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Archive for the ‘Hockey’ Category

SOUNDTRACK: RHEOSTATICS-Scotiabank Centre Halifax NS (December 07, 1996).

This is the 19th night of the 24 date Canadian Tour opening for The Tragically Hip on their Trouble At The Henhouse Tour.

The show starts with Dorothy introducing “Somewhere Over the Rainbow” and then she begins singing the song.  After a verse, the acoustic guitar comes strumming in and Tim announces that “This one’s for Wilf Carter.”  [Wilf Carter, known as Montana Slim in the United States, was a Canadian Country and Western singer, songwriter, guitarist, and yodeller. Widely acknowledged as the father of Canadian country music.  He died on Dec 5].

It sounds great.  the final strains of guitar lead into a beautiful “California Dreamline.”  It’s followed by a “Fan Letter to Michael Jackson” that features a middle “dance” section, with Dave chanting: “Tuesday night at the discotheque, I can dance, what the heck.  I’m an Uzbek.  Wer’e all freakin’ Uzbeks.

The ending feedback segues into the introductory noises of “Motorino.”  Martin says it comes from their new album.  “It’s called The Blue Hysteria its about not having much money.  Dave: “That’s the green hysteria, martin.”  Tim:  “Blue hysteria as about playing your stereo too loud and blowing it up.”  That’s a sort of introduction to “Bad Time to be Poor.”

Dave says “It’s great to be in hockey rink, The Moosehead Dome.  We played in the Devonshire Arena last night, a private affair.  It was hockey though, not rock.  We’re all a little sore, a little better off, a little stronger in character.

Up next is “Sweet Rich Beautiful Mine,” during which Martin drops out of an entire verse–the music sounds great through.  You hear someone asks “want to do it again?”  but they press on and martin platys the noisy guitars that lead into RICH!

Then comes “two big songs back to back,” a ripping “Feed Yourself”  followed by a full 8 minute “A Mid-Winter Night’s Dream.”  It begins with a pretty, meandering guitar melody that Martin songs along to (in a high falsetto, la la l a)–its  quite lovely.  Then it segues into a roaring version of “Midwinter.”  The band sounds great and the feedbacking noise martin generates before the end is just amazing.

This might be my favorite version of the song.  It’s a show-stopper indeed.

[READ: March 20, 2019] Science Comics: Robots and Drones

I have enjoyed every Science Comic that has come out.  Most of them seem almost too full of information.  But this one was actually one of the less jam-packed books.  And that was kind of nice.

After an introduction from Sabine Hauert, the co-founder of Robohub.org, we are taken to a prototype robot from 350 BCE (!).  In Tarentum Italy, we see a “mechanical” bird created by Archytas.  It flies (perhaps on a string) and crashes instantly.   The bird snaps out of it and introduces himself –call him Pouli.  Pouli was the first machine to ever fly and he will take us through the past and future of robots and drones.

Pouli tries to break our familiarity with what a robot is by showing a simple robot–the coffeemaker.  It has as simple job.  It’s a modern version of the automaton.  Of course we have more sophisticated R/C cars and roombas now.  Some day soon there will be self-driving cars. (more…)

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SOUNDTRACK: RHEOSTATICS-Marine Midland Arena, Buffalo, NY (November 26, 1996).

This is the 13th night of the 24 date Canadian Tour opening for The Tragically Hip on their Trouble At The Henhouse Tour.

It’s also only the second Rheostatics show recorded in the United States on the Rheostatics Live website.  There was an earlier recording of this show which was not a soundboard show.  My complaints about the show were mostly about the audience.  And you can’t hear them on this.  The recording is much clearer too.

They opened the show to “Ding Dong the Witch is Dead” from the Wizard of Oz.   There’s no graceful segue into the music, Martin just starts playing “A Midwinter Night’s Dream.”  It sounds perfect.  Everyone is tight and right with the sounds and Martin hits those high note perfectly.  It’s an amazing and bold introduction to the band if you didn’t know them.

