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Archive for the ‘YA Books’ Category

SOUNDTRACK: DAMIAN ‘JR. GONG’ MARLEY: Tiny Desk Concert #888 (September 8, 2019).

I’m not sure if everyone with the last name Marley becomes a singer, but it sure seems like it.

I had not heard of Damian “Jr. Gong” Marley before, but of all of the Marleys, I think I like his music best (he is Bob’s son).  I had no idea where the “Jr. Gong” came from, but the blurb helpfully says “Jr. Gong” is after his father’s nickname of “Tuff Gong.”

Even though the blurb describes the music as reggae, this set is pretty far from what I consider reggae.  Some components of reggae are there, but it’s mostly in his delivery (and accent) and the backing female vocals–from Roselyn Williams and Sherieta Lewis.

But the main element of reggae–the beat/rhythm/staccato guitar–is completely absent.

“Slave Mill” starts with delicate keys from Sean “Pow” Diedrick.  The song is catchy with great lyrics.  I really like the percussion from Courtney “Bam” Diedrick.  I assume those are brothers known as Bam and Pow, which is great.

I like that the blurb addresses the issue of Bob Marley and yet I feel like Damian is his own musician, with a distinct (if slightly familiar) voice.

Damian’s father cast a giant, magnificent shadow on the world and it can’t be easy to follow in those footsteps as a songwriter and musician.  Damian seems to be undaunted by that legacy and instead draws on it for inspiration and guidance. Not to mention there is more than a hint of his father’s unmistakable singing voice that so often preached the same messages of self-identity and self-determination that his youngest son is now doing so successfully.

He says the second song “So A Child May Follow” is one of his favorite tracks on the album.  He thinks about his nephews and nieces who are young adults now.  The song:

addresses the troubles youth confront around the globe and how to persevere to succeed.

It’s an acoustic ballad.  I like watching Bam play, because after each piano melody, he stops and pounds his fists in the air as the song pauses and resumes.  The main verses features a gentle acoustic guitar from Elton “Elly B” Brown.  It’s a lovely song of optimism in the face of trouble.

They end the set with “Speak Life” which “sums up the message of his music: live a life that will enable us to survive life’s slings and arrows with dignity and love.”

speak life and lead a humble and meek life.

All three songs feature great bass work by Shiah Coore.  I also really love the backing “woah ohs” in the song.

Damian says that they made a video of this song which was shot in Ethiopia and is subtitled in Amharic.  He says that as Rastas, Ethiopia is very close to their hearts.

The end of the blurb makes me wonder if I would enjoy the recorded versions less, since that what I enjoyed so much:

But what makes his music stand out on this session is the prominence of the acoustic guitar and piano in the arrangements, which makes the familiar sound somewhat new.

But he is very charming and funny and he ends the set talking about boxing Babylon vs Natty Dreadlocks.  Then he shouts, “We did it boys.  In the big leagues baby!”

[READ: July 21, 2019] This Was Our Pact

I really enjoyed this graphic novel.  S. had told me about it and told me I’d really like it.  She was right!

The pact of the title is simple.  There are two rules: No one turns for home and No one looks back.

The narrator is Ben.  He is one of five young boys who have made this pact.  The pact revolves around the Equinox Festival, in which the townsfolk send hundreds of lanterns down the river.  Every year a group of kids hopped on their bikes to follow the lanterns.  Usually everyone petered out.  But this year they were going to go all the way. The wondered, “Did they really journey far into the stars, like the old song sang?”

The boys set out following the lanterns.  As soon as they head out, they are followed by, “nerd alert!” Nathaniel.  None of the boys (except Ben) is friendly with him.  Even when Nathaniel says his mom made Rice Krispie treats, they don’t turn around and let him join.

The imagery of the book is beautiful.  It’s largely in blues because the story takes place at night.  The lanterns are little white spots in the blue and black rivers. (more…)

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SOUNDTRACK: GEORGIA ANNE MULDROW-Tiny Desk Concert #839 (April 8, 2019).

