Monday, December 21, 2009

The Dark Tower IV: Web browsing

Note: I finished this book a few weeks ago, but a post was pushed back by a few other things that we've been doing on here.


WIZARD AND GLASS

I stated in my last post that this book was probably my least favorite of the bunch the first time I read the series. Until I read the rest of the books again, I can't say if it still holds that spot. What I can say is that I understand better this book's role in the overall story.

"Wizard and Glass" is primarily the backstory of the Gunslinger prior to where we meet in the first book. It's the story of what happens to him after he earns his guns, finds out his mother is cheating on his father with a magician and then is sent away to an outlying region called Mejis by his father with his friends Cuthbert and Alain.

I am not going to hit the whole plot here. Ultimately, this story shouts clearly how Roland became a killer driven by one ultimate goal - The Dark Tower. He's only 14 here as he sacrifices his first love for the tower and foresakes all that would join him that they would likely die in the hunt the tower.

In all, it's an important character developing book. It's also the one in the series that Snake would probably like best. It has an old west feel during the tale of Mejis. There is also an awesome war scene as the Gunslinger rides for the first time into a battle outnumbered.

In conclusion, I decided to make this post more about the allure of the series. So I did some research. I am going to post a Youtube tribute (there are a large amount of these and some them are poorly made and overtop) and some websites. I know Snake likes to troll the web. If he has time, he may enjoy some of this.

No. 1 - Here's a good video. The music is referenced in the final couple books. The art comes from the book and from a comic book series.


No. 2 - The official website - Lots of good stuff here. Check out the connections part. I've been meaning to do a post on this, but why when they are all there for you. There is also an interactive thing that I haven't checked out yet.


No. 3 - Another website. I guess I like seeing that I am not the only junkie of this stuff.



I'll stop there, but maybe I'll post more as I look around more.

Next up - The Wolves of Calla. I don't have this one, but I am hoping it will be in the stocking this Chrsitmas.


Monday, December 14, 2009

Red's CD Project Story 2: Part 4 – Reap

Note: OK, so this part is long. Really long. Believe it or not, this is what I intended to write in the very first section before I realized I had to get here first. This was a hard section to write due to it being first person for much of it. Dialogue, in the form of storytelling, is hard. If I go back and edit and clean this up, this part will likely need a lot of work. But, for now, I hope you enjoy. 

Disc 1
Track 4: House of Doom – Black Label Society

“They say you reap what you sow. Hell, if that ain’t a fact”

Nestor turned his back and, for a second, Oan considered driving the spear, which was still lying across his chest, between the old man’s shoulder blades. He had asked the questions that had been running through his mind and his soul since pulling Nestor from the Belnor, but now he was not entirely sure he wanted to hear the answer. His chance for attack slipped as Nestor glanced over his shoulder, the light hitting the ridge of the scar that ran down his face. He thought both Nestor’s mouth and the scar grinned daring him to try.

Oan instead tossed the spear aside, rose from the fire, his skin healing fully as he did. He fed a few more logs into the flames and dropped to the ground. Doom settled over Oan as Nestor’s voice started with a low rumble that seemed to echo off the dark sky and reach the ears of Old and New Moon. Oan heard movements from the camp, but he knew as that as long as the voice spoke that the Aldroubi would stay away knowing not to interrupt a telling such as this. While the story conjured evil, the spirits of the forest, of the river, of the wild and of the earth would want to hear. Interrupting would only incur their wrath.

Nestor began, perhaps with a tear running down his cheek although it very well could have been a cold sweat. Oan was not close enough to tell.

“Aye, the Sorna watch failed. On the day a thousand season cycles ago that Tarek Grandar cast Salama to his tomb in the sand, he posted two-dozen towers along the sprawl of the barren land to watch for the demon’s return. He blessed the men charged to give watch, but cursed them if they failed. The men of watch came from the city of Noce, heart of the great kingdom of Nocnil, one of the seven great kingdoms of the old age. If I may add, the only one of those great kingdoms that remains, unless of course you believe the tales and such of Arna, which they say is west of the Sorna. Don’t believe them boy! Everything dies west of Noce. Only the damned come back from those sands.

“Since that day men have been trained to watch the sand blow and shift across the vast wasteland. It takes a keen eye, my boy, it does and a strong heart. Most of all your taught the tale of Salama, of Tarek and his blade Lunar. To watch, because even today, those in black cloaks try their hand at the desert to find the hidden tomb, deliver a baby of pure stock and bring the demon back to life. But for years, those in the black cloaks have dwindled and all but disappeared from the earth. The watch grew uneventful and boring.

“Arrogant and restless were youngest men of the watch. Too good, they were to watch sand and their time too valuable to guard against an old fantasy. Too many days, too many nights, they left their posts unwatched. I warned them, I being the oldest still alive. I could feel a change, smell it you know, in the dust kicked up by the wind.

“Then one day, I spotted his ashen corpse top a golden dune far off in the distance. Even with my sharp eyes, I had to squint to see the demon. I was alone atop my tower and I sounded a horn, but no one came. As the day drew on, I blew the horn more as the bedeviled man closed in leaving a black trail of dead steps in the sand. He arrived as the sun burned its way to the underworld and behind me Old Moon’s cracked face peaked over the horizon.