“Fat” is next.  It’s more conventional, but there’s some really amazing guitar work from Martin.  And the band is really into it by the end.  It sounds fantastic.  “All the Same Eyes” is up next and it sounds rocking and fluid.

Tim introduces the band in this way:
We’re the Rheostatics from Toronto, Canada.

Then Dave says:
We’re B.T.O. from Red Deer, Alberta.
We’re The Spoons from Burlington, Ontario.
We are every Canadian band that ever was and some that haven’t even been born yet.

The play “Motorino” which is dedicated to Brad May, the Buffalo Sabres player.  It’s a bit chaotic, and Martin sounds a bit unhinged, but I love that he speak/sings in Italian.

Tamara Williamson joins them for “Sweet Rich Beautiful Mine.”  She and Martin sound great together.  I love that she gets a few solo moments.  And when they both hit those incredibly high notes–she goes even higher than him–goosebumps!  Martin breathes very heavily into the mic after the song–it’s so hard to tell if he’s having fun or is really going mental.

Don says “So far all of these songs have been from our brand new record.  And this next one is too.  And I think the only place it’s available in the States is right here in the lobby.”

They play a great “Bad Time to Be Poor” which Dave dedicates to “Chrissy?” “for playing our record.”  I feel like Tim emphasizes the “don’t give a shit no more” line.  He sings the whole song very clearly, which is nice.  Then they move on to a great “Self-Serve Gas Station” with excellent backing vocals from Tim.

Dave says “To all those people in the cheap seats, we can hear your cheers.  We appreciate them.”

The roaring ending segues into the quiet opening of the final song “Fan Letter to Michael Jackson.”  Instead of shouting “Michael” the first time around, Dave shouts “Triumph!”

During the verse, Dave says, “I see two angels with funny lights on their heads in the 11th row.  It’s like some kind of dream or something.”

Martin plays some fun wild soloing including a bit of “Sweet Child of Mine.”  There’s some wildness by the end with them all singing parts and martin soloing but they tack on a quieter ending, with martin noodling about and Dave whispering “big white buffalo”  Tim and martin end it with several falsetto “It feels good to be alive”.

As they leave, they thank The Tragically Hip, the best guys in the land.

[READ: March 23, 2019] “Childhood”

Mark is bringing his son Reuben to a doctor’s appointment.  They stopped at an Indian restaurant which caps off a pretty amazing trip so far since there was so much usual in their routine.  Riding a bus, strange smells.  A year earlier he wouldn’t have set foot in such a strange restaurant.   He was eight now and seemed to be doing better.

He could now read proficiently in English and French and seemed to remember the lyric to every song he heard.  He even got invited to friend’s houses.

Although group dynamics were still awkward.  There were also fits of temper and absent-mindedness.  And general spaciness.  But was all this normal?  What was the margin of error?

School wasn’t always a help–“report cards were composed in a language that bore only a faint resemblance to English.  Parent-teacher conferences had thepolite, anxious feel of second dates.”

Mark wonders about his only childhood, did he have any really distinct memories before he was turned eight?  Or twelve?  Everything felt like a brown haze.

So he and his wife put off the appointment until “it felt too irresponsible an cowardly not to.  And then they put it off some more” (more…)

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SOUNDTRACK: RHEOSTATICS-Scotiabank Saddledome, Calgary AB (November 16, 1996).

This is the 7th night of the 24 date Canadian Tour opening for The Tragically Hip on their Trouble At The Henhouse Tour.  These are the only recordings of “Queer,” “Soul Glue” and “Introducing Happiness” from the tour.

The opening music tonight is “Good Times” by Chic.  Which seems odd.  After a quick “hello,” Martin begins playing “A Midwinter Night’s Dream.”  The sound quality of this recording is excellent (as the others are) and this version is pretty outstanding.

Dave says “We’re very nervous.  This is very big place.  We’re very purple.  We’ll do 8 songs tonight and then the Tragically Hip will play.  We’re playing across the country with them and eating all their doughnuts.

