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Archive for the ‘Supernatural’ Category

SOUNDTRACK: RHEOSTATICS-Fall Nationals, Night 7 of 10, The Horseshoe Tavern, Toronto (December 14, 2005).

This was the 7th night of their 10 night Fall Nationals run at the Horseshoe, Whale Music night.

On this night the Rheostatics were made up of 7 people, the usual suspects, plus Ford Pier on Keys, legendary pedal steel player Lewis Melville, and what Whale Music would be complete without Dave Clark. For those keeping track that’s 2 drummers in the band for this show! There were a few other guests as well, Brother Rick on “Guns” and Tannis Slimmon on “Palomar”. At the end of “Legal Age Life” Dave C got up from the drums and pulled a slide whistle out of his pocket and proceeded to solo on it, Martin, not one to be shown up, ran off stage and grabbed a flute and came back to duel with Dave. On Claire some of the band switched things up, Tim, Dave C, Lewis,and Martin kept to their normal rolls but Dave B played Drums, Mike played tambourine and Ford played bass. Dave Clark’s mic wasn’t working until “The Headless One”. Edmund Fitzgerald was played in complete darkness for most of the song which added a nice ambiance, towards the end blue lights were turned on. And if that wasn’t a great way to end the show they played a fiery rendition of Horses.

No Whale Music night would be complete without mentioning Paul Quarrington.  Dave talks about the inspiration of the book and then says, “we thought it was only right to bring Paul Quarrington to open the show.”  You can hear someone on the tape gasp and then you hear, He was right beside you!”  “Oh my God!”

Paul reads an except from when Desmond is talking about making whale music and seeing Claire sunbathing.  It’s weird with no context, but most people fans surely read it.  The audio quality isn’t great at the start but by the end of the excerpt it sounds great and so does the rest of the show.

They open the show with a ripping “Self Serve Gas Station.”  Tim says that there never used to be an outro.  Dave started strumming the chords again while they were recording it and the other guys joined in.  Dave: “What is this classic albums or something?  Yeah I guess it is.”  “I believe I was wearing a purple shirt….” It segues into a fantastic “California Dreamline.”  It ends with the clapping intro for “Rain Rain Rain.”  They have some cool warbly backing vocals during the “feeling pretty down” part in the second half.  There’s a great bass “solo” underneath the quieter vocals and then the band has crazy fun during the last verse with jazzy chords followed by big rocking chords.

Dave starts “Queer” but Ford starts playing “Everyday People” (no doubt a nod to Cece singing it the other night).  Despite Dave’s starting the words to “Queer,” Ford just starts singing “Everyday People” and the whole band joins in (Ford has a great high voice for the chorus).  When “Queer” starts, everyone sounds fantastic.  Ford gets a little piano solo before the end.  And then came Lewis Melville on the guitar.

Dave: “Here’s another song from, jeez, Whale Music.  Playing the whole album makes banter inconsequential.”

“King Of The Past” sounds good, but someone messes up the chorus–I think Tim is too early both times.  But no one stops.  Musically it sounds fine–especially the bass.  During the outro solo, Dave shouts, “give birth to that horse, Martin.”  Martin’s solo and wild and punky noises from the keys work as a segue into a blistering “RDA” with lots of screaming.   Dave sings a few choruses of “They don’t give a fuck about anybody else.”  At the end Mike notes, “we brought a drill (there’s a drill on the record for this song) but left it in the dressing room.

Dave notes that “Don Kerr will be with us tomorrow night.  We’ll have the full complement.”

Several times they’ve asked for more of Dave Clark’s voice in the monitor.  It’s possible that he wasn’t audible to anyone.  Dave says, “You had a Gil Moore moment.”  Dave notes: “Mike Levine was the first rock star to live on the Danforth.”  Ford: Mike Levine’s dad was the President of [inaudible].  What a squarehead.  Bean counter.”

“The Headless One” doesn’t get played much (Mike say first time in about 15 years) and it sounds good–again the bass sounds really great.

For some reason, Martin says, “We got mild, medium and no hot sauce at all.”  “Legal Age Life At Variety Store” features Lewis Melville on the pedal steel.  It’s followed by a slide whistle solo from Dace Clark.  Dave: “Bring it, Vesely, bring it. (Tim is on drums).  Oh don’t stop there, man, I can hear those Irish fjords calling me.”  Then Martin grabs the penny whistle to compete with Dave.  Mike: “That’s one sharp trap drumming by Tim Vesely there.”

