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Archive for the ‘Time Travel’ Category

SOUNDTRACK: PHISH-Live Phish Downloads 5.8.93 UNH Fieldhouse, Durham, NH (2007).

This concert was recorded on my birthday.  Although I wasn’t there (and wasn’t even really a fan at the time).  This is the last show of the tour, so they thank the crew and have a lot of fun with that.  This is a great 3 CD set because there’s a lot of strong bonus material at the end of disc 3.

The set opens with a rocking “Chalk Dust Torture” and segues into a really tight “GuelahPapyrus”—I love how they can start and stop in total synch.  There’s great harmonies on “Rift” and a perfect tempo-change into “Mound.”

Then comes a jamming 12 minute “Stash” with a lot of bass sections.  It segues into the delightfully bizarre “Kung” and then returns to “Stash” for another minute before switching to “Glide.”  “Glide” has more great harmonies with a very long pause (over a minute of silence, which gets the crowd excited) before ending the song. It’s followed by a great version of “My Friend, My Friend” that segues into a 13 minute Reba.”  Trey thanks the crew and everyone for the tour after which they play a very jazzy “Satin Doll.”

The first set ends with a blistering “Cavern.”

Set Two opens with a minute of “David Bowie” before Page turns it into a cover of The Allman Brothers’ “Jessica” (including a Simpsons’ “D’oh”).  “David Bowie” returns with a 10 minute jam–no solos, just the band rocking–before mellowing out into a reggae version of “Have Mercy” by The Mighty Diamonds.   That two-minute slow down is followed by a scorching soloing conclusion to “David Bowie.”

They take a kind of break with “The Horse,” an acoustic guitar piece for Trey (It’s very pretty and one of the few times I’ve heard him play acoustic).  It turns into a great “Silent in the Morning.”  There’s a nearly 10 minute “It’s Ice” in which each player really stands out—Mike’s bass, Fish’s drums, Page’s keys—everyone is highlighted in this quirky staccato version which segues perfectly into a 16 minute “Squirming Coil.”

There’s a great jam in this song with a lengthy piano solo.  The ending is wildly erratic and weird (and I suppose is technically a “Big Ball Jam”) as they continue to jam for a few extra minutes before launching into “Mike’s Song.”  Like “Bowie,” “Mike’s Song” is broken up to include a bluesy cover of “Crossroads” with lots of piano soloing.  It segues back into the end of “Mike’s Song” which doesn’t really sound like an end to the song.  But it’s followed by a pretty “I am Hydrogen” which launches into a great, funky bass roaring “Weekapaug Groove.”

Towards the end of “Groove,” Page stars playing “Amazing Grace and as it softens up, the band sings a quiet a capaella version of the song.  And then the launches into a jamming version to end the set.

The encore is a loose “AC/DC Bag” for a nice end to the tour.

The Bonus songs include “Shaggy Dog” from the 5/8/93 soundcheck. It’s just guitar and voices with good harmonies.

“Tweezer” and “Tela” come from 5/6/93 Palace Theatre – Albany, NY.  “Tweezer” is totally rocking and 19 minutes long.  There’s a bass-filled jam in the start and it gets dark and a little crazy in the middle.  It slows way down to just one drum and one bass note and then segues nicely into a very pretty “Tela.”

The final bonus track is a crazy 32 minute “You Enjoy Myself” from 5/5/93 Palace Theatre – Albany, NY.   It features special guests Col. Bruce Hampton and the Aquarium Rescue Unit as well as the Dude of Life.  There’s a funky middle section of 3 to 5 note motifs repeated.  There’s a lengthy bass solo—just Mike.  It segues into a series of descending riffs until more percussion comes in and someone (Dude?) is talking (incomprehensibly) into the microphone.  Then comes bongos and horns.  I believe there’s even a vacuum solo.  The end of the song has a jazzy scat sing along with the guitar and some rally heavy drums at the end.

On many of the discs, the bonus material is sort of interesting to have but on this one, the “Twezer,” “Tela” and YEM” are outstanding in and of themselves.

Here’s a longer essay about this show by Kevin Shapiro.

[READ: May 8, 2017] The Witch’s Vacuum Cleaner and Other Stories

It’s always weird to read posthumous stories, especially if you’ve been a fan of the author for years.  But like the previous collection Dragons at Crumbling Castle, this book collects stories from when Terry was a young lad (between 1966 and 1973) in the Children’s Circle of the Bucks Free Press. He says that they are as they were except that he tinkered here and there with a few details and added a few lines or notes, “just because I can.”