I’d never heard of Georgia Anne Muldrow.  My takeaway from this set is that Muldrow is a wonderful hippie–spreading love and peace and being a total free spirit.  But what do we know about her?

The blurb says

The first song I ever heard from Georgia Anne Muldrow, back in the early 2000s, was called “Break You Down.” The opening line spoke directly to my experience as a twentysomething coming into my own:

“Don’t let them make you forget who you are
Don’t let them break you down”

I later found that she wrote, produced and performed that song when she was only 17-years old. She possessed talent and perspective beyond her years and I became a fan.

But more interesting than that is this piece of information.

She’s also made a name for herself as a collaborator with artists [like] Erykah Badu, with whom she introduced the notion of “staying woke” to the world, years before it was appropriated as a hashtag.

“Overload” opens with her doing some crazy muttering and sounds.  I didn’t think I’d like the song at first, but it got really funky with some cool keys from Mokichi (his keys dominate most of the songs as the main instrument) and a very cool six string bass from Bronson Garza.  I really like the chours.  By the end she is totally intense and into it–an amazing performer

I know they want to kill ya. I know they want to break ya.
I’m sure they envy you because your love is so true.
They want to break your mind they want to drive you crazy.
They don’t love no black man unless hes in slavery.
But let my love raise you higher.

It’s pretty awesome.

Some time would pass before she eventually released her debut album, Olesi: Fragments of an Earth, in 2006. Since then, she’s released well over a dozen, mostly self-produced projects. While much of her music’s focus has been on the healing, preservation and education of African American people, the themes are universal: family, struggle and of course, love.

Up next was “a reworked and animated versions of the song ‘Flowers.'”

She and the band were floating the possibility of swapping the duet with her partner in music and life, Dudley Perkins with another song. But she decided it was more important to showcase their shared love on the song “Flowers,” originally from Perkins’ 2003 album A Lil’ Light.

It’s a softer song.  She sings the beginning and then Perkins takes over.  I don;t like his voice all that much and find this song rather dull.  But they clearly had fun plying it.

They end the set with an extended and jazzy version of “Ciao.”  She plays bongos to start this one which accentuates Renaldo Elliott’s drum kit.  It has a jazzy bass line and feels really improvised.   She starts riffing on going to Africa–South Africa or Togo she stars rhapsodizing about all the places they could go Nigeria  left alone by the police there because we’ll be in the majority.

Pack my bags and go where the equator hugs me, maybe even pick me a mango.

Georgia Anne Muldrow is a force of love and it is hard, and somewhat foolish to resist her.

[READ: April 10, 2019] Be Prepared

T. has had this book at home for quite a while (she’s quite the collector of graphic novels).  I have seen the cover for ages and so I had an idea of what the book was about.  Boy was I wrong.  For I assumed it was about summer camp.  And while it is, it is about so much more.

I really enjoyed her drawing style in Anya’s Ghost but I like it so much more in this book.  Her drawings of Vera with her big glasses is just so charming and sweet.  I was hooked from the first page.

As the story opens we see Vera at a birthday party for Sarah Hoffmann.  The party is important–an ice cream cake, pizza, (with a stuffed crust) and of course, a sleepover.  All the girls have fancy sleeping bags, but Vera’s is Russian and very utilitarian.  All of the girls gave Sarah accessories for her fancy historical doll. While Vera drew her a picture.   The girls wonder where Vera’s doll is, and Vera lies (badly) about hers being at home.

When Vera has her own party later, she tries to create the same atmosphere–but fails miserably.  The ice cream cake is a Medovik tort (with writing in Russian), the pizza is from Dmitri’s and the drink is Kvass (carbonated beverage made from rye bread).  Everyone slept over, but they all called home to get picked up in the middle of the night.

Vera didn’t really fit in with anyone.  But she still had friends (and Sarah was certainly nice enough). (more…)

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SOUNDTRACK: WEEZER-Tiny Desk Concert #837 (April 1, 2019).