Martin says, “I’ve only counted three mistakes so far.”  And then Tim busts out the accordion for a great “What’s Going On Around Here?”

For “Shaved Head,” Tim says, “I think we recorded this song in the dark.  Martin was in the hallway.  There were candles–a major fire hazard, but we’re all about flouting the law.  Was there grappa.  Grappa was Melville.  Mike: “We’ve matured since then… it was fine scotch.”  Martin: Does anyone know why booze explodes?  Answer: “When you don;t drink, it explodes.

Ford says, “Whats next?  At this part of the record I get up and get a snack.”  Mike says, “This is the part of the record that I think of Tannis Slimmon.  She is such a beautiful person.  One of the kindest and most gentle people I’ve ever met.  And on top of that and she sings like a bird) and we happen to have her here.”  It’s a lovely version of “Palomar.”

Tim says one of his favorite Canadian albums of all time is The Bird Sisters She, She & She.

I believe that Dave Clark gets up: “Ladies and gentlemen, Neil Peart” (not really).  “The motorcycling has done wonders for his physique.”

Clark: “Friends, is everybody being kind to each other?  I thought so.”  Clark does “Guns” and has updated his beat poetry.  He gets a chant going, “What don’t we need?”  “Guns!”  “We need more peace.”    He has the audience make some drum sounds and then Bidini plays the bongos and he sings “getting it on the circuits.”

There’s more accordion for “Sickening Song.”  It sounds great although at the end, Dave says we used to sound a lot more Italian.  Tim says I think I found my new calling–no more lugging around heavy bass amplifiers.  He continues to play the accordion until the start of “Soul Glue.”  In the middle, Dave shouts, “How about a pedal steel guitar solo?” Then Dave shouts, “how about a rock n roll guitar solo?”  “Ford Pier keyboard solo?”  Tim, “May I ask for a bass solo?”

They need to practice the opening vocal harmony, but they nail it for “Beerbash,” Hey everybody Dave is gonna sing a song right now for all you kids.  There’s a pretty slide guitar solo.

And then Tim says, “This album never ends.”  Dave: “This album isn’t over is what Tim means to say.  We have two more.”

They talk a bit about Reaction Studios where they recorded Melville and Whale Music.  It closed down the day before. And somewhere along the lines some major music company bought the rights [to Whale Music] and we have no connection to the thing.  (But you can get it in zunior).

Up next is “Who?”  The whole song sounds good until the final two notes.  Martin cringes and then says, “we have never played that with you, Michael?  Nope, never.”

The album ends with “Dope Fiends and Boozehounds.”  It sounds terrific and they even thrown in a full version of “Alomar” for fun.

After having played the album, they take a break and then come back to play “Claire.”  The bass sounds a little off on this song–slightly out of tune?  The song sounds good although in the middle section someone hits a terrible chord, but hey come out of that okay and finish strong.

Something happens on stage and Martin says “A request” and then plays jazzy number:  “mild hot or medium.”  There are no standards for spicy.  He then asks, “What are we doing now, Dave?  Are we gonna do all of 2112?”  He starts playing “Song of Flight” and Ford starts singing, “We are the priests!”

While Martin plays, “Song Of Flight” Tim sings “around the rainbow three times” in tune.

Dave asks them to shut off the stage lights completely.  There are some ominous chords and some shushing.  Then Tim starts singing “The Wreck Of The Edmund Fitzgerald.”  They do a great job and they throw in the “I wish I was back home in Derry” part.  It segues into a scorching “Horses.”  During it they “give the drummer some.”  Not sure who gets to solo or is it both or them?  It’s a good solo.  And then one more solo from Mr Louis Melville.

They turn that fifty minute album into an excellent two and a half hour show.

[READ: July 17, 2017] Pigs Might Fly

I really enjoyed Abadzis’ book Laika.  I thought it was factually interesting and cleverly written.  And I think my joy at that book impacted why I disliked this book so much.

This is a fairly simple story (although it is made rather complicated).

A girl, Lily, is a good airplane creator.  Her father is supposed to be the airplane creator.  He refuses to use magic in his creations believing that only science can keep a plane in the air.  But when the neighboring town starts attacking with their own airplanes, Lily takes it upon herself to fight them.

Okay, fine.

