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Archive for the ‘Unreliable narrator’ Category

 SOUNDTRACK: JENNY AND THE MEXICATS-Tiny Desk Concert #721 (March 26, 2018).

I had never heard of Jenny and the Mexicats.   Interestingly, the blurb below doesn’t say anything about where they are from.  One assumes Mexico, but Jenny herself has a rather posh British accent when she speaks.  It also turns out that the band is based in Spain…so all preconceived notions are dashed.

Jenny and the Mexicats’ … high energy shows are unforgettable … Mixing flamenco, originally from southern Spain, with Jenny Ball’s jazz trumpet background and a little bit of cumbia has created their one-of-a-kind musical identity.

The grooves these musicians create can be frenetic (as in the first performance here, “Frenético Ritmo”)…

This song is sung in a mix of Spanish and English–the verses are predominantly Spanish but the ends of each verse seem to be in English.  Jenny’s trumpet works perfectly with the music they are playing.  And the electric guitar plays some interesting sounds throughout.  The song slows down to a pretty ballad with the flamenco guitar playing a solo before the song ratchets up again, cumbia all the way.

or slow and luxurious (“The Song for the UV Mouse House”).

Jenny sings in English on this song with a fascinating accent.  She has a diva’s R&B wavering vocal style, and yet she also seems to have some cockney on some of the words. The song is a ballad and the plentiful drums–hand, box, snare and percussion–keep the roots in Mexican music.   The whispered spoken word middle is a nice touch.

In both cases, the group presents the perfect cushion for Ball’s impassioned singing and engaging stage presence. There are no weak points in the instrumentation, and with Ball out front, the songs come to life as the short stories they are — like that of the young lady who appreciates a beer before taking on life’s challenges in “Verde Más Allá.”

Before the song Jenny tells a story about their favorite show: “We did a concert based on airlines.  We came out like pilots, there was a plane crash in the middle of the show, we came back as angels and devils, it was a lot of fun.”  The guy behind her helps out: “it was a Halloween show.”

“Verde Más Allá” is a mellow song about a Caguama (pronounced kawama).  The guitarist asks, “What is a caguama?”  It’s a liter-sized beer, and the song is about a girl who doesn’t like to work and loves her caguama.  It’s a fun song, “no le gusta trabaja!”  After the first verse, right on cue, the percussionist plays the office’s train whistle which makes everyone crack up.  The end of the song features some sing along, and the flamenco guitarist doing one of those high-pitched flamenco laughs.  At the end, Jenny (whose dress is dangerously short), holds down the ends of her dress so she can jump for the conclusion of the song.

Much good fun is had.  Caguama!

[READ: January 31, 2018] “Five Stories”

Here’s five more short short stories from Diane Williams.  And once again, she amazes me with her sentences and aggravates me with her stories.

“Girl with a Pencil”
The first two paragraphs seem like a different story, as the rest of the story seems to flow from paragraph number 3 in which a girl draws a picture of her future: two shoes, a pair of legs and the hem of a skirt on top.  Her mother was mad that there was no head.  I like that this is a formative experience but the resulting brute seems oddly out-sized.

“A Gray Pottery Head”
I enjoyed this story because of the way it ended.  “That night…something exciting a foot.  She has a quarter hour more to live.”  Except that that wasn’t the end of the story (it was the end of the page).  The next several paragraphs are about her death. It’s the first of her stories where I felt it was way too long. (more…)

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 SOUNDTRACK: RHEOSTATICS-The Horseshoe Tavern, Toronto, ON (March 29, 2007).

Visit this link for all kinds of information about this show (labelled Good)–interviews, blog posts, photos (and even links to myspace!)

So this is the final show before the band;s final show (before they reunited).  Martin’s voice is still out, but he tries valiantly.

The Horseshoe Tavern show opened with a lengthy intro of Dave mucking about on acoustic guitar.  He announces Tim Vesely on the bass and joining us tonight Mr Ford Pier on the keyboards.  That intro segues into “Easy to Be with You,” and this proves to be one of my favorite version of the song.  They are having such a lot of fun with it the “do dah do dah” is terrific and big and I love that the “…to Harmelodia” line is done entirely on the synth.  And while we’re at it that Martin Tielli on the guitar and hat.

Martin: “welcome to our penultimate show.”
Dave: “now I know what ‘penultimate’ means.
Mike: “Hot?”
Dave: “I always that it meant better than the best.”

Martin takes lead on “Aliens (1988).”  He doesn’t sound great but he valiantly tries his best–whispering when he needs to.  As has become customary, Tim plays the “Artenings Made of Gold” riff during the middle section of the song and then they sing it at the end.  When he whispers it sounds good–although not as good as his real voice.  Ford asks what an artening is “I’ve been wondering this for am awfully long time and I think I have a right to know.”  Martin whispers: “a simple precious object.”  Tim: “we’ve narrowed down that they’re made of gold.”  Ford: “as opposed to artenings made of dung I suppose.”  Dave: “No there are those.”

