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Archive for the ‘Universities’ Category

SOUNDTRACK: BLUE OYSTER CULT-“Joan Crawford” (1983).

Most people include “Don’t Fear the Reaper” on their Halloween playlist, but for me, “Joan Crawfford” is far creepier.

The song opens with Allan Lanier’s classical piano motif.  Nothing scary about that until it is continues through the song during the heavy guitar crunches.

The chords are simple but loud and quickly bring us to the short but effective lyrics:

the song burst with some heavy chords and then the creepy lyrics.

Junkies down in Brooklyn are going crazy
They’re laughing just like hungry dogs in the street
Policemen are hiding behind the skirts of little girls
Their eyes have turned the color of frozen meat

No, no, no, no, no, no, no, no-no, no, no, no  [done with strings and harmony vocals]
Joan Crawford has risen from the grave [with creepy violin slides]

Catholic school girls have thrown away their mascara
They chain themselves to the axles of Big Mack trucks
The sky is filled with herds of shivering angels
The fat lady laughs: “Gentlemen, start your trucks”

Aside from the poor rhyme of trucks and trucks, these are nice, scene-setting lyrics.

But the real creep factor comes in the middle when a series of sound effects set up…what?  things about Crawford’s life?  Her movies?  I have no idea.

Car crash phone, baby crying, rooster crowing, car starting, horse race opening horn, ship whistle, opera singer, school bell ringing

As the bell fades, a quiet part begins with a distorted other worldy voice whispering “Cristina…. mother’s home.”  It gives me chills just thinking about it.  Combine with Eric Bloom quietly whimpering No no no no.  It’s a nightmare song.

Pretty great.

I had no idea there was a video made (it was banned by MTV) and, pretty rightly so, even if it is tame today.

[READ: October 25, 2018] “The Quest for Blank Claveringi”

Just in time for Halloween, from the people who brought me The Short Story Advent Calendar and The Ghost Box. comes Ghost Box II.

This is once again a nifty little box (with a magnetic opening and a ribbon) which contains 11 stories for Halloween.  It is lovingly described thusly:

The Ghost Box returns, like a mummy or a batman, to once again make your pupils dilate and the hair on your arms stand straight up—it’s another collection of individually bound scary stories, edited and introduced by comedian and spooky specialist Patton Oswalt.

There is no explicit “order” to these books; however, Patton Oswalt will be reviewing a book a day on his Facebook page.

Much respect to Oswalt, but I will not be following his order.  So there. (more…)

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SOUNDTRACK: JENNIFER CASTLE-Live at Massey Hall (November 23, 2017).

I didn’t think I knew Jennifer Castle, but I see that she has appeared as a guest singer on a whole bunch of records by artists that I know: Eric Chenaux, Bry Webb, Constantines and Fucked Up.

She has an unusual voice–soaring, delicate and whispery with a slight warble and yet you know she could belt out if she wanted to.

She starts the show saying Toronto has incredible beautiful old buildings and its rare these days to go inside one.  Inside Massey Hall it’s lit up to be another member of the band and to be part of the show.

I found the music to be incredibly spare–too spare in fact.  It is primarily piano and her vocals (with backing singers), but the piano (Jonathan Adjemian) is not a primary instrument, it is simply playing chords for her to sing over.  The sparseness was a little disconcerting.  But the backing vocalists (Victoria Cheeong and Isla Craig) are stellar–they really add a lot to the music and their voices soar in their own right.

But I think that sparseness allows her lyrics to really come through.  “Like a Gun” has the lyric “he was lik e gun [hah, from lovely backing vocalists] he was always going off.”

“Nature” has even better lyrics

Despite all my feelings of life parallel
Nature is happening without my goodwill
I called my friend up and she said it still
Happens to you even when you are ill

and ends with this interesting conceit

I lift my skirt for the economy

“Texas” is played on guitar with a very catchy “hoo hoo hoo hoo” clap-along.