Weezer is surprisingly polarizing for a band that writes fairly mundane pop songs.

I can’t help but think that this Tiny Desk Concert will just add fuel to the fire.  It’s the four Weezer dudes (Rivers Cuomo: lead vocals, guitar; Brian Bell: guitar, vocals, keys; Scott Shriner: bass guitar; Patrick Wilson: drums) on acoustic instruments.

Why polarizing this time?  Because they play unexpected songs.  They don’t play Africa, nor do they play any of their popular songs.  They also don’t play fan favorites from the first two albums (well, sort of).

They open with “Longtime Sunshine,” a 1994 track that’s only appeared as a Rivers Cuomo home recording on bootlegs and compilations, and on the deluxe edition of Pinkerton.  With piano and acoustic guitars, it really sounds nothing like Weezer, except that it is clearly Weezer (the lyrics, that voice).  Rivers plays the guitar solos and there’s some surprisingly loose bass work.

They sound good, but a little less than perfect, which is cool.  As the blurb notes

This is probably the loosest you’ll ever see Weezer. Known for meticulously produced — and electric — live shows, frontman Rivers Cuomo and the rest of the band settled in behind the Tiny Desk for an entirely acoustic set without the in-ear monitors, click track or vocal separation they usually employ to stay locked-in and tight for bigger performances. The result is surprisingly intimate, with songs that feel lived-in and rumpled, like an old flannel shirt from the ’90s.

They follow that up with a new song.

Then the band performed a stripped-down version of its electro-pop song “Living in L.A.,” from Weezer’s new self-titled “Black Album,”

I actually don’t know the proper version of this song (but I do know a lot of people don’t like the electro sound of the new album). So maybe this version (which is really good) will make them wish the recorded version were more like it.  Bell adds another acoustic guitar and the riffing is pretty heavy (for acoustic guitars).

For everything that polarizes people about Weezer, the one thing people seldom talk about is their musicianship.  All four of them (Bell in particular) are very good and even if they are loose hear, they still sound right on.

I was pretty excited to hear them play “Across the Sea” from Pinkerton, since the certainly don’t play this much.   I never really understood the lyrics all that well, but i enjoyed singing the parts that I knew.  The blurb puts it well:

It’s a song Cuomo originally wrote in his early 20s, inspired by a fan letter he’d received from a young woman in Japan. While beloved by many Gen-Xers who’d first heard it on 1996’s Pinkerton, the song’s lyrics haven’t aged terribly well.

But if you can look past that (I think it’s only the one line that’s uncomfortable-making), the version sounds great.  I especially like the combination of Rivers playing the solo and Bell playing the other guitar.

It’s nice that they were allowed to play four songs.  They play the new song “High as a Kite.”  I didn’t know this song either and I actually can’t imagine it done in any other way.  It’s quite a pretty song.  I’m very curious to hear the recorded version.

There’s a moment n the song where it shifts gears where it sounds like they screwed up, but I don’t think they do, it’s just a little clunky in this format.  Again, I want to hear what it sounds like on record.

Weezer is known for being kind of goofy, so it’s easy to expect them to do something fun, but they are all business.  Aside from this goodbye, “We are Weezer, from the planet Earth. Have a nice life!” they don’t really say anything or break from playing straightforward songs.

The blurb, again, puts it well. It says the song “High as a Kite,” is a

song of innocence and escapism, Cuomo sings about daydreaming and how he wants to disappear — which is exactly what the band did once the song was over.

Longtime fans of Robin Hilton will know that he loves Weezer.  I never found out how he reacted to this Tiny Desk.  Was it polarizing for him as well, or was it just cool to see this side of an otherwise very polished band.

[READ: April 9, 2019] The Return of King Doug 

I have had this book on my bookshelf for a decade, apparently.  I’m not even sure where or how I came to have it although the Oni Press label is a good indicator.

The book starts twenty-five years earlier in the Magical Kingdom of Valdonia.