“This next song is from our Bahamian period… hanging with the Baja Boys … and Ozzy.”  Tim says, “This is the song about our cats at home.  They’re still around Alfalfa and Wolfman.”  A great version of “Introducing Happiness.”

Martin says “Christopher” is about growing up in Ontario. I wrote it when I was quite young.  There’s a cool jamming solo in the middle that Tim gets in on as well.

At the end of “King of the Past” Tim says, “nice song, Dave…  Martin: One of the many songs that Dave writes and others sing.  Tim: And finish for him–i wrote the third verse (try to make sense of it).  Dave: “That’s what a band is all about… a musical soccer team.”

“I’ve been cursed with a problem that a lot of people have been…”  Dave: “Being Italian?”  Tim: “Listening to too much Marianne Faithfull.”  Martin: “I never know what’s going to come out of my mouth.”  Tim continues: “This song pretty much sings itself.”  Dave: “We’ve got the Hitmaker 2000.”

Martin plays “P.I.N.” and says, “I’ll do the rock and roll thing and ask for help for you to sing along.”

“Mumbletypeg” opens with Dave saying, “have you heard the news, there’s going to be good rocking tonight.   We’re going to bring back all of the 80s catch phrases because we lived through it.  We suffered through … a few good moments in a sea of piano key ties.   Tim starts “calling out the chords” –give me a C minor.  Tim “That’s it.  That’s enough.  Two C minors are pretty good.”  Dave: “Whatever you want, Tim. G?  A7?  D?  I know all the chords.”  Tim: “How about some handclaps….  No I don’t like the handclaps.  I liked the C minor better… wait C minor with handclaps.  Mike: “I feel like Tyler Stewart back here–keep going Ty! Dave: “You don’t have enough splash cymbals to pull of the Tyler Stewart.”  The song sounds great.

“Pornography” is sent out to all our american friends.  And then as Martin plays “In This Town” he says, help me out i haven’t played this in a year.  What’s the verse everyone?”  Everyone happily sings along.

Dave: “So we’re breaking up and it feels alright.  We’re all going to be a mess tomorrow.  When are we going to have a big stage cry?”  Mike: “Are you going to play the note that makes everybody weep?”

He’s not, instead they play a lovely “Loving Arms.”

And then Paul Linklater “The Scribbled Out Man” will play with them.  Mike says, “You guys got a nice drummer (It’s Don Kerr).  Tim: “And so do we.”  Mike: “I’m not threatened.”

Ford asks how many people have been in the Rheostatics.  Dave: “define ‘in.'”  Does Seth the Magician count?  He wasn’t into us.”  Then some solid advice: approach with caution when playing with magicians.  Dave: “I gotta be careful that Mysterium doesn’t put a curse on me.  Then more words of wisdom from Geddy Lee: “always take your wallet on stage.”  Tim: “And I’ve not lost a dollar since I’ve been in this band.”

Martin tells a story about that one time the woman with the short skirt and the diaper was dancing at the Town Pump.  People were pointing at her and after the show she and a guy with a harmonica and a neck beard were going through our coats on my amp.  She was wise to the Geddy Lee advice.  Dave: “It actually was Geddy Lee.”  Martin: she was doing splits on stage really hard in her adult diapers–the diapers must have been for cushioning not pee pee. Luckily we never have any money so martin didn’t lose anything.”

Martin: I went to see Colin Hay… some people after they finish… they go on tour and sing their songs and they spend about half an hour talking about how I wrote a fucking song.  (Dave: I think you’re selling Colin Hay a little short”).  And the guy from The Kinks and they’re brilliant and I love them but get off the stage already.  Dave: “Colin Hay talked about being drunk at the US Festival  — he was wearing a brown suit and decided to shit his pants rather than using the porta porty.”

Dave: “That’s where I’m headed story and song isn’t it inevitable.”  Mike: “Live and incontinent.”

I wrote [“The Ballad Of Wendel Clark”] about being a skinny effeminate Etobiocokian kid, angry in my basement and I didn’t like the guys who liked hockey at the time (Tim: at the time?).  “Hey, I got into the playoffs last year.”  The song features the bridge from Stompin’ Tom Connors’ “Bridge Came Tumbling Down”).  There’s a wild picking solo from Paul Linklater (sounds nothing like Martin’s playing).  Paul’s first band was called Gig Vest from Justice, Manitoba, they totally blew us away and we’ve been fans of Paul’s ever since.  Tim: “but we mostly prefer the early funnier stuff.”

“Song of Flight” sounds gorgeous and segues nicely into a wonky and fun version of “Song of the Garden.”   They play a noisy weird jam. Dave: “take it up to A.  they start playing “Radios In Motion” by XTC (they keep chanting “new science” which leads to Ford singing “She Blinded With Science” and playing weird chords.
Dave starts off “Queer” by singing the chorus of “Big Leagues” by Tom Cochrane.

They send “Queer” out to Hawksley Workman.  After a few verses it segues to a slow “Saskatchewan” which eventually leads back to the conclusion of “Queer.”