I go down to Texas
To kiss my grandmother goodbye
She forgets things
But when I look her in the eye
I see my father
And he’s been gone so very long
In the name of time travel
Help him to hear to my little song

Jennifer plays electric guitar on “Truth is the Freshest Fruit” which changes the whole dynamic of her songs.  She plays guitar with piano accompaniment on “Sailing Away.”

She is the first person to mention the renovations Massey Hall is currently undergoing:

I know that Massey is going to go through a great big change but it feels good to play while the history is still on the paint.

The final song is absolutely wonderful.  She says she wrote “Please Take Me (I’m Broken)” because she knew they were coming to Massey and it celebrates the school of Greek mythology

The backing vocalists sing a verse by themselves and they sound great.  I love the chorus

Please take me cause something don’t seem right; something don’t compute.  I don’t belong here.
Please take me I’m broken;  I’ve woken up and I should be dreaming.
Please take me back to those other realms they seem much kinder on a dreamer like me.
I’ve always looked up to those ancient Greek stories.
I love the thrill of the scale; I like the the roll of the chorus.

A thoughtful and unique performer.

[READ: July 17, 2018] “Now More Than Ever”

I  feel like Zadie Smith’s recent stories have been exploring a new style for her, a more “in the present” kind of vibe.  This story has meta-elements and is very much an of the moment piece.  It seems to address current hot button issues and her own inability to fully wrap her head around them.

It begins: “There is an urge to be good. To be seen to be good. To be seen.  Also to be.”

This is what she told Mary.  She also told Mary that no one is called Marty these days.  “Could you get the hell out of here?”  So Mary left.  Then Scout came by–a great improvement.

Scout is active and alert on all platforms. She;s usually no later than the 300th person to see something.  The narrator was “the ten million two hundred and sixth person to see that thing.” (more…)

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SOUNDTRACK: THE DIVINE COMEDY-Loose Canon: Live in Europe 2016-2017 (2018).

I loved The Divine Comedy at the turn of the century (the fin de siècle, if you will).  They were one of my favorite bands.

Since then Neil Hannon (the man behind the band) has released a few albums which I have liked–but none as much as those early records.

This recording is primarily his latter songs, and as such isn’t as exciting to me.  (Although setlists from the tour shows that he played a lot of older songs as well, so this disc is mostly a latter period recording).

The first three songs are from the newest album Foreverland: “How Can You Leave Me On My Own,” “Napoleon Complex” and “Catherine the Great.”  And among the next few songs are “To the Rescue” and “Funny Peculiar.”   So that’s five in all from that album.

The previous album Bang Goes the Knighthood accounts for five more songs “The Complete Banker,” “Bang Goes The Knighthood,” “At The Indie Disco,” “Assume The Perpendicular” and “I Like.”

So that’s ten of seventeen from the two latest albums.

After listening to it a few times I have come to appreciate his newer music even more and to see that it is equally as cleverly crafted.  He’s just a different person now with different lyrical and musical ideas.  I will certainly give a re-listen to the last decade;s worth of music.

“How Can” is fun a bouncy, “Napoleon” is snarky and witty.  “Funny Peculiar” is a duet with  guest vocals from Lisa O’Neill.  She has a fascinating singing style which is kind of peculiar in its own way.

“The Complete Banker” is wonderfully sarcastic and catchy and “I Like” is so simple and delightful.  “Assume the Perpendicular” is an other fun uptempo song, but of this batch its “Indie Disco” that is the real highlight (this includes an excerpt from New Order’s Blue Monday”).

It also sounds like this was a fun souvenir for anyone who saw the tour (he dressed up as Napoleon and others, and apparently “Indie Disco” was really fun live).  I have always wanted to see them and hold them high on my list of bands to see.  But he hasn’t been to the States in almost ten years, so I don’t have high hopes to experience them live.

The band for The Divine Comedy’s live shows has changed over the years, sometimes large and orchestral or, like this tour, a simpler five-piece.  They sound good although they do underplay the orchestral quality of the music.

