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Archive for the ‘Thieves’ Category

SOUNDTRACK: NEIL PEART-September 12, 1952-January 7, 2020.

When I was in high school, Rush was my favorite band, hands down.  I listened to them all the time.  I made tapes of all of their songs in alphabetical order and would listen to them straight through.

I still loved them in college, but a little less so as my tastes broadened.  But every new release was something special.

It’s frankly astonishing that I didn’t seem them live until 1990.  There were shows somewhat nearby when I was in college, but I never wanted to travel too far on a school night (nerd!).

For a band I loved so much, it’s also odd that I’ve only seen them live 5 times.  However, their live shows are pretty consistent.  They play the same set every night of a tour (as I found out when I saw them two nights apart), and there wasn’t much that set each show apart–although They did start making their shows more and more fun as the years went on, though).

One constant was always Neil Peart’s drum solo. It too was similar every night.  Although I suspect that there was a lot more going on than I was a ware of.  It was also easy to forget just how incredible these solos were.  Sure it was fun when he started adding synth pads and playing music instead of just drums, but even before that his drumming was, of course, amazing.

It was easy to lose sight of that because I had always taken it for granted.

I am happy to have seen Rush on their final tour.  I am sad to hear of Neil’s passing.  I would have been devastated had it happened twenty years ago, but now I am more devastated for his family.

So here’s two (of dozens) memorials.  The first one is from the CBC.  They included a mashup of some of Neil’s best drum solos:

But what better way to remember the drum master than with a supercut of his drum solos? From a 2004 performance of “Der Trommler” in Frankfurt, Germany, to a 2011 performance on The Late Show With David Letterman, to his first-ever recorded drum solo (in 1974 in Cleveland, Ohio), dive into nearly five minutes of Peart’s epic drum solos, below.

The best Neil Peart drum solos of all time.

I was only going to include this link, because it was a good summary, then I saw that Pitchfork ranked five of Neil’s best drum solos (an impossible task, really).  But it is nice to have them all in one place.

You can find that link here.

Starting in the 1980s Neil’s solos were given a name (which shows that they were pretty much the same every night).  Although as I understand it, the framework was the same but the actual hits were improvised each night.

Even after all of these years and hearing these drum solos hundreds of times, watching them still blows my mind.

  • “The Rhythm Method”
  • “O Baterista”
  • “Der Trommler”
  • “De Slagwerker,”
  • “Moto Perpetuo”
  • “Here It Is!”, “Drumbastica,” “The Percussor – (I) Binary Love Theme / (II) Steambanger’s Ball”

[READ: January 2020] Canada 1867-2017

In this book, Paul Taillefer looks at the most historically significant event from each tear of Canadian history.  And he tries to convey that event in about a page.  Can you imagine learning the history of your country and trying to condense every year into three paragraphs?

And then do it again in French?  For this book is also bilingual.

I can’t read French, but i can tell that the French is not a direct translation of the English (or vice versa).

For instance in 1869, the final sentence is:

This, in turn, signaled the start of the Red River Rebellion which would not end until the Battle of Batoche in 1885.

Neither Batoche nor 1885 appears in the entire French write up.  So that’s interesting, I suppose.  I wonder if the content is very different for French-reading audiences. (more…)

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SOUNDTRACK: PEARL JAM-“Santa Cruz” (1993).

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

These releases are coming out as a daily surprise.

Pearl Jam released a song called “Santa God” the other day. This song also has Santa in the title, but it is not about Santa Claus.  It is indeed about Santa Cruz.

This song appeared on the b side of the band’s terrific take on the John Doe song “Golden State” (co-sung with Corin Tucker of Sleater-Kinney).

This song also has a folkie feel–acoustic guitars and multi-tracked vocals from Eddie.  It even opens with a harmonica!

It’s a delightful road song abut travelling to Santa Cruz:

Heading South a compass reads
Look at our speed, we’re going sixty-three
Look out the window as the trees go green
I look at them and they look at me
Got Neil Young on the stereo
He comes along whenever i go

It’s a really pretty song and deserves to get more airplay.  Frankly if Santa Cruz hasn’t used it their official anthem, the town leaders are fools.