Somebody yells and insanely long “yeah” it lasts about 8 seconds as Dave starts singing “The List.”  I assume it’s an early version.  It’s followed by another acoustic song “My First Rock Show”  When he gets to the Massey Hall line, he starts a “Massey Hall” chant.

Hey Ford, what was your first rock concert  Ford: D.O.A. (that’s too good) my first larger show at an arena the first one my parents knew I was gong to was Big Country in Munich in 1984.  Big Country were kind of the ELO of new wave.  For D.O.A., I had to sneak out because I was young.  Dave:  Do you have a D.O.A. song you can do for us?  It’s only fitting.  Tim Vesely was born to play D.O.A. drums.  Ford starts “The Enemy.”  Then says, they used to give me money to do that.  It’s a fun interlude: “Wonder if Martin has done his cigarette yet.”

For the first encore they play “We Went West” with some input from the other guys-backing vocals and Dave saying “I remember that.”  The songs seems to rock harder by the end.  “Joey 2” is solid and uneventful but his voice is pretty much gone for “Self Serve Gas Station.”  He whispers some of the moments but his voice is lost on “the morning time has come!”

“Michael Jackson” is pretty quiet (with Tim singing “abc,123”).  Finally Dave asks Tim: “Do you like the rock?”  Tim: “I don’t know I like the classical, I like the jazz.”  Dave: “Martin’s got the rock, Timmy’s got the roll.  Mikey’s got the funk.  Fordy’s got the roll”  Tim:  “I don’t feel it…. I’m starting to feel it…. I still don’t feel it.”  An extended ending started by Tim on bass with Martin adding solos.

Then a quick run through the “Green Sprouts Theme” with Tim calmly saying “from the ground” but then screaming, take it to the bridge!”

They came back out again for “Legal Age Life” w/ Peter Elkas and Ben Gunning from Local Rabbits (and no Martin who was having a beer and a chat at the back of the bar for this encore).  Four fans sings verses.   They all try to jump to the chorus too soon, but they sound good.  Then it’s time for a guitar solo or a bass solo we’ll have one of our guests–the shaggy guy or the clean cut guy (clean cut!)  The guy plays the solo.  Then the shaggy guy plays a solo.  And then the segue into “Record Body Count” which Ben or Peter sings.

Then they talk about the weirdest fans:

  • the girl Julia who brought a stuffed chicken to all our gigs
  • Kai the Ass Dancer guy with irreverence sweatband who did creative dance to our early days
  • the guy with a Riverdance headband who did creative dance to our early songs.
  • the gypsy from Dawson City

“Oh, there’s Martin.”  They call him up from the crowd, it’s pretty neat watching from the crowd.  Tim: “make sure you know the words.”  There’s talk of Padre Pio and bilocation.  They send “Stolen Car” out to John Tielli. Martin: “he’s my brother….I mean literally.”

They apparently ended the show with an acoustic “Northern Wish,” although there’s no recording of it.

[READ: January 6, 2018] “Take Me”

I have only read one other piece from Lispector and it was peculiar, but I liked it.

This one was peculiar but I did not like it at all.  I’m willing to accept that since it was an excerpt from the novel The Chandelier, it was less clear than it could have been.  But no, this was just an unpleasant read.

It begins with Virginia looking in the mirror . The entire story is in her head.  She knows she looks lovely and she wonders “who will buy me?  I want someone to buy me so much.  I want someone to buy me so much that…that…that…I’ll kill myself.”

Then she goes out on the town, kills a dog (seriously) and asks a disgusting man to take her. He gets all excited and then she stepped on his face and spat on him. (more…)

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SOUNDTRACK: THE LEEVEES-Hanukkah Rocks (2005).

The collection of Hanukkah songs is fantastic. I love this album more than a guy who doesn’t celebrate Hanukkah should.

The LeeVees are Adam Gardener from Guster and Dave Schneider  from The Zambonis (with help from The Time Share Choir).  Dave and Adam write super catchy poppy-but-rocking songs all about the holiday.  Most of them are funny or have a humorous aspect, but the songs all rock and stand up to repeated listens.

“Latke Clan” begins as a sweet ode to everyone’s favorite potato pancake  “Santa is cool but Hanukkah Harry’s the man, come and join of Latke Clan.”

“Applesauce vs Sour Cream” is the perennial decision you have to make with your latkes.  “just tell you mom to fry, not bake.”

“Goyim Friends” Goyim friends make lists and get snowboards and paintball guns, but “we will march on, six pairs of socks from each other’s mom.”

“At the Timeshare” is a hilarious, catchy song.  It’s swinging and loungey and is all about their parents wanting to live down at the time share in Boca or was it Boynton.  Or Daytona. Or Talahassee (There’s no Jews there).

“How do you spell Channukkahh?” is a hilarious goof on the spelling of this holiday and it totally rocks.

“Kugel” is a sweet mournful song about how times change–“you were once sweet and creamy, no you’re low-fat.”

“Jewish Girls”  Go to the mitzvah Ball, you may be surprised to find who is in the tribe.