Going back there’s one from Victory for the Comic Muse “A Lady Of A Certain Age” and one from Absent Friends “Our Mutual Friend.”  These two songs are lovely and quite poignant, especially “Lady.”  They are a far cry from the raucous songs of old.

The first older song is from 2001’s Regenertaion with a wild and fun rendition of “Bad Ambassador.”  His voice doesn;t sound great on this song.  I’m not sure if he ever sounded great live, but he certainly underplays some of the bigger moments in the song.

The crowd really gets pumping for Fin de Siècle‘s “Generation Sex” and “National Express.”  These two songs are a lot of fun and I imagine mus t be really rousing live.  Once again he doesn’t sound great. Not that he has lost his voice but almost like he;s not trying all that hard.

The disc is collected from shows all over Europe, so its interesting if they picked songs where he doesn’t sound that great.

It’s not until the encores that he brings out two really old songs 1994’s “A Drinking Song” and “Tonight We Fly.”

I’m sure they picked this particular version of “A Drinking Song” because he admits to being quite drunk himself.  And there’s a funny moment where he gets a hair caught in his throat.  “Is it yours?”  Indeed, his banter with the audience is a highlight.  He is clearly a good showman, and perhaps that makes up for some of the shortcomings of the disc.  This song is a good example.  His voice is much louder than the instruments and, frankly, he doesn’t sound that great as what is mostly a capella–but the overall presentation is fun.

The ending “Tonight We Fly” is a treat as well.  Again, he doesn’t sound perfect, but he sounds like he’s having fun.

I feel like this makes me want to see them a little less–except that it sounds like the performance is great even if his voice isn’t anymore.  Regardless, is he ever comes back to the States, I’ll be there for sure.

[READ: January 19, 2018] “The People Who Kept Everything”

I read this novel 7 years ago.  But since I’ve been going back through old Harper’s and found this excerpt I thought it would be worth reading (the excerpt) again.  And I really enjoyed it, I had forgotten about this scene until the end of the piece.

The narrator says that on the night before he left for college his father gave him a Spanish dueling knife and told him to keep it and never lose it.

When the narrator asks his father where he got it he says he’d better not say–he could tell him he won it in a card game in El Paso or a cathouse in Brownsville.

He kept the knife in a drawer and it moved with him to every location her went–dorm rooms, apartments.  Often it was in the kitchen with the cutlery, ignored by everyone except the new girlfriend who wanted to cook something. (more…)

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SOUNDTRACK: RHEOSTATICS-Massey Hall, Toronto, ON (April 29, 2016).

After their farewell concert at Massey Hall in 2007, who would have guessed that some nine years later they’d be back again.

When I heard this show was announced I immediately bought a ticket, not really thinking about how I would logistically manage such a thing.  I was able to get it to a fan who could go, but at least I’ll have my email confirmation:

Live at Massey HallRheostatics
Fri 04/29/2016 8:00 PM
Main Floor Centre Front  Seat I-44   $29.50

This time Martin’s voice is working again.  But in the intervening years he has had something else go on with him.  I don’t know details, but there’s some kind of anxiety present–and it comes out during this show.

Amazingly, for such a big show, there is hardly any evidence of it online.  There’s a few fan videos but no full sets available.

The only performance available that I can find is the official release from (the terrific) Live at Massey Hall series.  The whole series is wonderful–professionally filmed and beautifully recorded.  The only problem is that it’s so short.  I don’t know how long the show was, but the video is only 40 minutes.

The video opens with Martin talking about his laryngitis, “laryngitis taught me to enjoy singing in a lower range.”  There’s Tim talking about seeing Devo (who were walking on treadmills the whole show) at Massey Hall and overheating from wearing a heavy coat in winter.  Dave saw lot so new wave bands who weren’t great live but were great because they were in Massey hall–it’s a forgiving and inspiring place.

Big red letters in the back of the stage spelled out RHEOSTATISC (sic).