There are 13 stories in the book, and they explore variations on Pratchett’s themes like that the unfamiliar is not the enemy (necessarily) and that people can and often will be surprised by how others react to things.  He also has  a story idea that would blossom into the Carpet People stories later on.

“The Witch’s Vacuum Cleaner” (1970)
This begins with a great premise: “Uncle Ron Swimble, the magician, enjoyed performing at parties. He did lots of simple tricks and the kids enjoyed him.  But when he went to his most recent party, things went awry.  But in a way that the kids loved: when his hat fell off, three rabbits jumped out.  And when he bent over a flock of pigeons flew out from under his coat.  The kids were delighted.  But Ron was the most surprised because he had no rabbits or birds in his act.  Every time he moved his hands something vanished or appeared.  It was crazy.  Then they figured out that Uncle Ron had knocked over Mrs Riley’s vacuum cleaner.  And as all the kids knew (but the adults didn’t seem to ) Mrs Riley was a witch.  The resolution to this story was really delightful. (more…)

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SOUNDTRACKRHEOSTATICS-Fall Nationals, Night 6 of 10, The Horseshoe Tavern, Toronto (November 16, 2004).

The Rheostatics, live at the Legendary Horseshoe Tavern in Toronto, November 14, 2004. This was the 6th night of their 10 night Fall Nationals run at the Horseshoe.  It was a free night and they still played for over 2 hours.

Two versions are available – Mark Sloggett’s soundboard recording and 8 track files provided by Steve Clarkson once again the Clarkson download is crisper and louder but with more crowd noise.

Not a lot of unusual stuff happens in this show.  “P.I.N.” is perfect.  On “Mumbletypeg,” Dave plays a new opening with some sliding notes. It’s a nice changeup, but it seems to mess up Tim–although he falls into place pretty easily.  After the song, Martin notes: “one guitar down, four to go.  Good thing we have a reserve.”  Then he introduces “this next song we’re gonna do is called “Marginalized” by Tim Vesely.”  Dave says,”And we have Chris Stringer on keyboards for the duration.”  Mike: “He’s on everything, it just looks like keyboards.  He’s just as equally on Jews harp.”  Dave: “And very close to being on drums tonight.”

Once again, Martin really into “The Tarleks” especially the loud ending part.  Then he says “More songs about invasions,” as they play “Aliens (Christmas 1988).”  In the quiet part Dave starts singing “Artenings Made of Gold” and then Kevin Hearn comes up on stage to sing “Monkeybird.”  There’s some wild noises and guitar nonsense in the middle.  And as “Monkeybird,” ends as Dave is introducing Kevin Hearn, Martin finishes up “Aliens” right where the song left off.

In the second version, you can hear a request–a big shout “Shaved Head” and a smaller shout for “Record Body Count.”

Dave says “Try To Praise This Ordinary World” which “features a poem by Ken Babstock.”  There’s no accordion this night and once again, you can’t hear the poem n version 2.  Then a surprise of “The Midnight Ride Of Red Dog Ray” which features Chris Stringer on the mandolin with a nice solo mid-song.
Time says “Here Comes The Image” is a song from 2067.  The year.” There seems to be a little trouble with the keyboard at first but it comes back and there’s a lovely solo.

Dave says “here’s a plaintive reading of ‘My First Rock Concert.'”  he also ups the line to “Michael Stipe was distant, he was nice (he wouldn’t let me touch his dog).”  Then he commends: “totally a Saturday night crowd on a Tuesday.  That’s was the Argos going to the Grey Cup will do to a Toronto crowd, I tell ya.”

Whether you listen to our new album in the comfort of your own home or a car or … a boat.”  Tim: “the comfort of your own boat.”  “For those of us who have boats.”   This is the first song you’d hear.  Tim says canoes the best boat.  Dave: “I don’t t know if it’s safe to have a portable CD player in a canoe or kayak.  Tim: “I took my canoe to Hot Rod Jimmy’s and had it decked out.  The subs are so… the ripples are just you don’t want to be camping next to me.”  The first song on that album is “Shack In The Cornfields,”  During the middle Dave says, “Stringer, stop stealing my tambourine or Jews harp.”  Mike: “Crank it” (Jews harp solo).  “Little Bird, Little Bird” has some slide guitar on it and “Pornography” is short and sweet.

