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Archive for the ‘Captain Marvel’ Category

SOUNDTRACK: BILLY CORGAN-Tiny Desk Concert #674 (November 20, 2017).

Back in the day, I thought Smashing Pumpkins were pretty awesome.  I even enjoyed the bloated Mellon Collie.  Billy Corgan is a terrific songwriter with a flair for the drama.

Then I got really turned off by him.  Whether his ego exploded or if it just really became public (and the fact that he always wore a shirt that said zero), I;d had enough of him.  I didn’t even listen to any of the Pumpkins’ later albums (band fighting didn’t help that).

recently, NPR played the new song by William Patrick Corgan, a sweet piano ballad.  And I realized that I really don’t like Corgan’s voice  And the more I thought about it the more I didn’t like his voice in the old songs either–but the intensity if the music and his delivery overshadowed the parts that annoyed me (which is more noticeable when the songs are slow and mellow).

So what had Corgan been up to

Billy Corgan is a complicated guy. In the years since that iconic and much-beloved rock band broke up in 2000, Corgan has continued to put out music under various names and projects – including several releases as Smashing Pumpkins, with different lineups – while often stumbling through a bumpy minefield of his own making. To the head-scratching surprise of some longtime fans, he’s gotten heavily involved in pro wrestling, talked conspiracy theories during several appearances on The Alex Jones Show (warning of weaponized zombies in one interview), and, over the years, lobbed innumerable grievances about former bandmates, while trashing other musicians and publicly feuding with a revolving cast of celebrities and public figures.

More recently, Corgan seems to have mellowed. He opted to release his new solo album Ogilala, under his (very grownup-sounding) full name, William Patrick Corgan (though he very recently changed it back to Billy Corgan on streaming services and YouTube), and filled the record with beautifully rendered acoustic songs built on piano and strings.

Corgan plays three songs in the Tiny Desk Concert.  Impressively, he plays “with a string quartet he’d just met hours before”: Kristin Bakkegard (violin), Livy Amoruso (violin), Paul Bagley (viola), Carol Anne Bosco (cello).

He opened with a stirring rendition of the 1995 Smashing Pumpkins song “Tonight, Tonight.”  It sounds great with the simple acoustic guitar (it’s really a lovely melody) and the strings.  I did realize that I don;t really love his vocal delivery, but I’m so caught up on the strings that it’s hard to care.

It’s also odd that he kept on the heavy scarf, hoodie, down jacket and cap, but it didn’t seem to hinder him ob guitar or the final two songs which he played on piano: “Aeornaut” and “Mandarynne.”  I don’t understand the titles or what they have to do with the words I can pick out, but the melodies are again, lovely.  The blurb say they are about “staying strong and true to yourself and soldiering on in the face of a troubled world.”

He doesn’t say anything, and he seems pretty businesslike, but he acts graciously at the end.  And it’s nice to read that

Corgan was nothing but a good-natured delight. After years of selling millions of records and playing packed arenas, he showed up in a cab with just his tour manager and, during setup and rehearsals, joked about being all DIY now.

I haven’t listened to Smashing Pumpkins in a long time.  Maybe its’ time to bust out Gish again and enjoy Billy when he had long hair.

 

[READ: April 30, 3017] Captain Marvel: Rise of Alpha Flight

After two lighthearted series with Captain Marvel, new writers have come along and changed the tone of her story line quite a bit.  Indeed, everything is different from the DeConnick stories, right down to the incredibly different appearance of Carol Danvers on the cover and even the logo of Captain Marvel herself.  The art in these books is by Kris Anka and Felipe Smith)

When I looked this book up to see where it fit in to the series (it’s very confusing when there seems to be a recurring Volume 1 (this covers issues 1-5)), I read that a lot of people didn’t really like this story line.  So I wasn’t expecting to like it either.

But I found that I really enjoyed it a lot.  It’s very different from the whimsical stories from DeConnick (this arc was written by Tara Butters and Michele Fazekis) and in fact, since it is all set in space, I felt that it took on a kind of Star Trek quality which I enjoyed quite a lot. (more…)

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SOUNDTRACK: THE ROOTS-Tiny Desk Concert #665 (October 30, 2017).