The set opens with “King of the Past” Martin plays a lovely solo and gets some applause and the whole thing sounds great.

“Californian Dreamline” opens with some great sound effects from Martin, Hugh Marsh and Kevin Hearn.  But after the “sensamilla” bit, Martin freaks out.  He steps away from the mic and waves everyone off.

Dave jumps in, “this happened in Montreal once. It’s true.  We were opening for Moxy Fruvous, so it’s a kind of curse we’ve got to exorcise.”

The band jams on and them Martin comes back to sing and the crowd gives him a big cheer–there really is no more forgiving crowd than a Rheostatics crowd.

The opening acoustic guitar of “Claire” begins.  That’s Tim on acoustic, Dave on bass and Martin on his gorgeous double neck guitar.  The letters have been rearranged to say SORTA ITCHES and Martin plays a great solo.  Tim sounds perfect, of course.

They start “P.I.N.”  Martin sings the first line and then has an issue.  He steps away again while the band plays on. He catches himself and returns (again to encouraging applause).  Once it gets going it all sounds great.

Dave finally gets a lead vocal song.  The letters spell out SHITCOASTER as they play a flawless “Mumbletypeg.”

Then apparently the entire rest of the show happens and we get the night-ending encore–a wild and raucous “Dope Fiends and Boozehounds.” (The letters finally spell RHEOSTATICS). The song gets off to a pretty good start.  For the middle, Martin and Hugh face each other (Martin always seems comforted by being with Hugh) and then Don Kerr gets a drum solo (with sound effects from Kevin Hearn).

At the end of the song, for the “moon,” there are howls, probably from Kevin, possibly from the audience.  As they slowly fade away, Dave jumps of the drum rise and the end of the song begins.  But this is an extended jam ending.  Hugh and Kevin make some menacing sounds and then Martin plays a solo with a slide.  It’s a weird, very undramatic ending for such a dramatic band.

I have always been sad that I couldn’t go to this show, but it sounds like it would have been a real roller coaster of a night.

Read this review from Radio Free Canuckistan for the perspective of someone who was there.

Over the closing credits, Kevin Hearn’s father read “The Laughing Heart” by Charles Bukowski.  I assume he read that before the band came out (accompanied by Hugh Marsh).

I don’t know much by Bukowski, but this is great for its simple profundity.

The Laughing Heart

your life is your life
don’t let it be clubbed into dank submission.
be on the watch.
there are ways out.
there is light somewhere.
it may not be much light but
it beats the darkness.
be on the watch.
the gods will offer you chances.
know them.
take them.
you can’t beat death but
you can beat death in life, sometimes.
and the more often you learn to do it,
the more light there will be.
your life is your life.
know it while you have it.
you are marvelous
the gods wait to delight
in you.

[READ: March 5, 2018] Head Games

As with some of my favorite books, the story behind the creation is almost as interesting as the book itself.

Craig McDonald is a journalist and he says that he is often frustrated by trying to write the truth: “read five biographies about the same person and you’ll feel like you’ve read about five different people.”  With fiction maybe you can find something bordering truth.

The introduction by McDonald tells us that we will be riding with pulp novelist Hector Lassiter.  Lassiter is the protagonist of a finite arc of ten novels. The last one, Three Chords & The Truth is a sequel to Head Games and appeared in 2016.  Lassiter is a charmer, a rogue, a rake and a crime novelist who lives what he writes and writes what he lives.  Hector was born in Texas in 1/1/1900 and the arc of the novels spans the 20th century.

McDonald says the publishing history of the books is not chronological. Head Games was the first novel published.  The second was set in 1935 and features Hemingway prominently.  Other books hopscotched through the decade. They have recently been reissued and presented in roughly chronological order.

The novels “follow secret histories and underexplored aspects of real events.”  They’re set in real places and use history and real people to drive the plots. (more…)

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SOUNDTRACK: KING CRIMSON-The Elements Of King Crimson – 2014 Tour Box (2014).