Dave says “‘Loving Arms’ was sung by Sarah Harmer on the album and then she went on to be a big star.  So we take full credit for her career.  How many people were here for Jessie Harris and Justin Rutledge?  Thanks for donations tonight for Tim’s childrens’ and my son’s school Alpha Alternative Public School.  Mike: “Martin and I’s unborn children get nothing.”

“Saskatchewan” “reprising his starring role in Green Sprouts Music Week 1980 something: Justin Rutledge.” Justin: “It’s my first time playing the Shoe it’s very cool.”  He sings it with a nice drawl although the song is incredibly slow.

“Dope Fiends And Boozehounds” has a middle section of “Alomar” after which Tim says “wow, I think the sun shone for a minute there.”  After Martin sings “dark side of the moon,” the audience does the howling for him.”  Towards the end, Martin starts playing a lovely “Song of Flight.”

Dave says, “we don’t want to keep you out too late.  It’s a Tuesday night.  We all have cartoons to watch in the morning.”  And then they play almost 30 more minutes of music.

“Making Progress” opens with spooky trippy keys to open.  It’s followed by a really harsh and aggressive “Feed Yourself.”  There’s a long solo section with some spooky keyboards and them Mike says “play the big thing, frighten us, make it do scary shit.”  And there’s this huge build up.  “This is gonna be good. Wait for it.”  Martin:  “I hope it doesn’t blow up.”  Someone jokes: “Can you do any Tragically Hip on that thing.”  But there’s no pay off to whatever was happening.

During the encore break you can hear someone enunciate “Sweet.  Rich.  Beautiful.  Mine.”  But instead, Tim comes out to do “First The Wheel” solo.  Tim says, “personally I’d like to hear “Satan is the Whistler,” Dave if you’re listening.  “When he finishes, he says, “I’d like to welcome back the Toronto cast of Rheostatics.”

Dave mentions “the special guest vocalist night tomorrow with 28 different singers.  And Kevin Hearn & Thin Buckle opening.”  Tim: “That’s definitely worth coming for.  Martin: “Rheo-oke.”  Dave says more like we’re the Blues Brothers band backing up these great people.

Thursday night, Danny Michel is here for a double bill and Mike’s brother John Wojewoda and Bluegrass Nightmare.  Friday night The Imponderables and The Buttless Chaps.

They honor Tim’s request and play a Rocking “Satan Is The Whistler.”  They do it justice and the ending really rocks. The night ends with “Soul Glue.”  Martin still has his robotic voice thing and keeps saying “Soul Glue” as an intro and they play a fun, spirited version of it, with Tim really vamping by the end.

[READ: April 22, 2017] The Time Museum

The story opens with a man traveling through time.  He is with a group of people whom he tells to flee when he sets off the machine.  Cut to 8 months later as the crew is looking for evidence of the man’s success or failure.  They don’t see anything.  Until the man (known as The Earl) appears from behind a rock with a glowing object which he declares “is TIME.”

Then we meet the main character, Delia Bean.  Delia loves science and is a nerd.  The other kids don’t love that so much.  But summer is coming so that’s okay.  And the summer means a trip to Uncle Lydon’s place.  He is the coolest because he is curator of the Earth Time Museum–a place outside of normal time where Earth’s wonders are displayed.

When they get to Uncle Lyndon’s house Delia is in heaven (her brother not so much).  He winds up going to the town pool but Delia does some research in the neighborhood.  While walking round she discovers a (quite frankly adorable) kiwi bird.  It licks her and then runs off.  By the time she catches it (and names him Tammany), it has led her right to the Museum.  The museum is amazing with sights and sounds and smells from the history of the Earth.  And that ‘s when Lyndon reveals a secret.  Yes, he is from Hoboken, but he is actually from the year 5079.  He’s a time traveler. (more…)

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SOUNDTRACK: THE ROOTS-Tiny Desk Concert #663 (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: DUNGEN-Häxan (2016).

I have been to a lot of shows in the last couple of years.  I have also had tickets to a few that I had to miss for various reasons.  The one I regret missing the most was the Dungen show where they were going to play live for the film The Adventures of Prince Achmed.   I missed it because there was pretty heavy snow–it was the right choice, I am just bummed about it.  It’s not so much that I wanted to see them perform the music that’s in this album (I didn’t even know it at the time), it’s just the experience that sounded awesome (and the fact that they played a second set of their other songs afterward was icing).