But here’s the thing.  This story is all about pigs.  And I don’t know why.  Aside from the title that allows for the joke of pigs flying, there’s no “reason” to have made these characters pigs.  Well, also because Abadzis wanted to stuff this book full of awful pig/hog puns. (more…)

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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…)

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SOUNDTRACK: TED LEO-Tiny Desk Concert #678 (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…)

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SOUNDTRACK: WALTER MARTIN-Tiny Desk Concert #677 (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…)

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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…)

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SOUNDTRACK: MOSES SUMNEY-Tiny Desk Concert #676 (November 29, 2017).

I had never heard of Moses Sumney before this show.  And the blurb seems to anticipate this:

If you don’t know this Los-Angeles-based force of nature, and haven’t heard him on tour with James Blake or Sufjan Stevens or perhaps on albums by Beck or Solange, then this is your chance to watch one of the most thoughtful talents of today as he makes music that is outside the box but easy to relate and connect to.

I’m very curious to know what he did with Beck.

I found Moses’ voice to be mesmerizing–a gorgeous soaring falsetto that he seemed to effortless get to rise higher and higher.  But beyond that, the blurb talks about his lyrics:

Moses Sumney puts a great deal of thought into the heartfelt music he creates. On his debut album, Aromanticism, he was inspired by everything from the works of Plato and Aristophanes’ account of the origin of humanity to the Bible, particularly Genesis and the story of creation. It’s all in an attempt to understand human relationships and the sorts of couplings we tend to be drawn to.

He plays 3 songs in the 20 minute time frame.  I wanted to describe the first song, but Bob’s description is too good:

The concert opens up with Moses not behind my desk, but at the piano we keep in our office. As his team of sax, harp and guitar players set up, Moses sat at the piano and began to play “Doomed.” He had instructed the band, which had already perched behind my desk 40 or so feet away, to create a transition for him to walk from piano to desk, continuing one of the most inspired 8-minute stretches I’ve witnessed here at the Tiny Desk.

So he plays the pretty piano melody and sings with those gorgeous falsetto vocals for about a minute and a half.  Then he strolls (in his cape) to the desk.  He activates some looping pedals.  He plays a beat on the microphone and then Sam Gendel plays a cool modified sax solo.  After 2 minutes of set up, he sings again.  The beats are in full and Brandee Younger is playing some simple gorgeous harp and Mike Haldeman has some echoed guitar on top.  Meanwhile, Sam has switched to a synth and Moses is also playing some kind of synth.  The song builds beautifully and he sings in a  higher and higher register.  It starts to sound otherworldly with the harp and his voice and the loops going faster and faster.  And then the wall of noise abruptly ends and the final minute is delicate and lovely.

He introduces the band and then says “we’re going to keep making noise.”  And then “hopefully no one’s printer goes off” (wonder if that happened).

“Quarrel” opens with him looping his own voice and then playing it faster and faster so it sound like a skipping CD.  Sam has picked up a guitar to pluck out notes (the head of his guitar is fascinating and I want to see it better).  Throughout the song Moses hits that looped vocal section for one or two seconds to add texture–it’s pretty cool.  The mix of that harsh(ish) electronic sound and the angelic harp is wonderful.

For the final song, “Plastic,” he removes his cape.  Everybody else leaves and he says “I want to make more room… for me!”  He picks up a guitar and says, “This is the end.  The bitter end.  Although for some of you, it will be sweet because it’s ending.”  It’s interesting how self-deprecating he is when his voice is so gorgeous.

This final song is much more jazzy with him playing interesting chords and singing to the guitar.  Overall it’s a bit less exciting than the other songs possibly because the last minute or so is just him repeating the line “my wings are made of plastic.”

But overall, Moses Sumney really impressed me with this set.  Right up to the end where he sinks slowly below the desk, to much laughter.

[READ: March 6, 2017] Wade and the Scorpion’s Claw

The Copernicus Legacy is a four book series.  But, in an interesting diversion, there are also two “extra” books inserted between the first two.  They are smaller and do not exactly affect the continuity of the main story, but they seem to delve into one character a little further (and there is some plot advancement).

Interestingly, Book One of the main series ends with Kaplans and their friends leaving Guam for New York.  The second book of the series opens with them in New York.  But this book, the first of the The Copernicus Archives, takes place between Guam and New York.  The big difference is that unlike the main books, this is told entirely from Wade’s Point of view.