“Gelt Melts”  This punky number says what everyone knows–if you keep the gelt in your pocket, you’ll be sorry.  “If goys can eat an Easter Bunny, why can’t we eat chocolate money.”

“Nun, Gimmel Heh Shin”  Yup, a dreidel song without the music from the dreidel song.

“There’s” also a bonus track called “Holiday,” a simple acoustic guitar song with the two guys singing about a lovely relaxing holiday.

[READ: December 20, 2017] “The Game of Smash and Recovery”

Once again, I have ordered The Short Story Advent Calendar.  This year, there are brief interviews with each author posted on the date of their story.

Hello. Welcome. It’s finally here: Short Story Advent Calendar time.

If you’re reading along at home, now’s the time to start cracking those seals, one by one, and discover some truly brilliant writing inside. Then check back here each morning for an exclusive interview with the author of that day’s story.

(Want to join in? It’s not too late. Order your copy here.)

This year I’m pairing each story with a holiday disc from our personal collection.

This was one of those stories where the character and setting are otherworldly–completely alien.  The main characters have a full story arc, and yet we are never provided any kind of context for where or even what they are.

The question is, of course, does it matter.

In some respects, no, and yet it is so frustrating to read this whole thing and have so many fundamental questions unanswered.

The main character is Anat.  She loves Oscar, her brother, who has raised her practically from childhood.  Their parents have been absent for as long as she can remember.  They left when they realized that Anat was different–what was she? (more…)

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SOUNDTRACK: RHEOSTATICS-Fall Nationals, Night 1 of 10, The Horseshoe Tavern, Toronto (December 8, 2005).

This series of ten concerts contains the final Rheostatics live shows that are left to write about–except for their “final shows” and their “reunion shows” (which I really hope to see some day). This was the 1st night of their last 10 night Fall Nationals run at the Horseshoe. Ford Pier was on keyboards.

These shows seem significantly shorter that the 2004 Fall Nationals.  This show is under 2 hours–practically unheard of in a Fall Nationals.  Unlike the 2004 Fall Nationals, however, they are not promoting an album, so there is a lot more diversity of songs.

This recording is from the audience, so there’s a (shocking) amount of chatter from fans.  You also can’t hear everything that’s said into the mics, so you have to listen close if you want to hear audience interaction.

The show opens with them talking to fans from San Diego (Mike: “that means Saint Diego”).  Dave asks how long they’re here. He says well, we have three chances, then.

“Loving Arms” is a sweet opening from Tim.  Then Martin starts announcing in a smarmy voice “I’m a member.  Hi there.”  It’s a launch into “CCYPA” (Miek: “in an election year, imagine that”).  Tim follows with a quick “Song Of The Garden.”

Then Dave starts playing the opening to “Fat” to much applause.  “That’s Ford Pier on the keyboards.  That’s Tim Vesely on the keyboards.  That’s Martin Tielli on the keyboards.”  During the end jam section, there’s some loud, unusual backing vocals which I assume are from Ford Pier.

Martin: “What’s the first note of the next song, Dave?  I’m feeling a little shaky.  But that’s what this song [‘Fish Tailin”]is about so it should lend itself to this current number.  After this comes “Mumbletypeg” Martin: “That is David Augustino Bidini.  Dave wrote this song.  All by himself!”  It romps along nicely.

Next is the first of a couple new songs.  “Sunshine At Night” is actually a song hat Tim would release on his 2008 Violet Archers disc Sunshine at Night (where it is mostly the same but more fleshed out and better-sounding).

Martin is having fun with the “Hi there” smarmy voice as an intro to “The Tarleks.”  It’s followed by “Marginalized” which has a rather lengthy and dramatic piano solo in the middle.

Martin: “That was by Timothy Warren Vesely.”  Ford: “Stop shouting everyone’s middle names, Jesus.”  Dave:  “Martin is obsessed with middle names, whenever he meets someone new he says ‘What’s your middle name?”  Mike: “Yeah right but whats your middle name.”  Ford continues, “A friend of mine was engaged to a woman from Slovenia.  When she came to visit she was astonished to hear that everyone had a middle name–are you all rich?  It was a difficult thing to explain to her.  She associated middle named with wealth?  Middle names were not a concept that came to her block in Ljubljana.  Tim: “Ford tried to convince her it had something to do with wealth.”

Then came a song, “The Land Is Wild.”  This would eventually be released on Bidiniband’s 2009 album The Land is Wild.  It’s pretty much the same although this earlier version has a few lines that are not in the final.  A line about him being in his own head and listening to Metallica, Ozzy or Queen.  There’s another line about tickling the net and being lost in his head.  Both of these lines are left off in the final.  Interestingly, the final verse about fishing with his old man and his death were added later.

Martin says that for “Here Comes the Image,” Augustine is going to play the drums and Dimitrius is going to play the keyboard.”

As they start, “It’s Easy To Be With You,” Dave says, “My friend this is no time to be talking on your phone, there’s some serious rock n roll happening up here.  Take a picture with your mind.”