“Bad Time to Be Poor” is dedicated to Gord.  It’s another Tim two-fer with “Introducing Happiness” which is “for my cats.”

Up next, Dave introduces “a song about being gay and playing hockey.”  “Queer” sounds great and the band is really into it.  It’s followed by a bouncy and fun “Soul Glue” (three from Tim!) with a grooving solo from Martin.  “Soul Glue is such an underrated gem.  I love the way the middle section is chaotic with the three singers singing different parts and then it segues into the great harmonies of the final “ooooh” section.

Dave jokes: “Hey, Martin, if you’re gonna play stadiums you need to know how to flick the pick.”  Then Dave gives a big shout out to Recordland on 9th: “the greatest record store in the celestial universe.”  And it’s still in business in 2019!

The guys don’t banter too much as openers, but they have this exchange about the people down front:

DB: They’re having too much fun.
MT: Is there such a thing?
DB: Yes as you know first hand.
DB: Does everyone wanna party?  [crowd roars] I was afraid you’d say that.
MT: Well, this song is a real downer.

It’s “Sweet Rich Beautiful Mine” which sounds great with some really interesting chaotic parts in the middle–Martin seems to be either having fun or going a little crazy with the sounds and soaring vocals and lots of growled “rich”s.

Feed Yourself starts out really weird (a missing guitar maybe).  After a verse or so it sounds fuller.  The middle has no crazy chanting, but when the middle slow part end, it roars back.  It segues instantly into “California Dreamlike.”  When he sings “disillusioned porpoise,” the guitar sounds kind of dolphin-y.  The crowd is totally into them by this point.

They end the show with “RDA.”  Martin seems to start it twice then re-tunes and the blast through it properly.

Although a long rambling Rheostatics show is a thing of beauty, these short sets are pretty spectacular–like a great short story.

[READ: February 21, 2019] Quirk’s Quest 2

I had the exact same reaction from book one as I did for this book.  About Book One I said:

This story threw out so much disconnect for me that I never really determined if I liked it.

The artwork is adorable–the characters look like Fraggle Rock creatures–soft and furry with big round ping pong ball eyes.  Even the bad guys (much taller with four eyes) don’t look all that fierce.

And yet.

In the first 30 pages, these monsters kill and eat some of the cute Fraggle Rock creatures. What?!

This book looks ostensibly like a children’s book.  It is really cute.  But the diary entries of the Captain are written in a cursive that even I had a hard time reading (particularly because the captain’s named is Quenterindy Quirk and he is sailing on the H.M.S. Gwaniimander (hard enough to read that, imagine trying to figure it out in cursive!).

The cursive is still there (they name a river “Mabooglaqui” in cursive), and while there’s less death in the beginning of book two, there is a fairly astonishing scene where a creature eats smalls creatures and is then blown to bits (somehow adorably). (more…)

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SOUNDTRACK: RHEOSTATICS-Northlands Coliseum Edmonton AB (November 13, 1996).

Rheostatics opened for The Tragically Hip in Fall 1996.  Some of the shows were online already, but in 2018, Rheostatics Live added about ten more shows.  This is the 5th night of the 24 date Canadian Tour opening for The Tragically Hip on their Trouble At The Henhouse Tour. Only recordings of Shaved Head and Earth from this tour.

This is their second night in Edmonton and they play some of what I consider their more risky opening-set songs.  The show begins with Martin playing “Digital Beach.”  It’s a quiet song but the crowd seems really respectful.  And Martin sounds in great voice with his falsetto hitting all the right notes.

The end segues perfectly into “Earth.”  I feel like it takes a little while to get Earth going (again, thinking as an opening act and it’s such a slow song)–I find a very risky.  But the loud part of “Monstrous Hummingbirds” roars out and Martin’s guitar sounds great and they have surely won people over by now.

Up next is “Claire.”  Tim sounds in good voice and Martin has some cool phasing for his guitar solo.

Dave doesn’t sing a ton, but he thanks Edmonton.  “Thank you, Edmonton the whole city’s here tonight.  I see the mayor.  I see the coach.  I see the wizard.”