This Tiny Desk starts out with The Roots walking into the area, sousaphone playing a fun riff and everyone clapping.  Questlove takes his seat behind the drums.

He introduces: This is Jeff Bradshaw and Brass Heaven.  Let’s get into it.”  They play a great big dancing brass melody singing “Just give me some more.”   There’s a fun trombone solo which starts with him playing a really long note and bending it and then just going to town.  It’s very James Brownish and utterly belies the intensity of the next song.

After 3 minutes they switch tempo completely and Bilal and Black Thought come out.  They play “It Ain’t Fair,” a thoughtful, powerful piece that I absolutely love.  I was unfamiliar with Bilal before this and his delivery is just fantastic.

He sings with a classic 70s style of raspy intensity.  There’s a great chorus: “the well is running dry / racial tensions running high / under 21 is far too young to die.”

The song builds up somewhat and then Black Thought raps a harsh counterpoint.

Justice is never color blind, never gun shy
For one crime, you may never see the sun shine
We know of one times, giving you the finger
’round hearing me, fuck you, it’s not the number one sign

then its back to Bilal

Some people say, “Let Jesus take the wheel”
Others say, “Thou shall not kill”
But that old time religion ain’t gon’ pay my bills

At the four-minute mark the whole band just goes nuts playing a cacophony of sound and then stopping silent at Questlove’s direction.

When they start Bilal absolutely wails the final verse.  It is utterly fantastic (and I think better than the performance on Fallon with the full orchestra).

Armed with the incredible vocalist Bilal, The Roots performed the signature track from Detroit, a film about the race riots in 1967. “It Ain’t Fair” glares unflinchingly, takes a knee and raises a fist against the societal construct that has systematically denied equality of experience to those “presumed inferior,” to quote one of Bilal’s verses. And it achieves all this while covering its heart with its right hand. This reflective hymn tenderly yanks your heart strings and offers a window into the ethos of those who would like to stand for the flag but cannot in good principle, lest these same evils continue to exist.

Those lucky enough to be in the Tiny Desk audience witnessed masters at work. Black Thought is truly one of the most intelligent emcees ever, and his razor-sharp lyricism was on full display. Questlove, a musical and cultural historian nonpareil, was both a metronomical and moral anchor. It felt like the culmination of decades of academic rigor and boom-bap sessions, fittingly backed by a seven-piece horn section. Bilal’s falsetto-laced vocals and warm resonance evoked powerful messaging reminiscent of Curtis Mayfield’s “Don’t Worry,” delivered with the eccentricity of Prince.

The band: Curtis L. Jones Jr (Trombone), Arnetta Johnson (Trumpet), Hiruy E. Tirfe (Sax), Richard L. Tate II (Sax), Joseph Streater (Trumpet), Norman J. Bradshaw (Trombone), Damon Bryson (Sousaphone), Ahmir (Questlove) Thompson (Drums), Tarik (Black Thought) Trotter (Emcee), Bilal Oliver (Vocals)

[READ: April 19, 2017] Captain Marvel: Alis Volat Propriis

The previous book in the series was pretty goofy.  So I was pleased that this final book was a bit more intense.  The title is the motto of the state of Oregon (probably not why it was used).  It translates as “She flies with her own wings” (which probably is why it was chosen).

As the book opens, Lila and Carl transport to her ship.  But once again something is amiss.  Harrison is offline totally and there are aliens closing in.  It is only through some quick thinking they are able to escape them until they can flee.

When full power is restored, Carol and Harrison decide to find out where Tic and Chewie are.  The baddies have a head start, but they take a shortcut through “The Endless Envelope.”  Once they get in this pocket they realize that it is bigger on the inside than the outside and their shortcut will take five times as long to traverse.  They encounter enemy ships and a phenomenon called a Warp Bear.  There’s some good humor in this section in which Carol tries to communicate with Harrison the ship. (more…)

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SOUNDTRACK: WYCLEF JEAN-Tiny Desk Concert #668 (November 6, 2017).

Wyclef Jean is a pretty exceptionally famous person.  And it is wonderful just how sweet and funny he is.