It’s followed by a beautiful “Stolen Car.”  Martin’s vocals are just so good.  After the song ends, properly, there’s an extra acoustic strumming section that soon becomes “Nowhere Man” sung by Selina Martin.

Dave notes that it has been 25 years since John Lennon was killed.  The world has gotten a lot shittier.

Ford then says, “You know who was really burned on that score? Darby Crash, lead singer of The Germs.  He committed suicide with an intentional heroin overdose the same day.  Five years earlier David Bowie said they only have five years left.  So he told his band mates hat five years from now he was going to off himself.  They ignored him, but he did.  And then three hours later the Walrus gets blown away.”
Dave’s takeaway: “Never take advice from David Bowie.  He told me to buy a wool suit.  Well actually Springsteen told me, but Bowie told him.”
Tim once ate some hot soup with David Bowie.

We’ll do a couple more for you seeing as how it’s Thursday.  Tim: “Can you do a little pretty intro for me that you sometimes do?”  Dave does and “Making Progress ” sounds big and more rocking than usual (the keys help).  Martin plays  a more rocking guitar solo before settling in to the pretty ending.  When it’s over you can hear Dave says “we can call him Timmy, I’m not sure you can call him…  Well, I guess you just did.  Is this your third straight year?  Fourth?  You’ve earned the right to call him Timmy.”

Thanks to the Creaking Tree String Quartet they were beyond awesome.  I can’t wait to see them again tomorrow night.  The set ends with a lovely version of “Self Serve Gas Station” with some great piano additions.  The song ends in a long jam with trippy keys a fun solo from Martin.  As he walks off Martin says, “I smoke Gaulioses Blue cigarettes, since they can’t advertise.  The flavor!  And so did John Lennon and Bruce Cockburn.”

After the encore, Dave sings and acoustic “Last Good Cigarette.”  When Martin comes back out they play a surprising encore song of “Song Of Flight” which segues into a mellow intro for “In This Town.”  By by the end it picks up steam and rocks to the end.

It was a fairly short first show, of the Fall Nationals, but they played a lot of interesting stuff.

[READ: April 20, 2017] Friends is Friends

This book had a lot going against it.  The title is virtually impossible to find in a catalog (3 words long, 2 words repeat, the other word is “is” and the one main word is incredibly common in children’s books, ugh).  On top of that, no libraries near me carried it.  And then its got that creepy-ass cover.

Reviews of the book weren’t very positive either.  So my hopes weren’t very high.

And even with low hopes, I was still pretty disappointed. (more…)

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instruct SOUNDTRACK: RHEOSTATICS-The Horseshoe Tavern, Record Body Rheos Day#6, Toronto, ON (November 12, 2001).

Sometimes you would go see Rheos and they would play a show packed with rarely played songs. This is one of those shows – The Woods Are Full Of Cuckoos, SRBM, Onilley’s, Jesus Was Once A Teenager Too, Public Square, Halloween Eyes, Satan Is The Whistler, PROD, Martin’s First Day Of School, Home Again…a treasure trove for hardcore fans. This was night 6 of Winter Nationals 2001 aka Record Body Rheos.

This is the only show remaining in 2001.  It is also only the second show of this run available on RheostaticsLive.

The recording of this show is spectacular—loud and very clear soundboard recording.  It features Michael Phillip Wojewoda on drums–the band’s final drummer before their dissolution in 2007.

Dave as always is very chatty: “Is it the first night for a lot of you folks here?  Oh you’ve been here before?  Cool.  We mixed it up for you tonight.  We got a lot of stuff we haven’t played over the last 4 or 5 nights.

Mike says, “A lot of stuff I haven’t played.”  Apropos of nothing Martin says, “We’re going to play a new song called ‘Couscous.'”  [They don’t].

The show starts with “The Midnight Ride Of Red Dog Ray.”  I’d always assumed this song was by Stompin’ Tom, but in fact it was by Washboard Hank Fisher.  The songs sounds sounds big and full–much louder than other versions of this song.  Tim has lots of backing vocals: “riiiiide” “Raaaaaay.”  Dave rolls his rs in the last chorus.  It ends and Dave asks “That wasn’t too hard was it, Mike?”

Dave says, “we’ll stay in Ontario for this next number.”  It’s a nice, spare version of “Christopher.”  I like when Martin is singing “we used to take trips,” he plays the melody on the guitar the same notes.  And when he “setters” ‘trips’ a second time he plays the guitar note as well.  They have a really hard time with “The Woods Are Full Of Cuckoos.”  They play it twice way too fast for Tim to sing.  The guitar in the beginning feels way too fast even if you don’t know the song.  Tim says, “Hey this is way too fast.”  Martin agrees: “Bit of a wrist twister.”  Tim: “I only go so fat.”  They try again, Martin slows down but the drums are the problem.  It’s pretty much the same tempo.  Then MPW gets it right and Tim does a good job—it’s still a pretty fast song.   During the end part they mess up that final riff, but they do manage it after another try.