[READ: December 9, 2019] “The Snow Man”

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

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

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

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

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

Want a copy?  Order one here.

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

This story, written over a hundred years ago, felt rather timeless.  Aside from a few word choices and spelling, this story could have been written this year.

It’s also amusing that it is a Christmas story but is actually about a thief doing a job on Christmas Eve.

He starts the remembrance saying that he has both good and bad reasons for remembering Christmas of 189-.  He’d had his eye on Wharton manor “as a crib worth the cracking” (being ahead of MTV Cribs by over 100 years).  This particular job ended his thieving career and set him on the path to good.

The narrator assures us he was never the mere midnight marauder who is supposed to “lurk under the bed until the family is asleep.”  He fancied himself better than that.  He never carried a weapon and trusted fortune to be his guide:

if i were dolt enough to walk into a trap or let another man’s wits outwit mine…I ought to yield him the palm like a gentleman.

The manor was well protected–a large wall and a winding drive kept it hidden from sight.  The wall was there more as a protection from the precipitous drop on the other side of it than to keep people out.  (more…)

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SOUNDTRACK: TAYLOR SWIFT-Tiny Desk Concert #901 (October 16, 2019).

Most Tiny Desk Concerts are from musicians that few people have heard of.

Not this one!

It’s hard to imagine exactly how it happened that Tiny Desk Concert managed to get Taylor Swift to play.  And to play with just a acoustic guitar and piano.  “It’s just me. There’s no dancers, unfortunately,” she quipped.

I have seen people already complain that Tiny Desk is supposed to be for unknown artists blah blah blah.  But I think it’s pretty awesome that a) Taylor Swift is a fan of NPR and Tiny Desk and b) that this show will bring more notoriety to Tiny Desk and potentially other bands.

Plus–I had no idea that Taylor Swift was not a studio creation–that she’s actually a real and thoughtful person who wrote her own music.

She talks confidently and casually about songwriting and she seems pretty genuinely pleased to be there.

As she settled in for her Tiny Desk, she looked out at the 300-plus NPR employees and guests. “Wow! This is a lot of people in a tiny office!” she said. “I love it!”

She delightfully says, “It’s great to be in DC.  You guys had anything exciting going on in the last couple of weeks?  Any possible changes in play?”

And, hey, she writes good songs, too.

I’ve never really listened to her music–although I love “Shake It Off.”  I haven’t actually heard anything of her new album so this was all new to me.

After introducing herself, she explained her objective: “I just decided to take this as an opportunity to show you guys how the songs sounded when I first wrote them.”

She talks a lot about each song and why she wrote them.

Opening with an acoustic rendition of “The Man,” from her 2019 album Lover, Swift delivered a critique of gender double-standards with a sense of humor (and a perfectly deployed hair toss), Leonardo DiCaprio name-check and all.

She says she has been thinking about the topic for many years and it was something she wanted to write about conceptually for a very long time because we have a bit of double standard issue in our society.  She wondered if there was a concise and catchy way to write a song about this?  So she decided to imagine what her life would be like if she said and did all the same things but if she was a man.

While not an original idea, she tackles it really well.  And I like that she’s using her platform to address the issue

I would be complex
I would be cool
They’d say I played the field before
I found someone to commit to
And that would be okay
For me to do
Every conquest I had made
Would make me more of a boss to you
I’d be a fearless leader
I’d be an alpha type
When everyone believes ya…
What’s that like?

And it’s really catchy too.

At the end of the song she gives her pick to a little one in the audience (to a room full of awws).  Then she switches instruments.

She talks about the process of writing songs–when something comes and its easy, that’s wonderful.  But most days you show up… and the idea doesn’t.  Then you have to know the craft of songwriting–you’re not always going to be inspired and that’s okay.

Turning to the piano for Lover‘s title track, with a smile, she explained the guitar-string scars of the song’s bridge.