“The demon recoiled at the sight of Old Moon. I think the old wound from Lunar flared just then and Salama thought of Tarek Grandar and the blade born from Old Moon’s own face. I saw it all on the demon’s face, you see, because I wasn’t bout to forfeit my tower and my honor without a battle.

“I’d been trained and tested, my boy. I had lived through battles and brawls. I was good boy, as you can now attest. But I knew that no sword or staff of mine would pierce this demon’s skin. My only defense was the old skins filled long ago with the icy waters of the Belnor where it touches the heavens (where it is at its most pure) brought by Tarek Grandar and placed in each tower. It was said the Belnor water, once thrown on the demon, would extinguish the fires boiling in his blood.

“So armed with nothing more than a skin of water, I rushed down the stairs of my tower and met the man that torched kingdoms and nearly devoured all the world.

“He was like no man I’ve seen. His skin, nay, it wasn’t skin. It was flaky and black, not like those of the men from the south, but like ash and some blew off in a strong wind. The demon had four arms, two from his shoulders like you and I, and another short pair from the side his chest. He wore a black robe that covered his naked chest. There were no pupils to his eyes, just a clear surface that changed colors and tones from purple to red to a milky white. There was little else to the form to his face, just subtle features that had not yet taken shape. My current scarred features pale in ugliness to that monstrosity.

“In a scabbard was the black sword he received from the lord of the underworld so long ago. In his hand, a whip was unfurled, but not naturally dangling. It was coiled and tense.

“His ugliness burned at my eyes, but I could not look away and he did not speak for I do not think he had a tongue. Least not one that had grown through the ash and decay yet. Nor did I speak because I knew there was no reasoning with a demon. Only action in the ways of the demons and such – ill-intentioned action that scars and carves great craters of agony in the light.

“I fumbled with the skin, unscrewing a cap sealed for what I thought was centuries, but I knew straight away that the treachery that had reborn this monster had sullied my only defense. The water inside was warm and dirty. The kind of water I was bathed in as a babe and drank all my days. This was no Belnor water. This was water from Serj, a nasty pool south of Noce. Someone, likely a man of the Sorna Watch, had replaced the true water. A shame and a curse, I put upon that unknown man every morning when I awake.

“Alas, I sprayed the water anyway at the demon and he didn’t so much as flinch. All I heard was slight crackle like pissing on a fire as it landed on his ashen skin and then nothing. I swear the demon smiled then revealing a row of razor sharp teeth and a fiery abyss beyond.

“Then he cracked his whip once with a grin and then unleashed its hell. It snapped and whizzed.

“Now boy, I’m fast. Even for a man whose hairs are gray and back is weak, I was quick enough. I snatched the tip from the air with my right hand. The sting pierced my skin, but my speed did impress the demon. I held the whip contemplating pulling it hard. Then I heard a snap, then a crack. In my hand, the tip of the whip was biting away at my first two fingers. The whip had a face of a snake that had a full mouth of teeth and venom. I shrieked pulling away, the snake grinned taking my two fingers with it.

“The pain coursed through my arm and I feared a poison that may burn through my soul. I was paralyzed as I fell to my knees. The sand below seemed to be swallowing me up. The whip or the snake or whatever the cursed thing was slithered along ground toward me, hungry for blood, for bone.

“The last I remember was it stiffening once on the ground and then uncoiling toward my face. It’s jaw unhinged, gorging down my face then plucking my eyeball straight away from my socket. There a wet noise, my boy, when your eye leaves your skull. One that haunts my dreams and turns my insides even to this day.

“I screamed and everything after was black. I didn’t dream. I didn’t stir. For hours, nay it may even been days, my blood soaked into the Sorna. Why the demon or the snake didn’t finish me, I cannot say. I reckon the horror and shame of my failure was more pleasurable to the demon then my demise.

“For when I awoke that’s what I was forced to confront in the form of a string of corpses lining the road back to Noce. All of them men, of which many were men of the watch that had answered my horn’s call too late.

“The men were devoured, ruined and drained of their blood. They appeared to be corpses left in the sand for months, not one’s lying there for less than a day. With each, the jaws were wrenched open in a final scream of horror. The first few, I stopped and wept by. Then the numbers became too many, the feeling inside too numb.

“But I tell ya, boy. What was done to the men was terrible, that’s for sure. I soon discovered though, it was much more favorable to the fate of the women. That hell, along with a poison slowing coursing through my veins, sent me on the run to the waters of the Belnor.”

Wednesday, December 9, 2009

1001 Albums (401-415): If I Should Fall From Grace With God - Infected

Note: Back by popular demand, we get a wide variety of acts and sound here especially at the top of the list. I think Snake will have plenty to write about from this group.


The Good

If You Can Believe Your Eyes and Ears (1966) by The Mama’s and The Papa’s

Jon Phillips song writing ability melded with the unique harmonizing vocals, which was the staple of the group. The hippie aura, fat Mama Cass, hot Michelle Philips, they are still part of pop culture lore. This album features hits “Monday, Monday,” “California Dreamin’”, and “Go Where You Wanna Go.”