Valdonia is made up of strange-looking creatures.  Part of this is also because of Wook-Jin Clark’s really odd drawing style.  It took me a while to get used to and enjoy the way he draws and even now I still find it a little off, somehow.

Two centaurs are speaking about the Dark Queen and how she will not rest until she has defeated their kingdom. Balthazar shows off their one defense, the Magical Heart of Agnon.  They just need someone pure of heart enough to wear it.  And Balthazar has heard that one of the Tumtums, Feldspar, has met a stranger–a human child–who might just be that pure being.

The human is Doug and he found his way into their village.  He also bears the mark of the prophecy. (more…)

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SOUNDTRACK: RHEOSTATICS-Scotiabank Saddledome Calgary AB (November 15, 1996).

Rheostatics opened for The Tragically Hip in Fall 1996.  Some of the shows were online already, but in 2018, Rheostatics Live added about ten more shows.  This is the 6th night of the 24 date Canadian Tour opening for The Tragically Hip on their Trouble At The Henhouse Tour.

Dave introduces the show: “Hello people of Southern Alberta, let us entertain you.  Let us kick your ass.”

The show starts with “Fat” and Martin gets some cool wild guitar sounds.  The backing vocals are great and the end of the song really jams out.

Tim’s “All the Same Eyes” seems to rock out a bit more than usual with some scorching guitars from Martin.  They follow it with “Fan Letter to Michael Jackson” and they have fun with it.  Dave has to announce, “stop making faces, this is serious stuff.”  During the middle part, Dave chants, “Michael’s getting married,  Michael’s having a baby, Michael’s going down.”  They stretch out the “it feels good” part with a mellow jam and Martin doing some great falsetto.

Dave talks about Melville millionaires sticker on his guitar.  He says “we played in Melville, Saskatchewan–the best town in Canada.  Martin talks about them playing The National hotel.  They had two nights there and after the first night, someone spray painted outside of their door: “Go home noise pigs.”

Martin introduces “Sweet, Rich, Beautiful, Mine” and Dave says “and we’re not going home.”   Martin makes some great weird noises from his guitar and, once again, there’s more amazing backing vocals from the band.

Don announces: “We’ve got a new record out, it’s been out about a week.  This next song is on it, that last one was on it.  It’s available tonight.”

Then comes two songs from Tim.  It starts with “Bad Time to Be Poor” which has scratchy guitars from Martin.  It sounds great and Dave says “That’s getting played on the radio and we’re awfully happy about that and thanks to those who are playing it.”  Up next is the second Tim song with “Claire.”  Dave says this next song is from Whale Music, underwater music–aquarium rock, they’re calling it.

Dave says they played hockey last night at Max Bell Arena–home of the Calgary Canucks–Calgary’s greatest team. It was them and the Hip & the crews.  The score was 17-17.  It was a great game–we were fortified on ice.

After a rocking “Self Serve Gas Station, ” Dave says, “The people in Edmonton said the people in Calgary didn’t know how to rock.”  Tim: “That’s not true.”  It’s a great intro to another blistering version of “RDA” which they sing as “Rock Death Canada.”

Even though I love the Rheostatics’ longer sets, these 45 minute nuggets are really tasty.  And the band is in peak form at these shows.

[READ: March 4, 2019] On a Sunbeam

I really enjoyed Walden’s memoir Spinning, which was all about competitive skating and a young girl coming out.  So this story threw me a bit because it is about a crew of workers aboard a space ship whose job is to help repair derelict structures.

And it starts right in the middle with no explanation.  We just see a teenaged girl looking out a window at a floating city.  Her name is Mia and she is being brought to a crew that she’ll be working with for the foreseeable future.  The crew consists of Alma, the de facto leader, Char, the actual captain, Jules, a young girl who is actually Alma’s niece, and Elliot.  Elliot is a mechanical genius, is nonbinary (goes by “they” rather than he or she) and does not speak.

Mia and Jules bond pretty quickly, but it’s going to be tough work–up at 5AM and a lot to learn.