He starts his set with two highlights from his latest record, and finishes with a climactic rendition of his signature hit like you’ve never seen or heard.

The Tiny Desk Concert didn’t start out that inspiring me though.  For some reason he is reciting over and overt about bars on the bass.  No idea what that means.  He raps a brief biography that really kicks in when he sings:

“I flipped the language.  I called Trump started speaking Spanish (a Spanish verse).  Trump hung up the phone said I’m still not convinced.  I said you might be convinced when I sing in French.”  It’s all a lead in to the first song “Borrowed Time,” where he sings and plays lead bass.  Interestingly, he is playing a lead bass while Patrick Andriantsialonina also plays bass (throughout this song and each song).  It’s a gentle song, sweet and pretty.

When the song is over he removes his jacket:

I ain’t gonna front.  Everybody that’s watching this live right now knows when I was doing the rehearsal I did not have my jacket on.  I threw it on because I had to get my swagger.  Speaking of swagger, the blurb notes:

A seasoned pro, he walked through our doors greeting and charming anyone within arm’s reach. Once in front of an audience, he was in attack mode, playing every instrument in sight. Clef doled out stories ranging from his upbringing and rise with The Fugees to intimate musical encounters with Whitney Houston and Destiny’s Child. The mentions were properly placed and added substance to the performance, but to me, he pulled what I’d call a “subtle stunt.” Hip-hop is and has always been about youth and freshness, so most elder statesmen of rap aren’t celebrated to the degree of their peers in rock ‘n’ roll and country music. Every now and again it’s necessary to inform the younger generation, who would otherwise never know these epic moments ever happened.

He tells a funny story about his father wanting him to sing church music (he does a funny impersonation of his father “you got to serve gawd or the devil”).  He chose music and was kicked out of the house.  He moved in with his Uncle and that’s where they made The Score.  He’s been doing music since he was in his twenties.  He says people might say:

“Yo Clef is thug, but he kinda geeky.”  It’s the audio side.

He tells a story being 20-something (being a cocky 24-year-old) and making a beat for Destiny’s Child and Beyonce.  And then a hilarious story about Whitney singing flat.  As a producer I think Whitney hit a flat note.  “Oh my god, Wyclef Jean has to tell Ms. Whitney Houston that the note is flat.  As a producer we’re like astronauts we have obligations.” [laughter].  He continues in a whiny voice: “I don’t know if this rocket is gonna fly.”  He continues: “‘Whitney, the note is flat.”  Dead silence.  She goes, ‘Baby, the note is not flat, I just bent the note.’  And that’s the highest level of diva I’ve ever seen in my life.”  But she was right,  she took the note out of pitch and brought it back.”

He plays the keyboards on “Turn Me Good” with vocals from his niece Jazzy Amra.  When he introduces her, she comes and a guy follows to adjust the mic.  As he does, Wyclef comes out to “steady” the guy, it’s quite funny.  Wyclef sings the main chorus: “What we gonna do when we get to Zion?  We gonna make love all night like a Marvin Gaye song.”  {That’s an odd song to duet with your niece].  She has a pretty voice but I don’t like her delivery.

When the song is over he says, “I’m swearing like a monkey, dog, but don’t edit the footage, coz I got to show the kids how the work go.”  He asks for a towel “Is this like a Tiny Desk Towel exclusive?”

Introducing “Gone Till November” he says to his bassist, “Ask me the coolest thing about ‘Gone to November.'”  Patrick asks him and her replies, “Well Patrick, the coolest thing… I did this song because it’s about making runs about selling drugs….  I’m a big fan of Bob Dylan so the lyrics be having triple entendres not just double entendres.  I wanted Bob Dylan to be in the video.  Haters they be shouting ‘Bob Dylan will never show up for your video he doesn’t even show up for his own son’s video.’  But Dylan showed up.  So Mr Dylan if you’re watching we’re going do a rad version of for you coz you’re so cool man.”