She says that she has scars on her hands from playing guitar when she was young–when she played until her fingers bled or when a string snapped and cut her.  In your life you received all kinds of scars–emotional and physical and if someone is going to take your hand, they’d better take your hand scars and all.

It’s a pretty piano ballad and her voice is really pure.

After the song she removes her blazer to reveal a velvet top (she must have been very hot).  “You guys ever had costume changes at Tiny Desk?” She then finds three more guitar picks to give to three other kids, one of whom you can quickly see is pretty darn excited.

Picking up the guitar again for “Death by a Thousand Cuts,” Swift confronted a question that she says has haunted her career: What will you ever do if you get happy?

She receives this question over and over that “has the potential to seriously deteriorate my mental health.”  “What will you ever do if you get happy?  Will you just never be able to write a song again?    She says she used to reply that she started off when she was 12, she was writing songs about things she had no idea what she was talking about.  She wrote songs about heartbreak based on movies and books and character studies.  So she would say, “If stuff is going on in the world maybe she could hey inspiration from that.

But then she really asked herself that question.  “Would I not be able to write break up songs?  I love break up songs!  They’re so fun to write.”  She says she had friends going through breakups and she was watching movie and reading books about breakups and these ideas came to her.  She woke up with heartbreak lyrics in her head and realized “It’s still here!”

Across the song’s run-on thoughts and relentless searching, Swift offered an answer: She’ll continue to excel at crafting superb story-songs.

I rather like her songs on acoustic guitar–even if I’m not much of a fan of break up songs.

Before the final song, “All to Well,” she talks about how she never googles herself–she recommends you not do it either.  But her dad does.  He sends her links to lists that people rank her songs (she finds it very nice that people care enough to do that).  When the Red album came out, she said there’s a song and “I’m the only one who loves this song this much–because it happens to me and its personal.”  But it turns out that this song tops everyone’s favorite list.  “I’m happy that my opinion lines up with your opinion on that.”

I actually didn’t know this song at all–I guess I am really isolated from pop music.

She says, “here’s a sad song about fall.”  It’s very pretty on piano and once again her voice is really great.  I really like the way the words unfold and then reflect back on themselves.  It’s a really wonderfully crafted song.

This Tiny Desk Concert may not introduce Taylor Swift to a lot of people, but it pretty much did introduce me to her music.  And I was really impressed.

[READ: August 19, 2019] Lost Empress

I loved Sergio De la Pava’s A Naked Singularity. It was complicated and funny and clever and bizarre and thoroughly engaging.

Lost Empress is even better.

There’s a story about a woman running a football team–and being overlooked because she is a woman.

There is a storyline about 911 operators, and the guy who transcribes them.

The third story is about a tough, smart guy who is in jail.  He is his own defense for trying to get out.  And he hatches a plan that involves stealing artwork, the Paterson Falls and the Super Bowl.

I enjoyed it in part because much of it is set in Paterson, NJ.  I grew up next to Paterson and the city has for most of my life been in a state of decline.  Despite all of the great things it has to offer (like the Paterson Falls! which get a shout out in this book), Paterson gets no respect.  This book doesn’t exactly aim to correct that, but it does give the city something cool–a football team.

It also jokes about “what the hell is up with Paterson?”  The city had once tried to rebrand itself in which they staged a contest  for “an official slogan for the troubled city.”  Proposals emerged: “the verifiably untrue, the unintentionally insulting/intentionally insulating, the so vague that sense fails to be created, the rhyme or alliteration for its own sake, and the technically true but not even conceivably relevant.” (more…)

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SOUNDTRACK: KATE CARR-“The Ladder Is Always There” (2018).

At the end of every year publications and sites post year end lists.  I like to look at them to see if I missed any albums of significance.  But my favorite year end list comes from Lars Gottrich at NPR.  For the past ten years, Viking’s Choice has posted a list of obscure and often overlooked bands.  Gottrich also has one of the broadest tastes of anyone I know (myself included–he likes a lot of genres I don’t).  