The story flashes back to five years earlier.  Mia is at school and, although a freshman, is already defiant.  She gets in trouble for skipping out on a mandatory assembly and sneaking into the gym to look at what turns out to be flying machines.   While in detention, she meets Grace.  Grace is shy but a defiant in her own way.  They form a pretty quick bond. (more…)

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SOUNDTRACK: KING GIZZARD AND THE LIZARD WIZARD-Murder of the Universe (2017)

Every KGATLW album is different.  Including this one.  Murder of the Universe is their second album of 2017.  It is narrative concept album split into three separate stories, each containing elements of spoken word to carry a narrative. The first two chapters feature Leah Senior’s narration, while NaturalReader’s “UK, Charles” text-to-speech application narrates the final chapter.  And it totally rocks.  There’s great riff, distorted guitars and harmonicas and lots of whooping vocals.

There are, essentially three stories on this disc.  The first chapter, The Tale of the Altered Beast, is about a human who stumbles on a mystical human/beast hybrid.  The narration is quite long and deadpan and tells a fairly complex story, which starts:

As soon as the dust settles, you can see
A new world in place of where the old one had been
Your skin is crawling with dry, crusted mud
And your naked feet are wet in a pool of blood
And the whistle of the wind in your ears is so loud
That your memories have blown up in a mushroom cloud
And as your eyes accommodate
There appears by the meadow
A brute like a bear with a long, dark shadow
And you violently shake over what you have seen
As you remember the tale of the Altered Beast

Nearly each of the nine tracks has narration interspersed with singing.  There’s a lot of repeated sections, but more as a thematic choice rather than as repetition.  The titles of the songs are indicative of this: Altered Beast I, II, III and IV and Alter Me I, II and III.  But those parts are not simply repeats.  Rather, they allude to each other with repeated riffs and words.  But even though parts are repeated there are plenty of original riffs throughout.

The third part of “Alter Me” has a cool 80’s sci-fi keyboard sound, which works perfectly before the noisy harmonica returns.

The “Altered Beast” story is the longest part of the story at 19 minutes.  And the final “Altered Beast” part has a very nifty fast section that I believe is in 11/4.

The last track “Life/Death” is very different–keyboard-fueled and almost poppy sounding, this final minute of the story is not a happy one.

The second chapter, The Lord of Lightning vs. Balrog, focuses on a battle between the forces of light of darkness.   And the segue between the two, called “Some Context” references “People-Vultures” from Nonagon Infinity.

It opens with guitarist Joey Walker’s Mongolian throat singing behind the narration on some of the tracks.  This adds an extra sense of ominousness to the story.

So the main story is a battle between The Lord of Lightning and Balrog and  they each get a song:

When the songs proper start, “The Lord of Lightning’s” theme is somewhat proggy with all kinds of ostinato (to use a term form the narration).  In addition to keyboard parts and some heavy rocking parts, there’s a callback to the chorus of “Nonagon Infinity.”  The music for this chapter is very complicated with fits and starts and various drum lines.

While the interstitials in the first chapter were done with an interesting guitar riff, the interstitials in this part come with a fast rumbling bass line.  “Balrog” has a lot of chanting befits a KGATLW song.

The war comes to a head in the Floating Fire which has more throat singing and a martial beat and its aftermath “The Acrid Corpse” … but which one is the corpse?

The third and final chapter, Han-Tyumi & The Murder of the Universe, is about a cyborg in a digital world who gains consciousness and decides to strive only for what a cyborg cannot do: vomit and die.  How very King Gizzard.  There’s a lot about vomit in this song. Maybe it was just fun hearing the robotic voice say vomit?

He decides to create a creature dubbed the “Soy-Protein Munt Machine” whose only purpose is to vomit. When the creature rejects his love, Han-Tyumi decides to merge with the machine, which causes it to lose control. This machine explodes and infinitely expels vomit, which eventually engulfs the entire universe: and so the universe is murdered.