Wyclef picks up the guitar.  After a buzzy guitar solo, the song settles down to some pretty chords and Wyclef singing.  This is apparently his big hit, but I don;t know it.  After a few verses and choruses, he slows it down: I got to talk to some of these kids, I’m 20 years older than most of them.  He does a slow rap followed by a really fast verse.  Manny Laine on drums does a great job so slowing down the beat and then bringing it back up during Wyclef’s (really long) solo.  It has a very Hendrix feel.  After playing for a minute or so, he puts the guitar behind his back and plays fairly well.  Then he plays with his teeth.  And finally picks up an NPR mug and uses it as a slide.  It’s all in good fun and the crowd eats it up.

It’s a really fun set, and Wyclef makes a great impression.

[READ: April 19, 2017] Captain Marvel: Stay Fly

I mentioned that Captain Marvel is confusing.  And even after I think I’ve straightened it out it’s still confusing.

This series is Volume VIII.  It contains 3 books: Captain Marvel, Volume 1: Higher, Further, Faster, More; Captain Marvel, Volume 2: Stay Fly; Captain Marvel, Volume 3: Alis Volat Propriis.

Prior to this, DeConnick wrote another Captain Marvel series Volume VII.  No idea why they are different volumes.  But there are also three books in this series Captain Marvel, Volume 1: In Pursuit of Flight; Captain Marvel, Volume 2: Down; Captain Marvel, Volume 3: Captain Marvel and the Carol Corps and, according to Goodreads at least, included in Volume VII is Avengers: The Enemy Within which seems to come before Carol Corp.  For some reason, very few libraries seem to carry this particularly series.

And then, just to throw more confusion into the works, there is a new series (the Captain’s logo looks different and it is not written by DeConnick) called Captain Marvel 2016.  There are five books in it with two being out so far: Captain Marvel, Vol. 1: Rise of Alpha Flight and Captain Marvel, Vol. 2: Civil War II.

Phew.

So, with all that background, it took me two years to track down Book 2 in the Volume VIII saga.  And I was really surprised at how silly it was.  Not necessarily in a good way, either.  I mean, sure I love the Marvel humor and I love that they play around with some interesting ideas, but I feel like Carol Danvers is a pretty great hero and she is spoken of in very high regard.  So why then does this book prominently feature cats, rats, rock stars and Santa Claus?  It seems to really play down her mad skills.

I was also a little put off by the artwork.  I really don’t care for Marcio Takara’s style in the first few chapters.  In part because it looks so very different from the cover art and Lopez’ art. I actually had a hard time following what was going on (which may have been the two-year gap, but I don’t think so). (more…)

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SOUNDTRACKRHEOSTATICS-Sugar, Victoria BC (November 17, 2005).

Lucky’s Notes: [Lucky recorded this show and gets a song dedicated to him]:
This was to be the last time the Rheos played in Victoria, though we had no idea at the time. We will all really miss you guys out here!!

Given that information, it’s particularly sad when they say, “we’ll see you hopefully in the spring.”  But despite that future sadness, the show itself is great.  It begins with a wonderful “Easy to Be with You” which sounds terrific: the “do da” part is really rich in harmonies.

It’s followed by a quite raw “CCYPA” and then a fun, romping “Garden” which ends with: “Hugh Syme’s dance party for your pleasure”–Martin making an electronic racket with his guitar.

“Fat” has some interesting echo on Dave’s voice that I wonder if it could be bouncing off the room or not.  The “don’t even know who you are” is pretty wild with many different vocal from the guys.  It’s a great version overall–the bands is really into it.  Having more fun with “PIN” Dave seems to be really enjoying himself with the backing vocal nonsense.

Dave says, “It’s great to be here in Victoria, the Queen’s city, once again.”  When they start the poppy and delightful “Mumbletypeg,” Martin acknowledges “the amazing rhythm guitar playing of Dave Bidini.  Very rhythmic.”

“We’d like to thank Shane Koyczan for opening tonight–one of the sexiest men in Canada–another Neruda.”

“Marginalized” sounds great–dark and angry with a lot of echo on Tim’s voice.  That sounds weird but cool.  There’s a quiet middle section where Dave is playing a gentle acoustic and Tim is keeping that bassline.  It goes on and then the final verse is sung quietly with little accompaniment.