So this soundtrack officially came out recently.  It’s about 40 minutes (the film is around an hour) and it is a largely fun Dungen release with a feeling of soundtrack invoked.

The disc opens with “Peri Banu vid sjön,” the perfect soundtrack–slow and loping with washes of sound.  “Jakten genom skogen” follows with slow washes of sound with a pretty acoustic guitar melody and some lively bass.  It slowly builds in a kind of rocking 70s way.  “Wak-Wak’s portar” is a fast loud riotous affair that lasts a minute and a half.   It traipses back and forth on headphones and even has a penny whistle solo. It is sort of forcibly segued into “Den Fattige Aladdin,” a rather muffled distant sounding flute melody (I’m guessing it’s Aladdin’s motif).

“Trollkarlen och fågeldräkten” is a jazzy number with bass and piano and soaring wild guitar over the top of it.  “Grottan” is a minute of spooky synths that segues into the noisy buzzy guitar workout of “Häxan.”  That rocking slows to a slow menacing thump of drum and piano.

“Aladdin’s flykt över havet” is a soaring minute of synths which is followed by the sparing uplifting synths of “Kalifen.”

“Achmed flyger: is a fast piano based piece about Achmed flying, I assume.  Then there’s two Aladdin pieces: “Aladdin och lampan, del 1” is a slow one minute piano piece “del 2” returns to that flute motif with a groovy guitar and bass behind it.  The melody gets shunted to the distance as “Achmed och Peri Banu”  takes over with its drums and somewhat menacing bass.

The final song “Andarnas Krig” is nearly seven minutes long.  It is classic Dungen: wailing guitar solos with feebdack ala Hendrx’ “Star Spangled Banner.”  There’s some great rollicking bass work and rocking drums and everything.

Although this isn’t as substantial as some of their other albums, it’s a great collection of psychedelic instrumentals and you can imagine a movie streaming behind it.

[READ: April 18, 2017] Birthright: Volume Four

So much happens in this book that it’s like having whiplash–in the best way possible.

We open with Wendy and Rya in Mastema’s dining room.  Wendy is pleased to be lavished, but Rya says not to forget that they are in fact her prisoners–no matter how nice the accommodations.  While they are there, the other three mages arrive and discuss what should be done about this whole Mikey thing.

Speaking of the Mikey thing, we cut to the men of Mikey’s family: Mikey, his brother Brennan, his father Aaron and his grandfather–Sameal.  They head towards Sameal’s “lair” which is a  warehouse with extra security “magic doesn’t protect everything.”  This time-out allows everyone to deal with each other.  Aaron get t o confront his father–the father who was never there for him, who left when he was little and was the reason the Aaron acted the way he did with his own kids.

While there, Enoch, one of the other mages, comes to confront Sameal and we learn what their whole deal was. Enoch says that in all of their time together Sameal never told him that he had a family on earth (whereas Enoch told Sameal everything).  Enoch is offended that he didn’t share this intimate detail, but is more upset because he wants to know what Sameal was hiding all this time.  And the crux here is that Enoch says that Sameal’s own family is irrelevant if he can save the world–killing his grandson could save the world! (more…)

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SOUNDTRACK: GIRTH-Sleeper, Awaken! (2007).

This was the other disc in the Web of Mimicry Clearance section.  And it is radically different from Danubius.

Girth is an experimental metal band and these songs are heavy on the epereimental and heavy on the heavy.  Their page on Web of Mimicry notes:

We toured with this line-up for 6 months or so September 2005 through February 2006. The shows were our most brutal and experimental to date, often going off on long improvisational rampages. We recorded a through-composed 19 minute movie-like piece in four movements, entitled “Sleeper Awaken.” With Randall Dunn at the board, our intentions for this piece, were to create a mindfuck journey of psychedelic metal to supply a soundtrack for the listener during his/her most “indulgent” moments. WARNING: Not for the weak at heart… bum trips guaranteed for the unexperienced, depending on his/her state of mind.     — GIRTH [Guitar: Dave Webb; Keyboards: Andrew McInnis; Drums: Peijman Kouretchian; Vocals: B.R.A.D. Mowen]

This labum reminds me a lot of Naked City (but without the Japanese screamed vocals).  There’s very heavy sections and radically shifts in time signature and volume.  There’s wailing solos and quiet sections.  There’s pounding drums and no drums.  And it’s all done in about 16 minutes.