It opens with keyboard swirls, like the opening credits a sci-fi soap opera

This is a much heavier bunch of songs, like the thumping (with extra drums) on “Digital Black.”  Over a futuristic keyboard section Han-Tyumi recites his problem:

I am bereft of two human things
Two things that a cyborg can never do
Two things that I strive for
Two things between myself and mankind
Death
And
To vomit

This story is bonkers.  But it totally rocks and it leads to the really catchy song (which they played live when I saw them called, what else, “Vomit Coffin.”  The final song is a tour de force of instrumental power while HanTyumi talks of vomiting and getting bigger and bigger until he destroys the universe.  Gross and hilarious and totally rocking.  Destroying the Universe never sounded so good.

[READ: February 28, 2019] Castle in the Stars 2

This gorgeous graphic novel was originally published in French and was translated by Anne and Owen Smith.

Part two continues with the beautiful look of his book.  I am really fascinated at the way these characters can look at time cartoonish and at times almost photo-realistic (in soft focus).

At the end of the last book our team escaped from certain danger by jumping aboard an aethership.  The crew is Seraphin (whose mother has been lost in the aether when she took a ship there and never returned), Seraphim’s father as well as Seraphim’s friend Sophie (a girl!) and her half-brother Hans (the very cartoony looking character). They are joined by King Ludwig whom we are told at the begiinning of the story just wanted to leave everything behind. (more…)

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SOUNDTRACK: CAT POWER-Tiny Desk Concert #821 (February 4, 2019).

I remember when Cat Power was a buzz artist who had signed to Matador.  I bought her album in 1996, but I guess it didn’t leave that much of an impression on me.

Since then, she has been a buzz artist for performing and then for not performing and then for performing again.  All the new music of hers that I have heard seems to get slower and softer.

The biggest surprise about the Tiny Desk Concert was how full of smiles she was and yet the blurb makes her sound uncomfortable:

Most artists who play the Tiny Desk are at least a little nervous. Performing in broad daylight in a working office full of staring faces is outside the comfort zones of most people. But Chan Marshall, the unforgettable voice behind Cat Power, seemed especially uneasy when she settled in for her set. Rather than taking center stage, close to the audience, she stepped back and to the side to be closer to her pianist and friend, Erik Paparazzi, for much of the performance. She intermittently steadied herself by resting a hand under her chin while clutching a cup of tea, and she ran through three songs without a break, making her set sound more like a Cat Power medley than a series of distinct songs.

So I don’t know any of the songs she played here and when I first listened I actually assumed she’d only played two songs because the first two blended together.

Regardless, the music was arresting and beautifully orchestrated, with simple piano lines and brushed drums backing a voice that could only be hers.

Opening with “Wanderer,” the title track to Cat Power’s latest album, Marshall sang of restless love and yearning with a nod toward motherhood and her 3-year-old son: “Twist of fate would have me sing at your wedding / With a baby on my mind, now your soul is in between.”

It has a quiet, simple piano melody (from Erik Paparazzi) and a gentle guitar (from Adeline Jasso) that imperceptibly pushes it forward.  After a minute, the brushed drums (from Alianna Kalaba) come in to add a little snap to the song.

“Woman,” another track from Wanderer starts immediately.  She had recorded this song with Lana Del Rey and I recall liking it. This version sounds so much like the previous song that I don’t even recognize the original in it.  The differences between the two songs are that the piano notes have changed a little (but since they repeat all the way through, it’s not hugely noticeable) and the guitar now uses a slide.  Otherwise the beat is I believe unchanged.

She segues right into “The Moon,” from her 2006 album The Greatest.  The only distinction here is that the guitar and drums stop briefly while the newly repeating piano picks up a slightly different melody.  This song sounds so much like the previous one because she sings the word “Moon” so much like the word “Woman” (often given Moon more than one syllable) I couldn’t tell that she was saying something different.

I suppose if I were in the right mood I would have found this mesmerizing and enchanting.  But mostly I just found it rather dull.