Someone in the crowd shouts “Record Body Count,” and Dave says “yes we got records, what about it?”

But Tim says, “we’ll do another apocalyptic number for you.”  They play “Here Comes the Image” with lots of great synth from MPW including an awesome solo.  Some really cool backing vocal from Martin make this one of the best versions I’ve heard.  Then MPW sits back at the drums: “good now I can relax.”

“Christopher” starts with an interesting guitar chord structure intro before they get to the song proper.  There’s an intense soloing section and a terrific quiet ending.  It’s followed by “King of the Past.”  It’s not my favorite version of it but there’s a lot of interesting stuff going on in it.  It’s followed by a wild “Rock Death America.”

When they get to “Satan is the Whistler” Dave says they’re going to try this one “coz we hope to play it [well] in two days in Vancouver.”  Martin sings some verses pretty slowly and then later he plays the fast part much more slowly and sloppily than usual.

He also adds to these lines:

bouncers came and snuffed the fucking fire out / there’s no smoking in the parking lot / “I hate this fucking place” / some punks in the windy peaks

After the song Dave concurs: “You gotta keep those parking lots clean.  For parking.  And loitering.  Gas huffing [Martin: “pathetic addicts”] nefarious activities.”

“Claire” is a little sloppy from everyone, even Tim’s singing is a bit mumbly.   But there’s a great long solo from Martin.  Martin continues the solid work on “California Dreamline which is slow and trippy with lovely weird keyboards.  While singing, he whoops after “sand in my tequila” and rolls his r’s after the “escondido” part.

The song segues into what sounds like “Horses” with Tim chanting “do it do it do it do it ; do it do it don’t you do it” but then Martin plays a rocking guitar for the intro of “Feed Yourself.”  It is noisy and aggressive and amazing, perhaps the best version of this song I’ve heard.  They play a riff of “Hey Hey, My My”  then Dave starts getting really intense: “what’s in his head?”  he starts screaming “open it up.  “Look inside.”  (The loudest screaming I’ve heard him do).  The intensity is undermined somewhat by Tim’s ending backing vocal of “trunk trunk… what ‘cha gonna do with all that junk / all that junk inside that trunk.”

They go for an encore break and Dave says, At this point in the gig Martin usually has a cigarette, so I felt required to write a smoking song.  It’s a new song about Martin smoking.  It’s called “Smoking Song,” but how on earth is it about Martin smoking when he references Joseph Stalin and Hitler?  he doesn’t say, but when it’s over, he says, “uh oh looks like a 2 smoke break.  He might never come out.” so they play “My First Rock Show.”  During the first verse, Dave stops and asks, “What’s so funny sir?  That must have been the laughter of pure joy.”  You can’t hear what they’re talking about, but Dave mentions NoMeanasNo and agrees that “they sent a lot of us on the wrong road.  In the best way.”

When Martin arrives, Mike asks, “Where to, lads?”  After some mumbling, you hear Mike say “boogers?”  Dave says “vetoed! songwriter gets veto.”  He then says they “support the locked out Telus workers.  Telus is the shittiest service. They just got so big and fat there sitting on themselves.”  More quiet discussion then Mike says “that’s good, Martin you had a smoke and now you’re asserting yourself.”

Perhaps they agreed to the earlier request, because they play “Record Body Count” which sounds great.  When the song is more or less over, Martin starts playing a riff and begins singing “I’ve Been Thinking of You” and the crowd cheers.  They jam that song and afterwards, Martin says “What was that song we did in the middle was it April Wine or something?”  No one knows.  It was a band called Harlequin.

Dave says, “We were in Nanaimo last night.  Home to two of the greatest record stores.”  Someone shouts: “Home of the Nanaimo Bar.” To which Dave replies: “Home of the Naniamo Bear.  That bear likes them dead salmon.”

They play “Making Progress” which opens with a buzzy staticky guitar and big echo on Tim’s voice.  When they get to the synth part it’s all messed up and someone apologizes, saying “don’t let me near that thing again.”  Then it gets fixed and the synth is back on.