There four songs have elaborate titles:

  1. Confusion – “On the day my illusion shatters, I SEE.”
    The disc opens with a ringing bell and feedback but after 20 seconds the calm is exploded with some noisy guitars and feedback.   But it isn’t until 40 seconds that the left ear guitar takes off with super fast chaotic soloing.  The other ear is overwhelmed by noisy guitar squalls.  Washes of static and noise fill both ears for a time until a sort of noisy hardcore riff comes in around 2 and half minutes in.  Things alternate between intense noise metal and soloing (with echoed effects).
  2. Betrayal – “I will rise as you will die, diminishing within my luminous pride.”
    The songs segue into each other.  This song begins with some thunderous drums (five beats over and over) and staccato noisy guitars.  The middle of the song quietens down to some running water and dialogue (barely audible) until the end.
  3. Alone – “Wallowing in my indulgence, I am blind.”  “Divine perceptions unshackle power to dive within.”
    This opens slowly with quiet whispered noises and rumbling drums.  At 3 minutes comes the intense hardcore attack of punishing drums and squealing guitar solos.  The end of the song is a kind of tornado of guitar noises that seem to swirl around in between heavy two note punctuations
  4. Chaos – “This being is a vessel. You cannot stop me. I am Free, I am Awake And I LOVE.”
    Those two note punctuations continue into this final track but with much more frequency and intensity.  There’s some vocal at the end, but nothing especially audible–we’re there “vocals.” With a few more pummels and a fast guitar solo, the 16 minutes comes to an end.

This is a pretty intense record indeed and definitely not for the uninitiated.  I am very curious how they pulled off this challenging record live.

[READ: April 18, 2017] Birthright: Volume Three

This story continues to grow in excitement and tension.  Brennan is getting a little frustrated that Mikey seems to be hiding something from him (he has been getting hints that Mikey is lying about his mission).

But first there is a flashback to a time when Mikey disobeyed his handler, Rook. In this instance he disobeyed in order to help a helpless victim.  A young girl was about to sacrificed to King Lore and he risked his own life to save her.  Rook is furious that he could have been killed but also because he has now changed the way the world is supposed to work–the girl’s death was supposed to be a regrettable necessity.

Back on Earth, Agent Kylen has paid a visit to Aaron in prison.  He asks for Aaron’s help in tracking down his sons.  Aaron says no way but Kylen indicates that it is not a request after all.  So Aaron tells Kylen about his old house in the burbs of Chicago.

At the same time, Rya and Wendy are searching for them as well.  Rya is getting more exhausted (she is really close to giving birth) so Wendy winds up driving her. (more…)

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SOUNDTRACK: DANUBIUS-Danubius (2002).

After seeing Secret Chiefs 3 recently, I went to the Web of Mimicry website and saw what other CDs they had to offer.  In their clearance bin, they had a couple of CDs including this one by Danubius.  So who are they?

Danubius is a San Francisco-based Eastern European band, specializing in traditional and Gypsy (Rom) music from Hungary, Romania, Serbia, Bulgaria, Macedonia, and other countries in the vicinity of the Danube River.  Led by Music Director Roman Titcu, our music has been called romantic, passionate, energizing, and can be described as a cross between the genres of folk and Classical music. We play both Western and traditional Hungarian, Romanian, and Bulgarian musical instruments, giving us a unique sound.

Yes, so even though Secret Chiefs 3 experiment with various Eastern Europeans styles, Danubius is not about experimentation at all.  They are about authenticity.   This 53 minute disc has twenty songs broken down into sections.  And the booklet is quite detailed in its explanation of the various songs and styles.

The members for this recording are David Skuse – vioolin, viola, gadulka, bass , drum ; David Nebenzahl – violin, viola, bass, tambura ; Clark Welsh – tárogató, fluier, Romanian caval, ocarina, Bulgarian tambura and kaval, prim and brach tambruricas, cobză and sax ; Jutka Mándoki – accordion, kontra, acoustic guitar, cimbalom, brasca (viola), Tekerőlant (hurdy-gurdy), ütőgardon (Beaten cello), bass ; Magdi Ordasi, Szilvi Gilbert, vocals ; former band member: Balázs Králik – bass, violin ; guests: Roman Titcu – tambal mare (cimbalom) ; Odile Lavault – accordion.