[READ: February 5, 2019] Speak

I hadn’t read this novel and, in fact, I wasn’t exactly sure what it was about (although I knew it was intense).  The only reason I picked it up was because I thought it was a First Second publication and I plan to read all of their books.  This was listed in their 2018 publication list, but it ultimately wasn’t published by them, it turns out.

S. knew the book from her work with teens and said she didn’t want to read the graphic novel version.  So I expected a harrowing, potentially unreadable story.

But Anderson has created an excellent and compelling story built around a harrowing incident.  She also doesn’t detail the harrowing incident until later in the story, so by the time we hear about it we are even more sympathetic to Melinda.

I will say that as the story opened (because I didn’t know the timeline), I thought that the kids were being unrealistically mean to her.  I thought she was a new student at the school (it’s her first year in high school) and I couldn’t imagine why people really had it in for her.  It seemed hard to believe.  Especially as we realize pretty quickly that the incident has already happened.

Then it gradually comes out that kids are mad at her for something she did.  It is connected to the incident, but clearly isn’t about the incident because she hasn’t told anyone about it. (more…)

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SOUNDTRACK: TERRA LIGHTFOOT-Live at Massey Hall (December 8, 2017).

I know of Terra Lightfoot because she has done some (very minimal) work with Rheostatics.

Amazingly, she is not related to Gordon Lightfoot (how many people have this last name?).

Terra Lightfoot opened for Whitehorse (a double bill I would love to see).  She plays a half a dozen songs.  I thought she might be a sensitive folkie (again that Gordon connection), but it turns out that she rocks (and blues), has a powerful voice and plays a pretty wicked guitar as well.

Lightfoot is a great front woman–engaging and funny–and she has some great stories to tell about each of her songs.

“Stars over Dakota” just rocks out–big guitars, smashing drums (from Joel Haynes) and then settles into a swinging shuffle.  Lightfoot has a singular voice which I quite like.  I also like the little guitar riff she gives after the “gin martinis make dizzy” line.  She is joined mid-song by Melissa McClelland of Whitehorse who sings some amazing harmonies.  That’s two killer voices on one stage.

Drifter is a slower song, with a really lovely opening guitar melody.  She has been inspired in her career by her grandmother and her aunt who both played music.  Her grandmother recently died, but her aunt is still playing.

Introducing the next song “You Get High,” she says she has a special new guitar–a woman made it for me Ashley Leanne from Waterloo, she’s 26.  While Terra’s going to play this acoustic, she invites Daniel Lanois up on the stage.  “Can we get a spotlight on the man here?”  They can’t so he scooches over to her spotlight amid much chuckling.  Lanois plays a beautifully fluid electric guitar while she picks out a lively melody on the acoustic.

“Norma Gale” is about a famous musician from the 70 who played with Loretta Lynn and Johnny Cash and went on a date with Conway Twitty (I guess he didn’t call her back).  While she was doing all these cool things, she was also raising a young son on her own.  So Terra wrote this song for her.  It starts as a pretty, slow ballad but builds nicely with the addition of keys (from Alan Zamatis).

“Hold You” rocks up again, and it’s got a cool call and response with a bass melody (from Maury LaFoy) rumbling along.  “Two Hearts” is a song she wrote in a couple of places in Europe when she was very much in love…. with a couple of people.   The song starts slowly but build to an intense climax with pounding drums and Terra on her knees rocking out,.

Having had a total mis-perception of Terra Lightfoot, this show blew me away and I want to hear more from her.

[READ: January 19, 2019] All Summer Long

This was a fun story about friendship, distance and guitar playing.

As the story open we see Austin and Bina getting ready for 7th grade summer vacation.  They have been friends since they were five years old and have spent all of the previous summers together.  They even created the Combined Summer Fun Index–a way to tally just how much fun they have each summer.

Last summer’s included:

  • Cats petted: 22
  • Went swimming: 51 times
  • $idewalk change: $1.18
  • Sneaked into R-Rated movies: 2 times

But this summer, Austin can’t participate.   He is going to soccer camp for a month.  A whole month.  Summer is ruined–for Bina at least. (more…)

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