They rip into a great “Dope Fiends and Boozehounds” (some of you are here tonight).  Everyone is right on and the vocals are terrific.  There’s even a bit of a drum solo.

Dave mentions the cross country tour, the big crowds, the hockey rinks–shrines to the game of professional hockey.  They’re happy to be there “despite the fact that they still let Peter Pocklington in here [Pocklington owned the Oilers and is quite a divisive figure–he sold Wayne Gretzsky to Los Angeles, among many other things.  He will appear again in this show, shortly.]

Dave also says that they just released a record The Blue Hysteria, and if you get a chance to buy it we’d like that very much.

Up next is an amazing “Sweet Rich Beautiful Mine.”  The vocals are wonderful–Martin is in top form tonight.  I believe Tim is singing the really high backing vocals too.  The song feels like a show stopper the way Martin’s voice soars majestically at the end–higher and higher.

Despite how amazing that is, they start right up with “Horses.”  For years I have wondered what events this song commemorated.  I wasn’t really sure how to find out. And then, here Dave introduces the song and tells all: “This is a song about the strike at the Gainers meat-packing plant in the mid-1980s.  It is a privilege to sing this song here tonight.

This is where Pocklington returns.  Dave doesn’t mention this, but I looked it up and found out [from Wikipedia]

Perhaps Pocklington’s most notorious setback was the result of a six-month strike with the United Food and Commercial Workers union that crippled Gainers, which at the time was Canada’s second-largest meat packer. Pocklington used strikebreakers, primarily from Quebec, to keep the plant operating despite the picket lines, a decision that earned him the enmity of Canada’s labour movement. Eventually, he agreed to settle the strike and rehire the striking workers at the request of the Alberta government.

So not only did Pocklington trade Gretzky, he was the inspiration for “Horses.”  No wonder Dave hates him so much.

“Horses” is energized and spectacular and Martin plays a noisy, wild electrified solo with some great horse sounds at the end.

Normally this might end a show but they segue right into “Shaved Head” (someone in the audience screams twice–loudly like an actual shriek–I wonder if that was good or bad).  Martin continues to sounds great–he’s hitting those high notes like nothing.  A beautiful, powerful ending leads into the jolly intro of “Fan Letter to Michael Jackson.”  Once again, everyone sounds great with this song.

They end the show with everyone repeating the refrain of “It feels good to be alive.”  The voices all stop except Martin who sends everyone off with his gorgeous falsetto singing “it feels good to be alive.”

What a great opening act to see.

[READ: February 5, 2019] “All Will Be Well”

This story opens with a comic line, but the story is hardly a comedy.

“Once upon a time, I was addicted to a salon.”

I have really enjoyed the way Yiyun Li develops character and setting.  In this story the salon is run by Lily.  The magazines are in Chinese and Vietnamese and the TV is tuned to a Mandarin channel.  It is in a neighborhood where armed robberies were common.  Lily unlocks the door when she sees customers coming and immediately locks it again.

The narrator teaches at a local college, but she pretends that she is going to school for fiction-writing.  The best part of her character is that she lied and told Lily that she “had been adopted by a couple from Holland when [she] was a year old and moved to America when she was in Middle School.”   Because of this she was forgiven for not speaking one of the preferred languages.

She went to the salon more often than was necessary.  She says if she had been superstitious, she would swear Lily put a spell on her.  The narrator seemed mostly entranced by Lily’s stories–Lily loves to talk, and it gave the narrator a way out of her own life.  “I listened, smiled, and asked questions–these were my most tiresome traits, and I used them tirelessly.”  Normally she had to give her opinions all day (she was a teacher after all) but here she could forget about herself. (more…)

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SOUNDTRACK: BUDDY-Tiny Desk Concert #815 (January 9, 2019).

Buddy is a pretty upbeat rapper from Compton.  He’s dressed in yellow, he laughs a lot.  he plays a groovy kind of gentle raping.