Since I’m behind on my posts at the beginning of this year, I’m taking this opportunity to highlight the bands that he mentions on this year’s list.  I’m only listening to the one song unless I’m inspired to listen to more.

Kate Carr creates Field Recordings.  But she then manipulates them into soundscapes.  This track, “The Ladder Is Always There,” has an incredibly sinister tone–and that title doesn’t help.  The recording was done on or under the water and the sounds I hear include a tuned radio (or something), a vacuum cleaner going back and forth (clearly not), electronic receptors beeping, birds modified (or maybe recorded from underwater), dripping water, breathing, clanging, seagulls and waves crashing.

Gottrich describes whats she does as “not only mapping bodies of water and landscapes in field recordings, but engaging with the environment as an active participant.

It is certainly strange to listen to something that you could (in theory, but not in actuality) go out side and hear for yourself.  Even if you could go outside and hear this, there’s no way it would be curated in this way.  So while this is indeed listening to nature, Carr has sculpted nature into an aural exercise that’s really engaging.

I’ve listened to a few more pieces on this disc and while none are quite as engaging as “the ladder” none are dull either.  I can’t decide when I would most enjoy listening to this.  Sitting a lone in my car at lunch time with my eyes closed or in bed by myself later at night.  Even listening at work is strangely intoxicating.

You can hear the whole disc and more at her bandcamp site.

[READ: December 29, 2018] “Plante’s Ferry”

Apparently, I’ve read a bunch by Jess Walter although I don’t have much recollection of his stories.

This one is set in an unnamed place in the unspecified past.

The narrator explains that Bonin liberated the Scots’ pelts and then the two of them rode the lower trail until they arrived where the Frenchman ran a ferry across the river.

He hopes they were not followed, but they are not going to slow down.  They must get across the river.

The ferry is not cheap and since they are being chased because of Bonin’s action, the narrator wordlessly insists that Bonin pays his fare too. (more…)

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SOUNDTRACK: ST. VINCENT-“Savior” (2018).

St. Vincent has morphed from guitar goddess (with her own signature guitar) into a  synthy pop goddess (of sorts).  Her last album Masseduction sounded like it eschewed guitars altogether (it didn’t, exactly).  When I saw her live, she played guitar on every track (and was the only performer which was pretty awesome) but it rarely sounded like a guitar (which was cool in its own way).

So Masseduction was quite different from her earlier guitar-heavy albums.  It even featured a song based around the piano.

Now Annie Clark has reissued Masseduction as Masseducation (which is how I and many other people read the other title originally) and has more or less traded in the production and synth for piano.

The new version “pairs Clark’s resonant voice with Doveman’s Thomas Bartlett on piano. Intimate and focused, the reworked songs were performed and recorded in two days at Manhattan’s Electric Lady Studio. A handwritten letter by Clark sets the scene for this process: “Thomas and I faced each other — him, hunched over a grand piano, me, curled on a couch.”” [from NPR].

One thing that Masseduction showed was how fantastic Annie Clark’s voice is.  I’m not sure if I never noticed that her voice was great because I was focused on so much else or if she didn’t showcase it as much, but she hit and held notes that were really quite impressive.

“Savior” originally featured a slinky guitar line with bits of wah-wah on it (slightly porn-y to be sure, especially given the topic of the song).  The bridge picked things up and with each subsequent verse more and more was added (backing vocals, big drums and sound effects).  When the song reached the third part, the “pleeeease” it totally soared.

This new version opens with a muted piano, rather than slinky guitar.  The music seems to accentuate the words (which seem much more kinky in this version).  The song doesn’t build like the previous one did, although the switch from muted piano to deep bass notes is surprisingly effective.  The “pleeeease” section totally subverts the previous version.  Rather than getting big and powerful, the song actually grows quieter, more pleading.  It’s a cool twist on the same music/words.  And I like that you can hear the spoken words at the end of the song (which you really couldn’t on the original release).

This stripping of the production really makes you focus on the words (which were sometimes lost on the full album).  Annie must be pretty pleased with the ones she wrote.  I’m curious what this will do to the rest of the album.

