’s a pretty wild and rollicking guitar solo.  It’s the most intense thing on the record (which isn’t very intense really) but all along the jazzy pianos and percussion remains.  Its followed by a similarly exuberant vibes solo.  It’s another great Christmas song and fits in perfectly with the others.

“The Christmas Song” returns to the traditional with a lovely, quiet piano rendition of the song and a nice vocal delivery from Mike Patton.  Patton is in perfectly deep-voiced crooner mode and it suits everything perfectly.  There’s a lengthy piano solo in the middle and then Patton finishes the song.

The disc ends with everyone wishing us a Merry Christmas.

It is a surprising and wonderful Christmas album worthy of addition to everyone’s collection.

[READ: November 26, 2017] The Crown of Fire

This is the fourth and final book in the Copernicus series.  There is no third or fourth mini book (I wonder why there wasn’t at least at third one).

I found this book to be exhausting and depressing.   And that’s because for the most part that’s how the characters felt–exhausted and depressed.  I also felt more exhausted by the series than I apparently felt after book three.  I thought I had stopped because I was burnt out on the series, but that’s not the impression I get from reading my post.  But this book did get very dark for most of its 500+ pages.

Lily and Darrell are together by themselves and they are fleeing once again.  They eventually find someone who will help them leave the country in a cargo ship–two weeks in a tiny hold by themselves.  Even Darrell who is still crazy about Lily finds it a bit much.

Back in the other part of the world, Becca Wade and Sara have just gotten a message from Roald.  But it turns out to be a trap. (more…)

Read Full Post »

SOUNDTRACK: TED LEO-Tiny Desk Concert #680 (December 4, 2017).

Up until now, I have more or less missed Ted Leo and all of his phases.  The blurb notes:

How you listen to Leo depends on when his work came into your life. If you’re a back-in-the-day type you might rep for Chisel, his ’90s punk outfit born on the Notre Dame campus and bred in Washington, D.C. If you’re just tuning in, you may have witnessed his understated comedy chops in arenas like The Best Show on WFMU and a highly enjoyable Twitter feed. At the center of this bell curve are those who found Leo at the dawn of the 2000s — when, at the helm of what’s most commonly called Ted Leo and the Pharmacists (shout-out to the typographical variants still mucking up iTunes libraries), he kicked off a run of five stellar albums in just under 10 years, each one urgently attuned to its political context and yet defiant in its ideas of what punk could sound like and whose stories it could aim to tell. Fans will tell you the songs about eating disorders and missing old ska bands felt just as vital to their moment as those that explicitly took on Sept. 11 and the Iraq War.

I know Ted Leo from when he played with Aimee Mann as The Both (they did a Tiny Desk show) and I am aware of Ted Leo + Pharmacists (the above mentioned typographical variant), but I somehow never really heard him/them.  I didn’t even know he was a Jersey guy.  (My friend Al is a big fan, I recently learned).

Recently, WXPN has been playing his new song “Can’t Go Back” which is wonderfully poppy and catchy and which I sing along to each morning.  Leaning more about him (and how funny he is in the Tiny Desk show) makes me want to see what I’ve been missing.

I obviously had no idea about his punk past, so I was pretty surprised to hear the feedback and heavy guitar of the first song here “Moon Out of Phase.”  Leo sings pretty hard on this song, too.  It’s fairly simple musically, but there’s a bunch going on lyrically that’s fun to pick out.

[After] the bone-rattling slow burn “Moon Out of Phase,” he smiled and explained the song was perhaps “a little heavy for noon — but, practically speaking, it helps me get the cobwebs out.”

“Can’t Go Back” couldn’t be more different. It’s catchy and not at all heavy.  It has backing vocals (provided by Leo himself) and just swings along.

 It’s a bit faster than on record, and as the blurb notes:

By the time he hit the first chorus of “Can’t Go Back,” a danceable bop about accepting that the life you have isn’t quite the one you planned for, any remaining cobwebs had been scattered to the wind.

Interestingly for being such a guitar based guy, there;s no solos on the songs (and yet they’re not short either, the first and third songs are about 4 minutes long).  Rather than a solo on “Can’t Get Back,” there’s a cool guitar chord progression.

He seems unsure of the quality of that song (not sure why–because he doesn’t hit those high notes perfectly?)  But then says he’ll finish off with a request.  “I’m a Ghost” is an old song that he doesn’t usually play solo, but figured he would because of the time of year (guess this was recorded around Halloween).