The same soulful hybrid of rapping and singing that compelled Pharrell to sign him as a teenager found Buddy stretching L.A. hip-hop beyond its typical gangsta narrative, while dancing with his dreams and shaking off his demons.

So it’s funny that the blurb is all about the drama of his Tiny Desk.

When Buddy, a preacher’s son from Compton, turns to me with eyebrows raised on the elevator ride inside NPR’s corporate headquarters, it’s hard to tell if the question that comes next is in preparation for his performance or pure provocation.

“Can we smoke in here?!” he asks with a grin that elicits stifled laughter from his bandmates and a few newsroom journalists along for the ride. It’s a blunt request, even from a self-professed “weed connoisseur,” and it kicks off one of the most dramatic Tiny Desks in recent memory.

That drama doesn’t happen until midway through the 11 minute set, and we don’t actually see it.

He starts “Legend,” which is really only an introduction.  He asks everyone to sing “Legend.”  You all got to say this, Legend.  You there in the glasses, you gotta say that shit Legend.

Everyone wants to be a legend, as far as I’m concerned, it’s my turn.

“Trouble On Central” is a song about aspirations and dreams, but being stuck.

Buddy is clearly a natural at this.  He’s also an alumni of actress Wendy Raquel Robinson’s Amazing Grace Conservatory, an L.A. program known for steeping inner-city kids in the performing arts. Between the two, he earned his dramatic chops early.”I’m so used to being in front of an audience of people,” he tells me, “just doing my thing and not really caring about it.” He’s definitely not afraid of the camera. In fact, he’s one of the rare Tiny Desk guests who stares directly into it throughout much of his set, performing for the camera in the most literal sense.

I did think it was odd how often he looked at the camera, and I see that most people don’t

“Hey Up There” is where the controversy arises.

So when Buddy proceeded to fire up a blunt midway through his set, we had to stop the show and ask him to put it out before re-recording his song, “Hey Up There.” (Smoking is not allowed on NPR property.) The performance was still lit,

“Real Life S**t”  has a sweetly sung “la da da da da” backing vocal which he joins in on from time to time.  He raps mostly and throws in some fast rapping at the end of a verse, but mostly this is a groovy song.

While onstage drama kept Buddy a safe distance from the streets, he still experienced the kind of coming-of-age struggles that shaped his personal and political outlook. On “Real Life S**t,” the opening song on his album and the last song in his Tiny Desk set, he conveys that reality with raw sentiment for the sitting President in lyrics straight from the record: “Fuck Donald Trump and that Nigger’s son.”

At first I didn’t think too much of Buddy’s set but after another listen, I enjoyed his whole attitude.  It would have been fun to see him light up and what reaction it caused.

[READ: November 1, 2018] Check Please Book 1

This was a fun, fully enjoyable graphic novel about hockey–with the typical First Second quality, of course.

Like many books lately, this one started as a webcomic and you can read all of this book and more online. (but print is better).

The story follow Eric “Bitty” Bittle as he goes off to college at Samwell University.  Ukazu went to Yale and Samwell is meant to be in the ECAC league just like Yale and Princeton.  Bitty came to hockey through figure skating.  He is quite tiny, especially compared to the other players.  He also bakes a lot of pies.  And, we learn soon enough, Bitty is gay.  Fortunately for our hero, he went to a school that is very tolerant (his coming out story is very funny).

His hockey team also has a star player Jack Zimmerman.  Who?  Jack Zimmerman is the son of the legendary Bob Zimmerman who has won more awards and trophies than you can count.  But Jack was anxious trying to live up to his legendary father and he took anxiety medication for it which ended up with him in rehab and presumably no career.  But he found a home at Samwell. (more…)

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SOUNDTRACK: RHEOSTATICS-The Horseshoe Tavern, Toronto, ON (December 8, 2017).

Second of three shows for the Horseshoe Tavern’s 70th anniversary celebrations. Kindly recorded and provided by Mark Sloggett and Matt Kositsky.