[READ: January 7, 2017] “Vespa”

This is the story about Mark and his Vespa.  He loved his Vespa.  It allowed him a lot of freedom yes, but he also loved the look of it.

It also took him to see his girlfriend, Yasmin, in Manchester.  They were in love (and were even engaged on Facebook!).  He parked the Vespa at her school where it would be safe–even though she didn’t go to school on Fridays.

She told him to take a bus to an empty house where they could make love.  She had been there before.  (I like the way that detail was just tossed in there).

Later that day, when they went back to the school, his Vespa was gone. (more…)

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[LISTENED TO: September 2017] The Hitchhiker’s Guide to the Galaxy complete radio series

The history of the Hitchhiker’s Guide to the Galaxy is almost as convoluted as the story itself.

Douglas Adams (with help from John Lloyd) wrote the radio story in 1977.  It aired in 1978.  A second season aired in 1980.

Adams wrote the novel based on the radio series in 1979.  And then the second book The Restaurant at the End of the Universe in 1980.

Then they made the TV show.

Apparently Adams considered writing a third radio series to be based on Life, the Universe and Everything in 1993, but the project did not begin until after his death in 2001.  The third, fourth and fifth radio series were based on Life, So Long, and Thanks for All the Fish and Mostly Harmless which were transmitted in 2004 and 2005.

It’s interesting and a little disconcerting how different the radio play is from the story of the book. There are a lot of similarities of course, but some very large differences.

The first series obviously leaves a lot out from the book, since the book wasn’t written yet. (more…)

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SOUNDTRACKNILÜFER YANYA-“Baby Luv” NPR’S SOUTH X LULLABY (April 6, 2018). 

Sometimes I wonder if I should automatically know a featured artist. So it’s comforting when you find out that an artist is “relatively new” like Nilüfer Yanya.

For our final lullaby recording during South by Southwest 2018, we meet the London-based singer Nilüfer Yanya for her performance in the memory-filled world of Uncommon Objects. It’s a shop in Austin, Texas dedicated to sentimental curiosities of a world gone by. With that in mind, the relatively new musician with a bright future tackles a tune about something old and familiar: fond memories overwhelmed by the pain of love gone wrong.

“Baby Luv” can be found on Nilüfer Yanya’s 2018 release Do You Like Pain?. The EP’s title is a line she repeats multiple times on “Baby Luv,” while her choppy guitar punctuates a weary, clock-like rhythm. That ticking beat is then amplified by the saxophone of her bandmate, Jazzi Bobbi while a camera pans a literary world of books that all seem blood-red. Objects once shiny and proud are worn and somewhat torn, with a future as uncertain as the love in this song.

The song is a simple up and down melody with her startlingly staccato singing style–in which words are somewhat audible but not always clear.  Like the strange, repeated chant of gain again again.

I love that Jazzi Bobbi is visible, but how on first viewing, you gloss over her as she sort of blends in with the curios.  It’s when her sax comes in that you realize she’s there.  In fact it’s her sax that is the most compelling part of this song.  It’s the strangely amorphous notes that seems to burst from nowhere that are more compelling that the repeated guitar.

[READ: April 5, 2018] “The State of Nature”

I enjoyed Bordas’ previous story quite a lot.  I loved how it was structured and the surprising twists it had.

This one was also enjoyable but for different reasons.  It opens with the narrator admitting to us that she had slept through a burglary.  A cop asked if she was unemployed since she was napping on Thursday afternoon.

She tells them that she is an ophthalmologist  with a varied schedule who can sleep through just about anything.

A varied assortment of things were stolen–a rug, some jewelry and an optometrist case.  It was quite old and has sentimental value (she told the cops).  An average person wouldn’t have thought much of it but it could have fetched about $1,200.

When she returned to her apartment her cat, Catapult, seemed to be vocally distressed.  She believes the cat is sad because her favorite napping place is now gone: “You could have summoned some of that bitchiness earlier, when they came to steal your bed.” (more…)

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