They end the show with “Dope Fiends.”  There’s a big echo on Martin’s voice.  Someone else sings some great falsetto along with him.  During the slow part, Dave stars singing “Legal Age Life” but the music doesn’t change–it’s rather disconcerting but cool.  The melody starts playing a keyboard that sounds like “Norwegian Wood” and at the end Tim does backing humming to “Norwegian Wood” before Martin’s loud and wild guitar ending.

Despite the odd echo, it’s a really great show.  The band sounds in great form and they are having a really good time.  It’s hard to believe they broke up so soon after this.

[READ: February 15, 2017] The Unbeatable Squirrel Girl

Sarah and I have really enjoyed the Squirrel Girl graphic novels.  She was really excited to see this actual novel about Squirrel girl from Shannon Hale.

This book is part of the Marvel Universe.  And what I’ve learned recently is that while I enjoy the Marvel Universe, I far more enjoy the peripheral characters of the Marvel Universe–like those of S.H.I.E.L.D. (even if I don’t watch the show anymore–it got a little crazy).  So I find myself enjoying Ms Marvel and Guardians of the Galaxy and now Squirrel Girl–characters who reference The Avengers but are not actually part of the team.

There’s some thing so much more enjoyable about these characters where the stories can have fun of the major Marvel figures.  And this one has a ton of fun with that conceit. (more…)

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  SOUNDTRACK: L.A. SALAMI-Tiny Desk Concert #649 (September 13, 2017).

I know about L.A. Salami exclusively from NPR.  They played “Day to Day (For 6 Days a Week),” a while back and I really liked it.  Then L.A. Salami performed an SXSW Lullaby for them.  And now he;s back for a Tiny Desk Concert.

Bob says that Salami is a bit like Dylan.  It’s a fair comparison in one way–particularly Salami’s lengthy narrative style.  But Salami is British and is delivery is radically different–alert and agitated instead of slow and almost disaffected like Dylan.

But here’s the blurb:

Lookman Adekunle Salami, who writes and records as L.A. Salami, is a storyteller and a poet. His songs are deliberate meanderings on the mundane and the poignancy in everyday life. And in the way Bob Dylan took his guitar and harmonica to accompany his rarely repeating ramblings, L.A Salami embraces a similar aesthetic, albeit as a black Englishman instead of a white Minnesotan.

His opening song at the Tiny Desk, “Day to Day (For 6 Days a Week),” runs about six minutes, with over 600 words. He seems to rattle them all off effortlessly, with compelling, complicated rhymes that never repeat and phrases such as:

“Went to work for the NHS –
Mental health, people depressed.
Met Joanne – Scared of living,
Afraid of dying, terrified of being.
Then met Paul, a schizophrenic,
Shaking limbs, paranoid fanatic –
Unwashed 10 days in a row –
So afraid almost paralytic.”

And the blurb is right–he is effortless in the way he sings-speaks these complicated ideas.  The words are sophisticated and the ideas are powerful.  He plays this song on acoustic guitar, a simple, sweet melody that supports the multifaceted words.  When it’s over he says, “that song was dedicated to anyone who has a job, or doesn’t have a job, or anyone who needs a job.”

For the second song, “Terrorism (The ISIS Crisis),” he switches to electric guitar.  He says, “I’m guessing you guys have heard of the terrorist attack in Westminster.  This next song “Terrorism (The ISIS Crisis)” is about this.”  This song has a pretty radically different sound.  Especially in the chorus (the other two songs don’t even have one) which features a loud, ringing, sharp guitar lick and Salami screaming (mostly) “the ISIS crisis.”   It’s effective the first time through but it seems kind of limited after a number of verses.  The verses are, once again very powerful, especially the quiet middle section:

“This song is called ‘My Thoughts, They Too Will Tire open brackets, sigh, close brackets.'”  This song has a lovely melody (the acoustic guitar is on capo 8 so it’s mostly high notes).  It’s another lengthy pointed but meandering song, a style that Salami does very well.

[READ: April 28, 2017] Ms Marvel: Civil War II

I was puzzled as to why this was called Civil War II.  I actually thought that it was a sequel to a book I hadn’t read yet as it seemed to come out of nowhere.  But I don’t think I missed anything in the Ms Marvel universe.