The opening music is Echo and the Bunymen’s “Killing Moon” and Jonathan Richman’s “Ice Cream Man” until 1:20 when the guitar for “Stolen Car” starts playing.  It’s a quiet intro section and Martin sounds good.  At 6 minutes the overall sound increases dramatically for about 20 seconds. It’s a shame it doesn’t stay that loud because otherwise the show is too quiet.  An absolutely scorching solo between Martin and High Marsh.

A somewhat subdued and quiet version of “King of the Past,” Hugh adds some soaring violin at the end.

The usually kind of flat “AC/DC on My Stereo” is spruced up by Hugh’s violin.  But the mix is really unfortunate–the overly loud guitar masks the rest of the song.

Dave Bidini: That song was written by Dave Clarke on the drums (and my friend Brodie Lodge)  Clark: a shout out to Davide DiRenzo and our friends in Ensign Broderick–Ensign, Griffy (Gordie Wilson), Danny, Glenn Milichem on the drums.    (Glenn tried to steal martin for his band Vital Sines…it only proved he had great taste) but he got Gordie Wilson and it all worked out.

A solid fun version of “PIN” with a “Dirty Blvd” tag at the end.  It’s followed by a long (nearly 8 minute) jamming (Hugh get a pizzicato violin solo) version of Stompin’ Tom’s “Bridge Came Tumblin’ Down.”  DB: This song would have been played oh 37 years ago on this very stage.  Some songs just stick around longer.

They retell some stories about Vancouver (the song is about Vancouver)–diaper dancers and people stealing wallets.  Vancouver leads the nation in diaper dancers.  A good piece of advice is to take your wallet on stage.  But not in Vancouver!

DB: We’re not a rock band, we’re a public service.  In a plant a seed and watch it grow into a tree sort of way.  Information is our fruit.  Melody is our bark.  Stompin’ Tom is our hero.  Well, one of them.

Someone shouts, “Play [Stompin’ Tom’s] Snowmobile Song.”   DB says, not quite snowmobile weather.  Well, is there snow up north?  Little bit?  Then it’s not even Super Slider Snow Skates weather.  Oh Jesus    Here’s the commercial for the lawsuits waiting to happen.

“Here Come the Wolves” sounds different, but very cool.  I like this version. Clark shouts the verses and Martin sings a quiet verse.  After Clark introduces Bidini with an Italian accent the band launches into an impromptu Italian song.  Bidini says they haven’t done that song in 7000 years, although, ironically Hugh is more Italian than any of us.  Tim: Once you do that kind of thing you’re scarred for life.

Audience check-in moment.  DB: “The customer, the fan is always right…  The fanstomer.”

Clark asks Martin if they are going to do the end of the next song a certain way.  DB: gives away the ending?  Clark:  Asked his bibliophile lady (and her friends)—do you read the last page the book first?  They said yes and it blew his mind.  And then they’re happy to read the book.  Its like having an orgasm without foreplay… or not really actually.   DB: I’ve done that many times myself  MT: You know this sex thing that everyone is talking about…what happens at the end?  DC: You get a little plastic toy out of the bottom of the box. That’s why they call it Cracker Jack.  DB: And then you feel shame.  MT: The shame part I’m comfortable with.

DB to the fan: You realize that by shouting for the next song you’re further delaying the next song, just so you know.  These guys would never do that   they are seasoned fanstomers.  Then inevitably someone shouts “play some music” and that’s when the gig is fucking over.

A quiet and pretty “It” (in which Hugh plays some beautiful soaring sounds) is followed by a raucous “Michael Jackson.”  Instead of Michael Jackson, he sang Auston Matthews a Maple Leafs player.  Mid song they start chanting whoop whoop whoop while Martin plays “Sweet Child of Mine.”  DB: “It’s called having fun it’s what Axl says, it’s what Slash says, it’s what Jimmy Page says, it’s what Eddie Van Halen says, it’s what Kathleen Hannah says, it’s what Patti Smith she says, it’s what Michael Stipe he says, it’s what Gord Downie he said, it’s what Tom Connors he said, it’s about having fun.  It’s hard.  It’s really hard.”  The crowd woo woo woos and sings the “it feels good to be alive” ending.   It’s a cool moment.