I enjoy that the notes state that some of the songs are intended as show off pieces.

The sections include (I tried to get every accent right, but there will be no searching for these titles).

Transylvanian Suite
Doină De Ardeal; Purtată și Invârtita Din Țara Fagarașului; Hațegana
This begins with some slow horn melodies as the rest of the band plays traditional backing instruments.  Accordion is prominent in some songs too.  The third is described as “a standard show-off piece.”

Hungarian Roma (Gypsy) style songs
The mandolin (the only instrument not listed up there so clearly one of the other ones–likely the prim which is a kind of tambura) runs free with this fast melody that grows faster as it goes on.  Made popular in the 1960s.

Caval Suite (Southern Romania)
Cântec Lui Dumitru Dobrican;  Joc Ca La Stâna
The caval is a long, five holed flute with a very soft sound.  There’s some truly lovely flute melodies over slow backing chords for the first one.  The second one is really fast a totally show-offy kind of piece with accompanimnet by the lute, the cobză .

Nóta Suite (Hungarian Gypsy Restaurant Style)
Friss Csárdás; Maros Víze Folyik Csendesen (“the water of the Maros flows quietly”); Minek A söke énnékem? (“What is the blonde to me”);  Hull A Fa Levele, Hull A Hó (“the tree’s leaves are falling, the snow is falling”)
Four very short pieces (none over 2 minutes) with primarily fiddle as the main melody.  The notes say that these kind of songs were usually mean as lead off for instrumental extravagance.  “Hull…” is probably the most popular instrumental tune of all time–each violinist tries to outdo the others.

Geamparalele (Romania Black Sea)
Geamparalele de la Cernavodă – Leliță loană – Geamparalele  Bătute
A fascinating whistle sound very fast ans almost birdlike.  This song is in Balkan 7/16 meter (2+2+3) with four lead instruments.

Bulgarian Suite
Melodija; Blateshnichka kopanitsa (“Hoeing”)
The first is a free rhythm tune.  It’s first lead instrument is the gadulka (Bulgarian folk fiddle) with three melody strings and 10 sympathetic strings.  There is no fingerboard and the notes are stopped with the fingers.  There’s also the Bulgarian kaval a 7 hole flute.  The second piece is in 11/16 (2+2+3+2+2) meter with tambura as lead.  There’s lots of beautiful soaring flute in the first of these two songs.  The second is a fast picking experience.

Dunántúli Suite (southern Hungary)
Urgós (“jumping”); Lassú / friss Csárdás (“Slow and fresh dances of the inn”)
This is the only section with vocals, which I don’t like as much as the instrumental songs.

Kyuchek  (Bulgarian Roma)
Flute is prominent in this song which is in 8/16 (3=3=2).

Muntenian Suite (Southern Romania)
Hora rară; Brâul pe șase (“belt dance in six”); Joc Țigănesc De Doi (“Roma dance for two”); Brâul Pe Opt  (“belt dance in eight”)
These are furiously fast dance songs.  The first was first heard by David during the Ceaseșcu years).   Violins dominate this song but with a delightful fluier (sounds like a penny whistle) added ion.  They’re mostly fast numbers all about 2 minute long.

This whole record is an enjoyable trip into Hungarian culture.  And you can dance to it (well, some people can dance to it).

[READ: April 17, 2017] Birthright: Volume Two: Call to Adventure

As this book opens up Aaron and his wife, Wendy, are trying to reconcile.  They both see that their children are in something big here.  Aaron is still super pissed that she even for a second considered that he killed Mikey, and she is still pissed about well, everything else.  But they are willing to talk it out.

That is until Agent Kylen with the National Security Agency busts in and tells him that Agent Brooks is no longer on this case–things have gotten too serious.

Meanwhile back in the woods, Mikey is trying to toughen up Brennan a bit–cold river baths and a bit of swordplay, when they are attacked by a large bear.  But rather than violence, Mikey is able to communicate with the bear and pacify it.  Mikey says that he has a way with animals.  And then proceeds to smash its skull in.  Brennan is outraged, shocked, aghast that his brother could kill so easily.  But Mikey just say to do what you have to to survive.

Wendy discovers the journal that Mikey created when he was first in Terrenos.  And this is great way to learn a little more about his life there.  She reads how Mikey really wants to come home, but that he knows he has a job to do. (more…)

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SOUNDTRACK: THE WOODSHED ORCHESTRA-The Horseshoe Tavern, Toronto (December 5, 2012).