He tells an amusing story about someone asking about the first line: “I’m ghost and I wanted you to know its taking all of my strength to make this toast.”  The person asked if the toast was “a toast” or a ghost pressing the lever down on a toaster and “the hand of the frosty apparition is just going through the thing.”  He says it was originally “a toast” but now it is absolutely about the toaster, that’s the greatest metaphor for so many things.”

It’s really about “alienation from the political process.” It’s more rocking, like the first song, but with a catchy chorus like the second song.  This is a fun set and a good, long-overdue introduction to Ted Leo.

[READ: April 6, 2017] The Golden Vendetta

This is the third full-sized book in the Copernicus series.  It follows the mini-book about Becca.

I enjoyed this book more than the second one.  I enjoy the sections where they have some downtime and aren’t just running around.  And there was more downtime in this book.  I was also really intrigued by the way it began.

The families had been reunited and them separated.  So Darrell and Wade and the adults Kaplans were living in a hotel under an assumed name.  And Lily and Becca were also together under assumed names–but they were not allowed to contact the boys.  This went on for two months.

In that time Galina Krause had been inactive.  We learn that she had been in a coma, but the good guys never find that out, they’re just in the dark for months.

Until Galina wakes up and is on the move again.  And then everyone is on the move.

The families travel under assumed names but are still followed relentlessly by the bad guys. (more…)

Read Full Post »

SOUNDTRACK: WALTER MARTIN-Tiny Desk Concert #679 (December 1, 2017).

Walter Martin’s name didn’t sound familiar.  So this blurb helped:

Best known as a singer and multi-instrumentalist with the band The Walkmen, Martin has spent his solo career making unabashedly joyful, sweetly innocent and playful music perfectly suited for quirky four-part harmonies.

I sort of know The Walkmen; I know them more as an outlet for Hamilton Leithauser.  But after watching this, I find Martin to be a more satisfying performer.

I really enjoy his easy singing style and the every loose way he has with his guitar and with the songs in general.

Only Walter Martin would bring a barbershop quartet to the Tiny Desk.   The barbershop quartet is known as The Glen Echoes, a group of singers he found online and met for rehearsals the day before coming to NPR. It works particularly well on the song with which he opens this performance, “I Went Alone On A Solo Australian Tour,” a brilliant and comical call-and-response story-song about, well, going alone on a solo Australian tour.

“I Went Alone On A Solo Australian Tour,” is indeed really enjoyable.  Martin is casual and I love how the quartet starts out singing with him, then questioning him and then just acting like casual acquaintances–he asks them questions, too and they sing the responses.  All without losing the pacing.

It’s funny but also thoughtful.

The second song, the equally charming if slightly more wistful “Me And McAlevey,” is about a dear friend who lives in Maine.  It’s about friendship and loyalty and life as a middle-aged father.

The song is relatively simple and straightforward, but the guitar picking is delightfully complex and pretty.  I really like his vocal delivery and the way he ends his verses.

Martin closes with “Sing To Me,” his best-known song, thanks in no small part to its appearance in an Apple ad.

He describes it as the romantic centerpiece of his children’s album.  It is a pretty song once again, with lovely sentiments.  The pianist switches to electric guitar for a rather different sound.

The whole Tiny Desk Concert is delightful and makes me want to check out more of his stuff.  There’s no mention of who play what, but the mudsicians were:  Josh Kaufman; Jamie Krents; Brian Kantor; Richard Cook; Ken Sleeman; Mike Holmes and  Al Blount.

[READ: March 28, 2017] Becca and the Prisoner’s Cross

This is the second (and final) novella in the series.  It comes between books 2 and 3.  And, as the title suggests it is all about Becca.

The end of book 2 had Becca “materialize” on a boat in the past–right next to Nicolaus Copernicus.  It was a weird ending for a book that while sometimes magical, seemed to follow some kind of reality.  But this was different.  What could it mean?

Well, this novella explains it all (sort of).  We suspect that Becca’s proximity to the Kronos device when it went off triggered something.  (I keep wondering if it has something to do with her hurt arm which, frankly, shouldn’t hurt anymore, it has been two weeks, right?).

Anyhow, what we determine is that Becca is sort of passing out at home and her mind is travelling to Copernicus.  No time passes at home, but she is able to spend time with the scientist.  The best reveal comes early in the book when Copernicus senses that someone is there as well. (more…)

Read Full Post »

SOUNDTRACKPHISH-Live Phish Downloads 7.6.98 Lucerna Theatre, Prague, Czech (2007).