When King Crimson reunited in 2013, they prepared to tour as a seven piece behemoth the following year.  There would be three drummers, two guitarists, bass and horns.

And they were totally reinvigorated.

To celebrate this tour, Fripp and his minions created this Elements Tour Box, a 2 -disc set dedicated to displaying the elements that made up the band from the beginning until now.  It was made up of alternate takes, excerpt (lots of excerpts), live recordings and rehearsals from the entirety of the Crimson canon, including some of the 2014 shows.

It is a treasure trove for Crimson fanatics.  But it is also an excellent resource for anyone looking to explore the Crimson underworld without buying $150 boxsets.

The discs follow a vaguely chronological overview, starting in 1969 and moving on through 2008.  But there are 2014 takes of old songs thrown in as well–some sound better than others, but overall the quality is quite good.

The first disc covers 1969-1974.  It opens with
“Wind Extract,” which is the sound of Fripp’s mellotron being turned on back in 1969.
“I Talk To The Wind” is an instrumental version of the second song on ITCOTCK.  Purists will be able to tell how many things are different between this version and the actually-released product, but in a nutshell, this is the album version with no vocals.  It’s really interesting to focus just on the music and not the words for a change.  The song is quite pretty, with lots of flute.

“Cadence and Cascade” is from In the Wake of Poseidon and no one involved in the recording remembered Greg Lake singing a version of it.  Guest vocalist Gordon Haskell sang the album version.  Then someone recently found this “guide vocal” version of Lake singing it for apparently the first and only time.

The boxes often contain brief excerpts like this one–fifteen seconds of Fripp’s classical sounding guitars from “Cirkus.”  This is kind of an acoustic bridge before we hear the full song recorded in 1971 on the Lizard tour.  This song in particular sounds very dated live and the middle “circus sounds” sections are 70s crazy.
“Hoodoo (extract)” is a 2014 rehearsal that’s all of 20 seconds which segues into a raucous recording of Fripp playing a wild guitar solo for “Sailor’s Tale.”  It’s wild and really shows Fripp throwing everything he can at the song.
“The Talking Drum” is an early alternate mix which sounds great to me.  It gets really crazy by the end.

The “Lark’s Tongues in Aspect I” excerpt is from 2014 and is just Mel’s flute for 2 minutes.  It’s followed by a 1972 extract that’s just violin and dulcimer and harp.

This turns into a great new mix of the 11 minute “Fracture.”
After a minute of gorgeous harmonics by Fripp from “Fallen Angel,” we get a full, gorgeous 6-minute instrumental version of the song.  Because Crimson songs are so complicated and so carefully constructed, they are one of the few bands whose songs can have lyrics removed without them falling flat.
There’s a weird-sounding version of “21st Century Schizoid Man” from 1974, which sounds so very mid-70s in the recording style.  It seems somewhat slapdash compared to the utter tightness of the 2014 band.  The disc ends with Mark Charig’s cornet recording for the end of “Starless.”  On the proper release they use Mel Collin’s saxophone, but the cornet sounds delightful.

Disc two covers 1981-2008.

  This is pretty much the Adrian Belew era.  Belew was not invited back for the new incarnation, so that’s a little awkward.

It begins with an alternate take of the instrumental “Discipline.”  After a 45 second drum intermission, there’s a track called “Manhattan (Neurotica)” which is an instrumental version of “Neurotica.”  I love that the opening guitar sounds like sirens and car horns.
A minute and a half of the middle of “Neal and Jack and Me” is followed by the Steven Wilson mix of “Sleepless (Bearsville)” with an incredibly 80’s sounding slap bass from Tony Levin.

Then there’s a recording session of “Sex, Sleep, Eat, Drink, Dream.”  We hear lots of stops and starts, bass only, guitar parts and someone repeating “this is tough, tough shit.”
There’s a live version of “THRAK” followed by a minute of Fripp soloing around “Larks Tongue” called “Venturing Into Joy.”