I used to be that I’d Used to hear “You rock Dave” and it was for me, but now I’m sharing it with a stage with my best friend Dave Clark.  It’s nice. Not saying I’m comfortable with it I’m saying it’s nice.

Clark goes on about being warm and swaddled and like a child.
Someone shouts: You can never go back.
Clark: Oh yea you can be a child all your life if you got the right ideas.  Age is a matter of the mind–if you don’t mind, it doesn’t matter.

This leads to Tim’s pretty, acoustic “Rear View.”

Someone: “C’mon Martin sing one.”  DB: “Yeah Martin, what the fuck?”

Clark introduces the drum beat of the next song “pluh dee dut dut, pluh dee dut dut ding.”  When someone shouts something inaudible, Clark replies, “Apples and oranges pizza and Popsicles man.”  DB: ” I think you just came up with the name of our next record.”  This is a lead in to Northern Waltz.   Which DB says is a progressive waltz.  Clark: It’s the Ostenick 3/4.  Tim: Another potential album title.  Walter Ostenick, a cool guy who watched them soundcheck.  Tim Mech bought an accordion from him.    They start the song and martin gets choked up–Clark: It’s the ghost of Walter inhibiting you….devil come out!  He tries again and things go well in a beautiful version.

Martin plays a beautiful solo version of Tragically Hip’s “Bobcaygeon.“

During the pause there’s all kinds of weird shouted requests.  “Play some Skydiggers.”  “Play some Blue Rodeo.”  DB: “You’re kinda 0 for 2.  We don’t do those groups.”  Clark: “You realize that those guys are our friends.”

Play “Secret Heart” by Ron Sexsmith!  C’mon do it!”  DB: “You realize we’re not sitting in your car right now, eh.”  Clark: “Thelonious Monk says never engage with hecklers, so here we go.”

“Dope Fiends” sounds great and the band seems really into it with Martin shouting “Why didn’t they stay here? How come, Hugh, why?”  Clark gets a drum solo and it ends with a rollicking conclusion and soaring violins from Hugh.

“Self Serve” opens on a quiet guitar.  I almost didn’t recognize it, the way it was played.  It is very pretty.  The ending gets pretty harsh with Martin snarling “you ever get the feeling you’ve been cheated?” before a rocking ending with everyone singing “I will be kinglike!”

This encore break exhibits this new thing that I’ve heard people do at shows where they chant “one more song,” which drives me nuts because some bands like the Rheos will actually play half a dozen songs, and you are limiting them, so knock it off!

Audience: “I love you Dave Bidini.”  DB: “I love you too, stranger, strange man.  Are you that strange man that I love?”

Merch plug: Give us your money and we will convert it into rock n roll magic.  You can take the things with you and replay the nights tonight for eternity—ish.  Plug for West End Phoenix.

This leads to a quiet acoustic version of “My First Rock Concert.”  DB: “Dave Clark tell us about your first rock concert.  Dave sings “Don’t Worry, Baby,” about The Beach Boys in 1973 The Surf’s Up tour.  He was 8 years old.  Wicked show!  Ricky Fataar on drums (he also played with the Rutles!).  Martin: My first concert was in 1981.  I went to Convocation Hall and I saw Bruce Cockburn with Murray McLaughlin and in the band was Hugh Marsh.   Tim: That doesn’t sound very rock to me.  In his diary Martin wrote, “This audience is very intelligent,” I thought rock shows would be full of assholes… like tonight. That was my first rock concert.  First and last.  After the song: Was that guy the same Hugh Marsh? Yes and John Goldsmith.

DB: I’m having a shitty lapel weekend.  Martin: Another one?  No, you’re just fixated.  It’s puffy, but it’s not that bad.  Any tailors in the audience?  Dave needs an emergency.

“I am Headless” sounds great.  I love the way Tim and Martin’s vocals interplay with Hugh’s violin.