After finishing recording “The Story of the Ghost” in Vermont and Bearsville in upstate New York, Phish embarked on June 27th for a short European tour.

What’s interesting is that the official comments about this show talk about hoe legendary it was, and my takeaway was just how often someone (usually Trey) messes up.

“Buried Alive” is a surprising opening track.  It rocks and segues into a choppy “AC/DC Bag.”  The song ends with a funky section that segues into a 15 minute “Ghost.”  “Ghost has a fast and scorching middle jam section.”  I’m going to include some of the online notes here:

They deconstructed Bag’s concise jam into a perfect segue to the centerpiece of the show – a fast, funky and furious “Ghost.”  You can clearly hear the sonic flourishes layered over a driving groove with confident vocals that seethed energy. The dynamic feel of “Ghost” lent deep drama to the lyrics, highlighted the loops and effects and provided an ideal platform for some hairy soloing. Page migrated from piano to synthesizer, Clavinet to Rhodes in a floating conversation with the band. Eventually “Ghost” took on an electronic tinge that hinted at the deepest post-hiatus improvisation. This was fueled by Trey’s Hendrix-esque leads with bent tone and pitch into a series of shifting polyrhythmic counterpoints. Expanding until it seemed the room would explode, the music evolved into a funky groove with starts and stops punctuated by the now-roaring crowd.

“Ghost” segues into Talking Heads’ “Cities” which has a really sharp (weird) drum sound.  There a lengthy intro before the song starts properly.  The choruses are really slow (and someone plays a wrong chord).  But the song end with a really groovy solo that encourages people to clap along.

“Cities” started in double-time and shifted effortlessly into normal rhythm for the first chorus and the rest of the song. With the lyrics “a lot of ghosts in a lot of houses”, “Cities” continued the eerie theme of this already-historic performance, blending a smooth, creative vibe with an aggressive, rocking attack. Seemingly on cue, the band dropped out of “Cities” and left Trey to end the song alone with the clapping crowd. The momentary pause after Cities was the first time the band stopped at all, having linked Buried > Bag > Ghost > Cities into a powerful opening sequence for the ages.

“Limb By Limb” is mellow with Trey on guitars.

 “Limb By Limb” followed. Written by Trey on a sequencer with a drum part intended to stump Fish, Limb is always a feat of execution. This performance exhibited an added sense of dynamics no doubt spurred on by the intimate setting, highlighting restrained melodic dialogue among the whole band. While sometimes this jam breathed fire, this groovy interlude danced intricate circles around the glowing embers, leaving space for Fish to lay down some outrageous fills and cymbal work. Trey’s final solo culminated in repeated guitar fanning, which brought the song to a cathartic close.

Then comes “Train Song” and “Roggae” which gets more mellow by the end.

“Train Song” provided a moment of tranquil reflection in the middle of the set. The second-ever live “Roggae” followed, giving a chance to show off more new material in a new country as the band fashioned a coda with so much inherent space that the notes hung slightly suspended between phrases.

The 12 minute “Maze” perks everyone up.  There’s a lengthy keyboard solo followed by a nice solo from Trey.  During Maze the band stopped on a dime to thank the audience (and appreciate the architecture) , then finished the song.  It’s amazing how tight that was.

“Maze” blossomed into an electric improvisation starting with Page’s lively organ solo followed by a cacophonous solo from Trey who shredded unabashedly until the whole band telepathically stopped on a dime for him to say “We hope you’re all having a good time tonight…we just want to say that we really appreciate your support and how much we enjoy playing in Prague here.” Page interjected “We love the architecture” while Trey continued “I don’t think we got a chance to thank you last night so we just thought we’d take this moment to thank you very much.” After a quick countdown, the band re-entered the song in the exact shred-space they’d occupied before the acrobatic stop. After Maze, they closed the first set with Golgi Apparatus that had a rave-up ending with Trey shouting, in an apparent nod to the World Cup Soccer quarterfinals, “Jon Fishman, Jon Fishman, Hey, Ho, Hey, Ho”.

I noticed that “Golgi Apparatus” has a whole series of mess ups—someone is in the wrong key and can’t get free.

Set Two opens with the fast verses of “Julius” and then the slow staccato “Meat.”