En route to New York, the family has to stop in Hawaii.  They are in the airport for a while and they trust no one.  They are waiting for the flight to San Francisco when there are two notable people in the airport around them.  There’s a German man (you can tell by his shoes, Lily whispers) in a leather coat.  The kids don’t trust him and call him Leathercoat.  And then there’s a Chinese man doing acrobatics and other tricks to amuse some children while they wait. (more…)

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SOUNDTRACKPHISH-Live Phish Downloads 12.7.97 Nutter Center, Dayton, OH (2007).

This concert included five covers out of a total of nineteen songs.

The show opens with a fairly slow “AC/DC Bag,” but there’s a seamless segue into an excellent cover of Talking Heads’ Psycho Killer” (only the second time they’d played it).  There’s some spacey sounds in the jam which then segues nicely into ZZ Top’s “Jesus Just Left Chicago,” a groovy blues.  The whole thing ends in a jaunty bluegrass “My Minds Got a Mind of Its Own.”

I have to admit at this point I’m pretty bummed by the setlist.  The songs are all good and the jams are fun, but if I were at this show I’d want to some actual Phish songs, you know?  I know a lot of people love the covers, but that’s not what I’m here for.

They rectify this with a fun “It’s Ice.”  There’s a lengthy piano solo and then the song segues into two deep cuts from Billy Breathes–a one minute “Swept Away” and then a one minute “Steep”–before closing “It’s Ice.”

Up next is a 10 minute “Theme from the Bottom” with a long solo and great harmonies at the end.  Then the band plays a great funky “Tube,” a non-album track with some great 70s sounding keyboards from Page.  After a pause (apparently the lights went out).  You can hear them chatting a bit and then they pick up a 6 minute instrumental called “Dayton Jam” that plays with the themes from “Tube.”

The set closes with a 12 minute “Slave to the Traffic Light.” There’s a great solo from Trey followed by a mellow section before coming to a good solid end.

Usually there’s a few really lengthy jams in the second set, but this upcoming set is full of mid-length songs.

It opens with a jam-filled 9 minute “Timber” and then a 7 minute “Wolfman’s Brother.”  This segues into yet another cover of Stevie Wonder’s “Boogie on Reggae Woman” before settling into a fast-paced 14 minute “Reba,” the longest song of the night.  The solos in the song remind me a bit of Frank Zappa.  It’s really amazing how tight they are during these jams.

Before they begin the next song, you can hear Trey ask, “Guyute?” and they play a 10 minute jam with a really fun middle section.  The show ends with a 12 minute “Possum.”  So while there are no really super long jams, there are a number of pretty long jams.

The Encore is a great loose version of The Beatles’ “A Day in the Life.”  I love how they handle the end.  The classic chord progression that ends the song is done sort of like that but more just fun noisy chaos.

[READ: March 6, 2017] The Forbidden Stone

I really like Tony Abbott books. He has tackled many different stories and I’ve found that I haven’t been disappointed by anything he’s written.  This series, The Copernicus Legacy is in the vein of The 39 Clues, although there are plenty of differences.  But as an outline, the premise is the same–some kids (and an adult) are trying to save the world from bad guys by collecting a bunch of things that cannot fall into the wrong hands.

Whereas The 39 Clues divides the family into 4 warring clans, this series seems to be basically good guys and bad guys.  The good guys are inspired by Copernicus.  This works out well because the main family loves astronomy.

So the main family is Wade Kaplan and his father Roald Kaplan.  Wade follows in his father’s footsteps and loves the stars and science. Roald is re-married to Sara (who is on a business trip as the book opens).  Sara has a son named Darrell.  Darrell is hip and cool and plays guitar.  He is also always hungry (a trait that Abbott loves to have in at least one character, although I haven’t seen it as being very important yet–and it seems to fade as the book goes on). I assume that Roald is not Darrell’s father as well, but I got a little lost in the family tree.  The crux is that Wade and Darrell are stepbrothers–and they get along really well.  The rest of the crew includes Wade’s cousin Lily and her friend Becca.  Lily is a techie girl who is able to wield a smart phone like a librarian.  And then there’s Becca  who is, interesting. Wade has had a crush on Becca (who is super smart and can speak several languages because her parents traveled so much) for a long time.

Okay, so there’s five people.  How does the excitement start? (more…)

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