The Rheostatics were originally supposed to play 3 Reunion concerts to help celebrate the 65th Anniversary of The Horseshoe Tavern. Unfortunately the concerts got cancelled but Dave stepped in and offered up a free show on Wednesday December 5 2012, what was to be the first of the reunion shows.  Dave Clark’s Woodshed Orchestra opened the show with a 48 minute set of New Orleans-style jazz (a limiting descriptor since their site says):

Legendary Toronto drummer Dave Clark (Rheostatics, Dinner is Ruined, The WoodChoppers Association, Gord Downie and Charles Spearin) pilots a five-piece horn section, four-piece rhythm section and full-ensemble vocals through New Orleans Funk, 2nd line and Jazz, R&B, Ska, Soul, Reggae, Punk, Rock n Roll, Blues, Country, Surf Rock, Neo-Greek, Ranchero, Polka, Disco, Samba, Afro-Pop, Waltz, New Wave, Cajun, Tex-Mex, Power Pop, Klezmer, Torch Ballads, Tango and Calypso, in an extraordinary celebration. This band is a funky, uplifting and joyful ride every time it plays.

The joy is utterly true. Dave is a warm and friendly guy, introducing all songs with a smile and calling everyone “friends.”

The play nine songs from their three albums.  Each song is a variant on that New Orleans style of tuba and banjo (and more of course).  It’s exemplified by “Love Letter to New Orleans” a song that seems like an instrumental but which is actually just really long before the words come in.

Dave introduces the second song, “There’s certain things I forget…. ”  “Drugs & Alcohol” is, unsurprisingly, a song about drinking.  He introduces our friend Pavel (Paul Kolinski) and then Karen Ng on “I Got No Clue.”

The next song’s entire lyrics are the band members meowing while they play.  I can’t find the name of the song.

Dave introduces the next song as a dancing song dedicated to one of the greatest guitarists to walk the planet.  It could be me or you or anyone on the planet because were all great then we try.  But this is for “Levon Helm” who looks like he was a bout to die on stage but still gave two hours of the slinkiest, grooviest music.

Next, Karen Ng is going to play you a song and then teach it to you: “Seasons of our Lives.”

Dave says, “We’re good for two more numbers or so and then we’ll take it out to the hallway.”

Then: “Let me name some names: Geezer Butler, Erica Badu, the guy from Crazy Horse who doesn’t t move but he’s got a really good voice.  Tim Vesely.”  This is all an introduction to their song “Geddy Lee.”

Want to hear a sing about sex?  “Clothes Off” features the line: “Come on take your clothes off I wanna see you naked.”

The final song is dedicated to each and every one of you and people you don’t get to see.”   “Penny & Mousie’s Antidotal Lullabye” is a sweet slow number, a nice send off of love and tenderness.

Considering that Dave Clark was always the weirdo in the band, and he is still a bit of a goof, this music is really sincere, and really good.

[READ: April 16, 2017] Birthright Volume 1

The name of this book intrigued me when I saw it in the library.  And I really liked the cover image.  So I grabbed it and volume two.

And man, did  I love how quick and abrupt the beginning of the story came.

On page one a dad is throwing a ball to his young son.  On page two the dad talks to his wife while the boy, Mikey, runs into the woods for the ball.  On page four Mikey is officially missing and the police have been called in.  On page five the dad is being accused of killing his son and by page ten the parents have filed for divorce.  Yowza.

In that time the mom has started dating one of the detectives (I think).  The dad, Aaron, has become a useless drunk.  But there is some news on the case.  The detective calls both of the parents and their older son Brennan into the precinct because they have brought someone in.

The man is in his mid 30s, totally muscular and wearing intense armor.  They immediately think that this man abducted Mikey. But the dad says no, that IS Mikey.  WHAT?  The detective says that the DNA matches. It makes no sense, but there are real indications that it is indeed Mikey.  It’s just that time moves faster where he went, obviously.

Mikey tells them it was destiny and then we see how he was grabbed by some flying creatures and some large orc-like creatures.  There is a brief story of Mikey’s introduction to Terranos–where it is his destiny to be the world’s hero.  And he has come back to earth to protect it from the bad guys of Terranos who plan to invade.

Twists upon twists and great storytelling.  But a pretty standard premise, right?

No, because Williamson has one more twist up his sleeve. (more…)

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