Set two began with a swinging “Julius” that got everyone moving and Fishman passionately testifying at the highest peaks. “Julius” led into “Meat,” a new song. “Meat” returned the show to its initial ghoulish theme, confounding the audience with its multiple stops and starts. Immediately after Meat came a soaring, adventurous “Piper.”

“Piper” is 19 minutes long with a scorching solo in the middle.

“Piper” stretched nearly twenty minutes and bumped up against the boundaries already shattered by “Ghost.” Piper sped into a ferocious jam characterized by intense guitar runs … before it settled into hard rock with plenty of room for the whole band to explore. Like the experimental “Ghost” in set one, “Piper” was fearless, building to massive peaks before floating off into a slower, more minimal section accented by loops from Trey and Mike atop Page’s piano and Fish’s cymbal rolls. This part of “Piper” hinted at “Fikus,” part three of the “Ghost” trilogy, becoming slow and funky before locking neatly into the rowdy reggae of “Makisupa Policeman.”

“Makisupa Policeman” is a little goofy and fun. “Petrov” (Page) sings lead vocals. During this song there’s a drum solo and Trey tells the audience that if the solo is long and boring they should just whistle to make him stop.

As he scatted around the lyrics of “Makisupa Policeman,” Trey uttered the key phrase, “stink-kind”, adding a touch of home with “policeman came to Vermont!” He handed things off to Page for a piano solo (calling him “Petrof” after the logo visible on the rented piano) during which Page developed a ska feel. Trey announced a drum solo next, saying if Fish soloed too long the crowd should start whistling, as the band did when he talked too much. Fish played along, rendering a minimal solo of high hat, kick drum and rim shots, returning to the song in the nick of time. After some dancehall-style dub effects, the band finished Makisupa and dove into David Bowie.

The 13 minute “David Bowie” has lengthy washes of guitars and some noisy parts.

A thematic jam hinted subtly at Santana before riding a dissonant wave into the ending changes of the second and final Bowie of the European tour. With scarcely a pause, Page hammered out the opening notes of Loving Cup, cementing the status of this magical night.  it segues into Loving cup a loose jam

“Loving Cup” is a loose, fun version running almost 10 minutes.  There is much cheering at the “I know I play a bad guitar” line.

The encore is “Possum.”  It’s kind of slow and loping but fun.

The band returned for an encore and repaid the rowdy crowd’s enthusiasm with Possum. The audience clapped along for a bit eventually leaving the band to a textbook performance that was at once conscious and passionate, restrained yet explosive. Trey dropped a quick tease of “Stash” as he propelled “Possum” through machine-gun fans entwined with soft, dynamic sections that made this a perfect encore for such an intimate show. As the crowd filtered into the streets of Prague it was clear that this had been an unforgettable night that could only have happened when and where it did.

So there’s two takes on the show.  You can read all of Kevin’s essay here. and I’m going to re-listen to this show to hear the magic foe myself.

[READ: March 6, 2017] The Serpent’s Curse

This is the second full-sized book in the Copernicus series.  After reading the Copernicus Archives book I noted that the event of that book are not referenced in this book, but I was wrong.  There are several mentions to San Francisco.  It’s not a huge gap and you wouldn’t be lost without reading it, but it is odd that he would reference a book that apparently some people don’t read.

This book is pretty large–480 pages.  And I feel like it was kind of slow.  Or perhaps they just spent way too much time in Russia.  Or, and this is most likely the case–they spent the whole book looking for one relic.  And 500 pages is a lot of traveling for one item.

I’m bummed that I felt this way at the end because in the beginning I thought it was really exciting.  And Abbott filled in some things that a nitpicky reader might nitpick about with some interesting new developments.  One of the things that one has to wonder about is how this normal family will be able to jet set around the world.  Well, that comes with the assistance of a best-selling author with millions of dollars at his disposal.  Convenient? Sure.  But it’s a nice development.  The author, Terence Akroyd writes exciting thrillers (so of course he is interested in the plot) and he has a personal vendetta against the bad guys, so he’s happy to help out with money and resources, like his jets and technology. [That author is presumably not based on reality].

Terence also has a son, Julian, who is apparently pretty hot.  But he’s a few years older than our protagonists so presumably nothing will come from that.  Despite all of the potential romance between Wade and Becca in the first book and parts of this one, nothing is progressing on that front. (more…)

Read Full Post »

Older Posts »