Martin jokes: “The woods are full of caca” (chukcle).

Tim says, “Speaking of that band, Gordon Cummings’ new band Precious Little is playing with us this week.”  He asks when and Dave says “It’s in the paper, Tim.”  Tim: “‘I don’t subscribe to such things.”

A fan says something and Dave replies, “I’m not smoking.  My playing is pretty hot, but I’m not smoking, sir.”  He then tells a story about playing hockey at 2PM at the Annual Green Sprouts Game.  He says he normally wears full pads, but this time he wore pants and water got all over him–it looked like I peed myself.  Tim: “remember that gig in Victoria when you actually peed yourself?”  Dave says something about a toilet and then says “And you were drawing it in your sketchbook.”

Martin has his new robotic voice synthesizer and speaks “SUPERdifficult.”  It’s fun to hear this song after so much time in the mid-1990s.

Dave: “I sense that you are a loud crowd.  Sometimes smaller bodies of people should be louder”
Martin: “The example of the Belizian howler monkey–small body, loud sound.”
Dave: “Any howler monkeys here tonight?”

They thank the opening acts: Some Guy with a Guitar (is that the guy’s name or are they joking about who it is?  I can’t find anyone with that name).  And The Keep On Keepin’ Ons  they should lose that Dave Love guy he’s gonna destroy them if he doesn’t destroy himself.  [Can’t find anything out about him either].

Martin introduces “PIN”:  “This is a song about stuff that goes like this.”  But for “Sweet Rich Beautiful Mine” Dave says, it’s a song from The Blue Hysteria which we recorded in 1996.”
Martin: “Really eh?  This is song about probiscis monkeys and how good they are at sweeming…swimming.”
When they start there’s a terrible flat note on bass.
Martin says, “No, no, its not gong to be that interesting.”
Dave: “I mean how many fucking songs do we have to have about proboscis monkeys who swim?  Shit.”
Tim: “Martin, can you stretch a little?”
Martin: “All my songs are about apes.”  Fan: “What about ‘That’s How They Do It in Warsaw’?”  Martin: “Polish apes.  It’s about a zoo I visited there in the elate 60s.  Zoos at the at the time, ooh la la.
Before this gets out of han Dave says “Let’s go capo monkey.”
When Martin gets to the “sweetest ass” part he chimes in: “all red and blue and such.”

When the song ends, Martin says “Archie” in Edith’s voice (why he is talking about All in the Family I have no idea).  Dave says, “All I could think of the tragedy in the towers.  (this show is just a couple months after 9/11) Archie Bunker lived in Queens and when they showed the footage of the plane wreckage all the houses looked like Archie Bunker’s house.”  Martin: “704 Hauser Street.”  Dave: “Alright Tim [Mech], atta boy.  Pretty good to have a guy feeding you lines in the wings.”
Tim: “No more monkey jokes, Tim.”
Martin: “Yeah, cool it on the ape shit.”

While they’re bantering, someone says, “That last song was really fucking good.  Dave: “Thank you, sir.”

This next song [“Mumbletypeg”] is dedicated to Tim’s tie.  Dave says that Night of the Shooting Stars is out in a couple weeks.  The album cover is a cross between Spinal Tap, Charlie’s Angel’s and Metallica’s black album.  And it sounds like a cross between those three things.
Martin: “Precisely.  With nothing else.”
Mike: “As a total marketing move the last night of our run here is the night of the shooting stars.  So everyone should go up north and watch the Leonids
Martin: “When does the meteor shower start, Mike?”
Mike: “Well 4 in the morning. Until the 18th”
Dave: “We should probably end the night with a processional chant of LEE-OH-NiD.”
Mike: “With flutes and a bus.”
Martin: “The flute bus!”
Dave: “The flute bus, I think The Medieval Babes have it.  They did beautiful older music but they added a sexy edge to it.”

They play another song from NotSS called “Reward”: “We’re gonna do a song we did last night but it didn’t turn out to good, so we’re going to try it again for you. No, No, for us.  For the greater good. We are true artists.”

“Oneilly’s Strange Dream” sounds so much like “Saskatchewan” in parts.   Those three harmonica notes before the solo are just like in “Claire.”  Dave seems to fill in on some of the words if Martin forgets them.  The end of the song has a really noisy section of chaotic chords and drums.  Martin ends the song with the lyrics from the first verse instead of the final verse.  Dave rescues the song and Martin finishes it.

Tim: All we did was smoke pot in the Bahamas when we recorded that album.  Sorry about that.

Dave tells a very long story about he Bahamas that is very funny (drinking, missing planes, throwing up).

This leads to a mellow, almost acoustic “Jesus.”  Martin messes up a lyric and Dave feeds him a line, so he continues.

Dave: “Pretty great fun for a Monday night for us.  We’re usually at home watching Golden Girls by this time.

They go all the way back to their debut album for “Public Square,” a song they didn’t even play that much back then.