We’re in Hamilton at This Ain’t Hollywood.  It’s sold out.  There’s still a few tickets for tomorrow night.  Good luck to TFC tomorrow.  Tim: Don’t tell the Thursday night people about tonight’s show because it wasn’t quite as good last night.

Martin starts a chuuga metal riff and Clark says, “What have you got for us, Tony Iommi?”  DB: here’s a song about hockey and also about being gay and living in a small town.  Tom Cochrane do not write it.  It’s a solid “Queer.”  For the second verse, Tim sings Cochrane’s “Big League,” (Sorry I was daydreaming for a second) then DB sings REM’s “I am Superman”  They try for the high note.  DB: “Kinda.”  Clark: “It’s always worth trying.  If you’re not failing, you’re not doing.”  Clark sings “Stepping Stone” which segues into “I’m a Believer.”

After “sometime choices aren’t so clear,” instead of the end it turns into a drum and violin jam which somehow segues into a funky instrumental jam and then into “Alomar” at the end.  Tim says “And what song were we playing? We don’t have to finish that.”  Clark quips: “We don’t even have to Swedish it….  Let’s Latvia alone.  It’s okay, I’m a little Estonia’d right now.”

What do you guys want to hear?  [Horses, Aliens, Palomar, Wreck of the Edmund]

Thanks, we have fed all of the data into the super computer which has come up with the exact right thing to play at this time.

Thanks to Ensign Broderick and everyone in the band Jason for opening the show.

DB: I was going to try to play “Purple Haze” but I don’t now how.  I thought you were doing Buddy Guy.  I don’t know, do we know any Eagles?

Here’s a song by the Eagles called “Horses.”  The Eagles featuring Rabbit Bundrick, Skunk Baxter, Philthy Animal Taylor, Gullible Guinea Pig and Hammy Hamster.  “Horses” starts quietly and intensely (with great backing vox from all present).  After the first “holy mackinaw, Joe,” it totally rocks out.  Dave also calls Red Deer a “fucking shitty town” (!).  They shift briefly into “We don’t need no education (sloppy).”   And the concert roars to an end with Martin making some great horse sounds on his guitar.

[READ: November 28, 2018] When I am King

Demian 5 (Demian Volger) created a hilarious and good-looking webcomic back in 2001 (hard to believe).  It was finally put into print form this year.

I love the clean lines and style that a webcomic (especially one from 2001) necessitated.  It also means the artist is going to have to think of ways to differentiate the characters who, for the most part, look pretty similar.  And Demian 5 does a great job with that.

In the (bilingual) introduction, Demian 5 explains that he has been editing the historical findings of his ancestors for some 15 years, trying to make this account readable and accessible.  “It was my goal to reproduce these historical hieroglyphs without detracting from the information they contain.”

And what that means is a wild and wonderful story about royalty, nudity (amusing and non-detailed), bestiality and flowers. (more…)

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[ATTENDED: August 18, 2018] Pearl Jam

After four days of touring Chicago, we were beat.  Even though we were both looking forward to tonight’s show, we were a little wiped out by the thought of staying out, catching the EL, etc.  Especially because of the weather.

The weather was not promising: rain all day and then thunderstorms right around showtime.  The Chicago weather seems to change a lot, but that forecast never wavered all week.

Our friend Kaylo and her family (who live in Minnesota but whom we met in Boston–they were staying at the same hotel for Pearl Jam) could only make this one show.  They had gotten general admission spots (again).  And so it was part of her family hazing ritual to make her kids wait outside in the rain all day to get as close as possible the front of the stadium.

Meanwhile we were in a museum across town, learning stuff and staying dry.

The weather let up a bit as we got off of the El and headed to Wrigley.  There were a lot fewer people milling about and we even got on line for merch (and got two of the notoriously hard to get posters–but not the awesome ones that immediately sell out).

And then Sarah pointed to the monitors which had a green sign which read:

When I saw Phish at BB&T Pavilion, there was lightning right overhead but nothing happened. However, back in 2013, Pearl Jam played Wrigley and there was a storm which delayed the show for hours. (more…)

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