This is followed by two tracks from Fripp’s side ProjeKcts,  “The Deception of the Thrush” is performed live by ProjeKct Four in 1998 with big thumping almost splatting-sounding drums.  Then there’s a trippy and ambient early version of “Heaven & Earth” by ProjeKct X.

After a scorching “Level Five” from 2008, there’s a minute long drum solo which would ultimately morph more fully into “The Hell-Hounds of Krim” and then two tracks from A Scarcity of Miracles.  “Separation” is an edited version of the bonus track (the disc label calls it something else).  And there’s an alternate take of “A Scarcity Of Miracles”–still long and a little too jazz-lite for me.

This is a really solid collection of all eras and styles of Crimson.  And it also showcases the various parts coming together.  A great production all along.

[READ: January 19, 2018] Monsters of the Ivy League

This book collects a series of Ivy League graduates and puts them in context with a they have a lot of support for all of their declarations.  Each entry gives a brief (biased) biography that highlights their flaws, outrages and downright unforgivable behavior.

So, rather than rewrite summaries of these assholes, I’ll present a grid with the shortcut (and some choice tidbits).  You can find the book and read the details for why our Ivy leagues have bred so many shitheads, including current miscreants:

Samuel Alito, Ben Carson, Ann Coulter, Ted Cruz, Laura Ingraham, Henry Kissinger, Dr. Oz, trump, and many more.

The introduction says that the term Ivy League refers to a bunch of football teams. (That’s why it says “league”).  The League was formed in 1954 to formalize the sporting relationship between eight teams: Brown, Columbia, Cornell, Dartmouth, Harvard, Univ of Penn, Princeton and Yale.

Of course, no one goes to these schools for sports, they go to find the best future contacts for your budding careers.

But read this book and remember:

An ivy education doesn’t force you to become a hideous person, but it doesn’t necessarily prevent it, either.

What follows is a smart-shopper warning to those applying, a count-your-blessings consolation to those who have been rejected and a watch-your-back caution to those already attending.

(more…)

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SOUNDTRACK: RHEOSTATICS-University of Calgary (September 5, 1992).

This set is also them opening for Barenaked Ladies, just following the release of Whale Music.  It comes four months after the previous show online and I love that the set is almost entirely different.

It opens with a slightly cut off “PROD.”  I can’t believe they’d open with that.  AS they pummel along, the song pauses and the band starts whispering “what are they gonna do?  I don’t know.”  Then they romp on.

Bidini says they have three records out.  The first you can’t get, the second is called Melville and this is “Record Body Count.”

They’d been playing “Soul Glue” for a long time, this one sounds full and confident.  Then they introduce “King of the Past,” as “a song about looking for Louis Reil’s grave site. You know who he is, right?  Canada’s first and foremost anarchist.”  It’s a gorgeous version.

When it’s over they announce “Timothy W. Vesely has picked up the accordion!”  (Earlier Dave said that anyone who could guess Tim’s middle name would in a free T-shirt). They play a fun if silly version of “Whats Going On.”

“Legal Age Life” is a fun folky romp.  They get very goofy at the end with everyone making funny sounds and then Clark shouting “everyone grunt like a seal.”  Bidini asks “Is Preston Manning in the audience tonight?”  Clark: “No fuckin way.”  Near the end of the song they throw in the fine line “Eagleson ripped off Bobby Orr!”

Martin almost seems to sneak in “Triangles on the Wall.”  This is a more upbeat and echoey version than the other live shows have.  The end rocks out with some big drums.

As they preapre the final song, Bidini says, “We’re going to play one more song and then we are going to leave like sprites into the woods.”  He asks if anyone knows “Horses” and if they wanna “sing Holy Mackinaws with us?”  But they need more than 1–we need at least 3.  The three “imposters” are named Skippy and His Gang of Fine Pert Gentlemen.  They are told to behave until the chorus or “I’ll get Steve Page to sic ya.”