Someone shouts “Halloween Eyes.”  Dave: Halloween has passed, ma’am.”  But they play it anyhow. Really goofy.  They don’t play it much at all: “Don’t look at me with your Halloween eyes.  Don’t hit me with your pumpkin pies.  Devils got horns devils got a tail.  666 gonna fuck you up.  Some even say that he’s got scales. 666 you’re a sitting duck.”  Dave: “They actually really were stones when they wrote that.”

This next song [Bad Time to be Poor] is dedicated to the retirement of Mike Harris [Harris was the 22nd Premier of Ontario from June 26, 1995 to April 14, 2002. He is most noted for the “Common Sense Revolution”, his Progressive Conservative government’s program of deficit reduction in combination with lower taxes and cuts to government spending].

“Satan is the Whistler” is sloppy but rocking with more of that robotic voice “he is the whistler.”

There’s an interesting surf guitar like opening to “Four Little Songs.”  The whole thing is crazy fun.  For Tim’s: “Lets go to France, beautiful France.”
I’m not sure who is singing Don’s part, but they stop “we should get these guy to sing that one.”

Huge creatures prowl the streets tonight
Moon and antlers set the sky alight

Martin: “These beast have antlers, perhaps they’re just moose.”  After the first attempt, Dave chides, “Wait that’s really terrible, hold on.”   They resume the middle part and then the audience sings along pretty well.  During the Neil Young part there’s some gentle jamming with funky bass from Tim.  Whoever sings it has a crazy voice.  They slow things down at the end for “and my brain goes….”  The sound goes slow and woozy.
When they stop that, Martin says, “This is the morning after” and they resume properly, except Dave sings “We drank all our beer and ate all our pizza.” at the end.  And then he introduces, “Drunk guy.  Drunk guy.  Thanks, Justin.”  Mike says, “Dave, I love it we your son gets up to sing with us.”

On his way out Martin says, “Rush never sleeps.”

Thanks to The Keep on Keepin’ Ons and the Poppy Salesman (this makes me think the guy with a guitar was Martin).

The encore starts with “CCYPA.”  Dave says this is the lead off track or the emphasis track about Canadian politics.  As the song ends, Martin says, “Pleased to meet ya.  Dave Love of Love Your Stuff Records.”

It’s followed by a wild “PROD.”  Dave: “Tim’s got the urge, we got the urge”  ….Tim gets a small bass solo.  Then “Let’s give the drums some space.” (a small solo).  And then they say goodbye.

They come back and Tim asks Martin for a few bars of “Martin’s First Day of School.”  “I’ve always liked that song.”  Martin: “The last time we played that was in 1992.”  Dave: “Not even.”

Martin: “Before the world changed.   Before the horrible events of Dave’s birthday.”  Dave’s birthday is September 11.  He said people were calling him up saying, “Dave, happy birthday.  What a tragic day, terrible day, your birthday.”

They end with “Home Again” from Harmelodia and then “Song of the Garden” which they re-recorded fro NotSS.

As they head out, Dave reminds everyone: Tomorrow’s free, so you got no excuse.  Tomorrow night: Precious Little at 9:30.  John Ford at 10: 25 and  Rheostatics later on.

[READ: June 30, 2016] The Instructions

I put off reading this book for six years.  And I see that I started to write about this over a year ago.

The book is massive!  (Category Thirteen even created a web page comparing the size of the book to other things).

It has been a major conversation piece.  I was reading it at the mechanics and an elderly lady and I wound up talking about books for 20 minutes because of it (she was reading Michael Chabon).

I had heard that even though it was big, it was not particularly challenging to read.  So while it is physically bigger than Infinite Jest (see the link above), it has about 40 fewer pages (and while it does have footnotes, there are not very many).

This story is all about Guiron ben-Jusah Maccabee, a ten-year old Israelite who may just be the next Messiah.

The book itself looks like a Bible (from the sheer size) and, indeed, as it opened we see that The Instructions were written by Guiron and translated and re-translated from the Hebrew and the English by Eliyahu of Brooklyn and Emmanuel Liebman.

Then there is a note from the publisher in 2013 (the book came out in 2010) saying that Guiron received no fanciable remuneration for his work, but money will go to the Scholars Fund.  Whether the U.S. Government “convicts, acquits, or fails to prosecute him for crimes relating to “The Damage Proper,” “the 11/17 Miracle,”: or any other event pertaining to “The Guironic War,” note that the Scholars Fund “in neither a terrorist organization nor a sponsor of terrorist organizations.”

That’s a pretty intense introduction.

The whole 1000 page book takes place in just a few days Starting November 14, 2006 (between second and third period).
Although the book is about Guiron, there are dozens of characters in the book–those who are “faithful” to Guiron and those who are not.

Benji Nakamook and Vincie Portite are his two closest allies.  They go to school with him at Aptakisic Junior High.  And they are all in The Cage.  The Cage is sort of a detention class–a high-security education experiment–the kids have all of their classes in this one room that has more security than any other room.