What I did miss out on was an overarching storyline called Civil War II about which Gizmodo has a lot of very negative things to say.  So I gather this series is part of a bigger thing which I don’t care about.  Sigh.  According to Wikipedia:

Functioning as an allegory about the nature of determinism versus free will the story sees opposing factions of superheroes led by Captain Marvel and Iron Man come into conflict when a new Inhuman named Ulysses emerges with the ability to predict the future. The debut of the series was scheduled to capitalize on the release of the 2016 Marvel Studios film Captain America: Civil War.

As the book opens, Kamala and her friends are involved in the Tri State Ultra Mega Science Fair.  They are squaring off against NY and CT nerds.

Jersey starts with Skyshark (a shark in a floating bubble of water) which Connecticut says is cruelty to animals (because CT is full of lawyers, ha).

NY makes the Re-aktron which is able to absorb all of the static electricity in the air and use it to power electrical grids.  No contest.

But for round 2, Jersey brings put the Fusion Master2000 a pocket-sized nuclear generator.  (What could go wrong?)

Well, when it does go wrong, it turns out that Spiderman (in the black outfit–no idea what that means) is already on the scene–we see hes actually one of the kids in the fair) and then superhero Nova arrives–all three there to help out. (more…)

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 SOUNDTRACK: FRANCES CONE-Tiny Desk Concert #647 (September 8, 2017).

Frances Cone is a relatively new band (their second album is due out soon).

There’s keys, drums guitars and lots of harmonies.

Christina Cone sings primary vocals but Adam Melchor sings lovely hrmony vocals  The keys dominate on the first song “Unraveling” until the gentle acoustic guitarists add a nice texture.  What’s interesting is that once the acoustic guitars kick in, Andrew Doherty, on bass, gets to play a more prominent lead riff and also takes over on lead vocals while keys and guitar do the oohs an harmonies.  It really changes the texture of the song and when Christina takes leads back again, it’s really something else,

The song is simple but really catchy with a powerful chorus. and Christina’s occasional high notes are a very nice accent.

I really enjoy when a band gushes to be on Tiny Desk, and Christina seems really overcome with joy (so does Adam later).

I love the keyboard sound she chooses for “Arizona”–an old fashioned organ sound. She sings lead but he guys are right behind her with low harmonies and oohs as needed.  Andrew switches to lead guitar (with the keys handling the low end) which adds a whole new sound to their repertoire, and the chorus is really catchy with Christina’s soaring vocals.

before the final song, Adam says, “I was watching that Shia LaBeouf “Just Do It” video–don’t let your dreams be dreams–and that what this feel’s like.
Bob: “I wondered where you were going with that.”
Christina: “Are you referencing Shia LaBeouf right now?”

Adam switches from acoustic to electric and there’s some great buzzy bass sounds out of the keys.  The guys sings some gorgeous harmony vocals on this song.  I love that the spare use of guitars comes in with some neat harmony melody lines mid-verse.

There’s also a drummer who I haven’t mentioned–he did a lot of interesting sounds–sometimes using mallets but playing a rim shot with each stick, or using the mallets properly.

Christina Cone (keys, vocals); Andrew Doherty (electric bass, electric guitar, vocals); Adam Melchor (electric guitar, acoustic guitar, vocals); Alex Baron (drums).

[READ: October 1, 2016] Ms Marvel: Last Days

This book collects books 16-19 of the Ms. Marvel series and kind of wraps up the story (sort of, there’s another series that has come out and starts with issue #1–so confusing!).  This book also includes a 2 issue crossover with Amazing Spider Man-7 & 8.

This book opens with yet another amazing crossover–Kamala gets to meet the original Ms Marvel, Carol Danvers (who is now Captain Marvel and, confusingly to me, is dressed in a strange suit with what looks like a mohawk).  Kamala is worried thay Carol will be mad that she copped the Ms Marvel name, but Carol is cool with it–Kamala has earned the title. (more…)

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SOUNDTRACK: JASON ISBELL-Tiny Desk Concert #645 (August 28, 2017).