Then, back to the audience he says, “This is a song about Peter Pocklington and what a fucking asshole he is.”  [Pocklington is perhaps best known as the owner of the Oilers and as the man who traded the rights to hockey’s greatest player, Wayne Gretzky, to the Los Angeles Kings].  The fans aren’t very vocal during the shouting, but the band sounds fanasttsic.  Just a raging set.  It segues into a blistering version of “Rock Death America.”

Not saying that they upstaged BNL at all, but that would be a hard opener to follow.

[READ: January 17, 2017] “The Quiet Car”

This is the story of a writer who had been granted a temporary teaching job at a prestigious University.  I don’t exactly know Oates’ history with Princeton, so I don’t know if she was ever in the same position as the character of this story, but I was secretly pleased when she mentioned the Institute of Advanced Study, so that it was obvious that the prestigious University was indeed Princeton.

But the story starts many years after he has left the University.  R— is standing on a train platform.  The story begins with this excellent observation: “nowhere are we so exposed, so vulnerable, as on an elevated platform at a suburban train depot.”

While R– is standing on the platform waiting for the train to New York City he notices that someone is unmistakably looking at him.  He has been recognized before–there’s a small subset of the population who really likes his books. And, in what is a wonderful detail that tells you a lot about this man: “if the stranger is reasonably attractive, whether female or male, of some possible interest to R—, he may smile and acknowledge the recognition.”

This detail proves important because as he gets on the train he begins to think about the stranger–he believes he recognized her face. (more…)

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CV1_TNY_05_24_10.inddSOUNDTRACK: PASSION PIT-Tiny Desk Concert #248 (Ocobert 29, 2012).

passionPassion Pit surprised the heck out of me with this Tiny Desk Concert.  The album that two of these songs come from is full of loud, brash synthy anthems.  But they totally dial everything back with just two performers–a synth and a guitar.

The blurb notes that

Michael Angelakos is a fussy sonic craftsman: A keyboardist and singer who started out working solo on his laptop, he now makes fizzily catchy electro-pop that orbits around monster hooks.  Angelakos clearly saw an opportunity in bare-bones arrangements of his best-known songs — his 2008 breakthrough single “Sleepyhead” and two hits from this year’s Gossamer, “Take a Walk” and “Carried Away” — that he couldn’t explore with a full band.  With only his own falsetto, an electric piano, and simple guitar lines from Passion Pit’s Ian Hultquist, Angelakos gets to direct listeners toward his words, which blossom under scrutiny.

“Talk a Walk” is a poppy happy synth song.  An almost gleeful song about taking a walk.  Well, in this version, with everything stripped away, you get to hear just what a depressing song this actually is.  And when you hear this, you’ll never be able to hear that bubbly anthem the same way again.   It’s a rich, thoughtful sketch of an immigrant family’s experiences, expectations, dreams and disappointments.

Once my mother-in-law came
Just to stay a couple nights
Then decided she would stay the rest of her life
I watch my little children, play some board game in the kitchen
And I sit and pray they never feel my strife

“Sleepyhead” is from their 2008 album—their first hit, although I didn’t know it.  The keys are quiet and simple on this while the guitar plays the main riff.  It too is quite catchy.

“Carried Away” is also from Gossamer, and it’s another big, boppy sugary single.  This understated version does the same as the first song—you can really hear the words, but the melodies and catchiness remain, just much more quietly.

Even though these version are interesting and enjoyable.  I was mostly attracted to the sound of Gossamer, so I’ll stick with the originals.

[READ: January 25, 2017] “Your New College Graduate: A Parents’ Guide”

This piece is designed as a FAQ for parents on how to deal with their college graduate, once the commencement ceremony is over and “your child will be ready to move back into your house for a period of several years.”

This helpful guide answers questions about things like feeding:

Most college graduates are vegetarians and will become cranky or upset if offered meat. They also have irregular eating habits. Most prefer to skip family meals.

Or drinking:

Most require six to eight beers per night, plus occasional “shots” throughout the week.

(more…)

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