Guiron has been expelled from two other Jewish day schools.  In both instances he was considered brilliant and a genuine scholar but he was removed from both because of his violent tendencies.  And those violent tendencies are right up front.  As the book opens, Benji, Vince and Guiron are trying to waterboard each other. (more…)

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SOUNDTRACK: TIM DARCY-Tiny Desk Concert #620 (May 15, 2017).

I really like Darcy’s band Ought, but I don’t really like this solo concert.  In Ought, I find his voice contrasts nicely with the punky music (and his arch delivery of the kind-of-spoken-words if entertaining to me).  But here he’s singing some pretty straightforward songs and I find his affected delivery to be kind of annoying.  The blurb name checks Roy Orbison and I’ve never liked Orbison’s voice either.  So I guess that makes sense

Darcy plays four songs–he’s on guitar for three of them.

“Still Waking Up” is first. He says that “Joan Pt. 1, 2” is more of a rocker on the record but he’s taking it down–wonder if I’d like it more as a rocker?  Musically I like the way it switches gears for Part 2 and I like his voice a lot more for this second part.  “Sledgehammer And The Rose” is a new one.  I like the slinky guitar lines at the end of each verse. For the final song, “What’d You Release?” Toronto songwriter Charlotte Cornfield plays piano (with no guitar).  His voice is a bit deeper on this one and it works pretty well with the slowness of the piano.

But I gather I’d prefer him with his band.

[READ: March 22 2017] “Herman Melville, Volume 1”

The previous Lodato story that I read concerned a young meth addict.  This one concerns a twenty year old homeless girl.

She remains unnamed throughout the story and we learn snippets of her past.  Her father apparently committed suicide recently and she has nobody else.  Her only thought about him is that she hopes someone is watering the grapefruit tree in his backyard.

She had been experimenting with running away–she gathered a lot of her stuff and some money and would head to the Greyhound station.  She would hang out there for a while and then ultimately go home. Then one day Evan was there.  He smiled at her and commented on her skateboard and banjo.  She began to cry and he held her and they have been togetehr for the past seven months.  He has even proposed to her (although nether one has mentioned in since, so who knows if it meant anything).

(more…)

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SOUNDTRACK: SAN FERMIN-Tiny Desk Concert #315 (October 28, 2013).

When I first heard San Fermin I was immediately grabbed by the female lead voice (the song was “Sonsick”).  It was so powerful and gripping. I didn’t realize then that the female leads were the lead singers of Lucius (who I also didn’t know at the time).  San Fermin is the creation of Ellis Ludwig-Leone.

Since then I have enjoyed other songs by them as well, although I find that the songs sung by Allen Tate to be somewhat less exciting to me– I feel like his voice could one day hit me as amazing but it’s almost a little to understated for me.  And yet musically I love the orchestration and chamber poppiness.  As Bob writes:

San Fermin’s music bursts with ambition, talent and extreme joy. Its self-titled debut is charged with great storytelling and amazing vocals by both Allen Tate and Lucius singers Holly Laessig and Jess Wolfe. Then there are the arrangements: little gems that turn these songs into cinematic vignettes using trumpet, sax, keyboard, violin, guitar and drums.

San Fermin is the musical vision of Ellis Ludwig-Leone, who wrote these songs with Tate’s dark, rich voice in mind. Here at the Tiny Desk, Rae Cassidy makes the album’s female vocal parts her own.

So it’s interesting that the songs were meant for Tate.  I want just some more oomph from him.  especially here in this set.  And that’s because Rae Cassidy absolutely rules this set.

“Oh Darling” begins with a gentle piano and Cassidy’s pretty, delicate voice.  After a verse from her, Tate’s voice comes in and it’s almost comically low and formal (and actually perhaps a bit too quiet).  But when they all come in and sing it is just beautiful–the women in particular.

For “Sonsick” Cassidy sings lead with just drums.  As the song builds there’s a great chorus where the backing vocals (including Tate) sing in falsetto.  This version is quite stripped down compared to the recorded version and it really allows Cassidy’s voice to shine.  When she hits those incredibly high notes with such power, it gives me chills.

In the final song, “Renaissance!” Tate sings lead over a slow piano and violin.  The women sing backing vocals.  I like the way that the song builds in intensity with more instruments, but his voice is a little too flat for me–although he does kick in extra at the end.

There’s a really stunning version of the first two songs with the band singing live in a street and cafe and France.

Incidentally, Cassidy has since left the band and gone solo, and I wish her much success.

[READ: December 28, 2016] Humans of New York Stories

Sarah got me this book for Christmas.  I knew of Humans of New York, of course, but I wasn’t a follower of it.  So while I knew of it I didn’t really know that much about it.

There’s a brief introduction to this book (which is his second HONY book) in which he explains that HONY grew from five years of experimenting.  It evolved from a photography blog to a storytelling blog.  His original inspiration was to photograph 10,000 New Yorkers.  But then he decided to start including quotes from some of them.

He started interviewing people and found their stories became the real heart of the blog.  Of course, he thanks the community of readers and participants, because without them, he has nothing.

The rest of the book–425 pages–collects the photos and the stories. (more…)

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