Everybody seems to love Jason Isbell.  I’d heard the songs that people liked and I didn’t really think all that much of them.

This Tiny Desk Concert made Isbell sound much more country than I’d realized (I didn’t know he was with the Drive-By Truckers, either).

I was a little resistant initially, but the first song “Chaos and Clothes” really won me over with the words and melody.  By the end of the song when the fiddle and violin are in full swing and the bassist is playing a cool bass line on that weird tiny fake-looking bass guitar the song really takes off.

But it was Isbell’s playful and funny side that made me rally enjoy him and his band.

He asks the drummer how he is dong and then comments on the hat that they wished they could have worn (they point to tiny top hats).

Isbell says, “Abraham Lincoln had a tiny head, it turns out.  Where’s you’re novel about that, George Saunders.”

Then he jokes about the bass guitar: “that’s’ why you need the hat,  your bass is so small.  Abe Lincoln played a tiny bass.

When they finally get going, the second song “Molotov” has a false start-“I spent so much time on that word and then I said the wrong one.”  The violinist says its alright she didn’t do the best either.  I love the dramatic melody and delightful swing to this song.  It’s really good.

They have a lengthy amusing discussion about babies’ defense mechanisms. The whole banter section between the second and third song is really funny.  Jason leans into his guitarist who jumps and says “thank you.”  This makes Isbell laugh, “if you scare Sadler, he says ‘thank you.'”  Sadler says it’s a defense mechanism from when he was a baby.  Isbell looks at him: “Why would you have o defend yourself when you were a baby?” They talk about baby defense mechanisms and Isbell determines that saying thank you is a good idea: if you were going to kill someone and they said thank you, you’d pause–wondering if you fell into their trap.

He jokes, “we shouldn’t have taken all that acid before Tiny Desk.”

There’s a lot of laughter and then Amanda worries that she has boogers.  It’s quite light-hearted (she doesn’t, by the way).

There’s another false start for “Last of My Kind.”  He pauses the song and then invites an audience member up on “stage” to play.  He says that when he was younger he always imagined that this would happen to him–that someone would have once just asked him to come up and play.

The final song is really good, with a lot of great details in the words, and Ashwin, “a guest in the building who got more than he’d likely expected from his visit to NPR headquarters,” makes good use of his special performance.

His band is The 400 Unit: Sadler Vaden (guitar); Amanda Shires (fiddle, backing vocals); Jimbo Hart (bass); Derry deBorja (keyboards); Chad Gamble (drums); Ashwin Wadekar (guitar on “Last of My Kind”).

[READ: March 15, 2015] Ms Marvel: Generation Why

This book collects issues 6-11 of the Ms. Marvel series. I really enjoyed the first collection a lot, but I hadn’t seen any of the follow ups.  So I was pretty excited to see that my library had gotten all of the published volumes.

In addition to having a great story line about a Pakistani-American teenager who received superpowers, Ms Marvel has a lot of fun with inside-Marvel jokes (which I know some people get tired of, but which I like and which I think works very well here).  Ms Marvel is Kamala Khan.  She is a huge fan of the Marvel Universe (which of course is real), and she had taken the name of Ms Marvel in honor of Carol Danvers, the first Ms Marvel.

Jacob Wyatt drew books 6 & 7 and Adrian Alphona did 8-11.

The book opens with Kamala’s parents–god-fearing Muslims, sending her to Sheikh Abdullah.  She is obviously concerned with talking to this religious leader. Her new career as Ms Marvel has kept her from doing most of the things she should be doing as a decent Muslim girl. But the Sheikh is surprisingly cool.  She doesn’t reveal her secret but he senses that she is doing good and perhaps she just needs the help of someone–a teacher?  She heads downtown where suddenly there is a sinkhole in the ground.  As Ms Marvel, she jumps in and discovers gigantic crocodiles.  The person who has carted these gigantic creatures proves to be a human-cockatiel hybrid who IS NOT A BIRD.  He is bad guy named The Inventor.  And just as things start to get really intense, a teacher of sorts comes to help out–Wolverine!  It cracks me up that she takes a selfie with him. (more…)

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