Ill Communication (1994) by Beastie Boys

A turning point for the Boys as they transitioned from a young strictly party group to a group of guys trying to say something. Jumping off this album is “Sabotage” that, along with its classic video, became one of the biggest, most important tunes of the 1990s. Definitely an album that belongs on this list!

Imagine (1971) by John Lennon

Probably the biggest post-Beatle album, Imagine is an all-star cast, No. 1 blockbuster. The title track is the probably the singular song people think about when they here Lennon’s name. It’s his mantra, his biggest idea. “How” and “Jealous Guy” are the two other tracks that hit it really big as singles.

In-A-Gadda-Da-Vida (1968) by Iron Butterfly

Most people would say that one song does not make an album, but in this case their wrong. Without the 17 minute title track, Iron Butterfly likely would never be talked about again. While I don’t know if people need to own this album, they do need to hear it once or twice in their life. It’s an experience like no other. “Hey Marge, we used to make out to this hymm.” I had to sneak that in.

I Never Loved A Man The Way I Love You (1967) by Aretha Franklin

Possibly one of the most important female albums of the century, it hits right away with the cover of Otis Redding’s “Respect.” From there, Franklin mixes in covers with self wrote, self-accompanied tunes that displayed the freedom Atlantic records gave her.

The Middle

I’m A Lonesome Fugitive (1967) by Merle Haggard

Haggard saw Johnny Cash play at San Quentin and realized that there was a big market with former convicts singing country songs. Haggard, an ex-convict released a string of albums focused on his past, this being the height of his self-exploration.

I’m Your Man (1988) by Leonard Cohen

Cohen is a poet that decided to sing his poem. I haven’t made it through many of his songs, but he has a signature voice and his lyrics (always strong) usually are dripping with either sexuality or humor (often both). I am not familiar with these songs, but might be worth looking up.

In A Silent Way (1969) by Miles Davis

This is a stepping-stone to the later high point of Davis’ career “Bitches Brew.” This album features two 20-minute songs that use silent moments as part of the effect. Also appearing are Herbie Hancock and Chick Corea.

The Best of the Rest

If I Should Fall From Grace With God (1988) by The Pogues

A nine-piece Irish band sounds like it might be fun to listen too. It’s kind of fun, drinking kind of music.

The Rest

If You’re Feeling Sinister (1996) by Belle and Sebastian

Well these two Scots were a big mystery in the UK as they refused to make appearances often sending friends in their sted. They also used a former boxer (Stuart Murdoch) as their vocalist. Yet, the two barely-out-of-high-school kids seemed to make decent music.

I Had Too Much to Dream (Last Night) (1967) by The Electric Prunes

Here’s the best band name of the week. A group of teenagers plucked from their garage by a real estate agent, provided professional song writers that released an album that later inspired some punk bands in the 70s.

Illmatic (1994) by Nas

Here’s a rap album that unlike its contemporaries exposes the realities of the streets and gang life rather than trying to glorify them. Also infused with jazz to add depth.

Immigres (1984) by Youssou N’Dour

A Senegal star is born. I guess there are four songs here on a 34-minute album. That’s something to talk about.

Imperial Bedroom (1982) by Elvis Costello and The Attractions

Well it’s been awhile since we had an Elvis Costello album. Once again, here’s a simply amazing album that apparently no one really liked but critics. Maybe it’s good, I don’t know.

Infected (1986) by The The

Apparently this angry Brit, didn’t like Ronald Reagan, capitalism or AIDS. So he made this album with this silly, stupid band name.

Wednesday, December 2, 2009

Red's CD Project Story 2: Part 3 – Changing courses

Note: It may be a bad pun to say it was burning me to get this part started. I knew how I wanted it to go, I just didn't have time to write it. Unlike some other things I've written like this, I am tickling in more backstory as we move the current story forward. I think that's why it feels like a lot has happened even though, through three parts we're still by the fire. 


Disc 1
Track 3: All Messed Up – The Donnas

“You turn me inside out and upside down… Now I am all messed up”

Oan was a blur, grasping the spear and charging in one mesmerizing movement. Since a boy, he had lived by the hunt. Ten season cycles into life, he had slain a full-grown bear with this very spear and a stone. He still wore those bear’s teeth on a necklace around his neck. There was no man among the Aldroubi that could equal his speed, his stealth and his precision during a hunt. Oan was a born killer.

He skipped over the fire instead of going around, the spear point directed at the heart of Nestor, who didn’t so much as flinch until the spearhead neared the brown flesh poking out below the fur wrapped around his body.

Then Nestor was gone, disappeared to Oan’s eyes with some sort of magic. Oan could accept no other explanation; least of all being that Nestor was quicker and better than he. In fact, the old man from across Belnor had done the impossible dodging the spearhead with such speed that he seemed to leave wrinkles in air as he moved. Before Oan could react, the spear was tugged forward with his momentum carried with it. The world spun and he felt a leg sweep under his and, for an instant, he was staring at Old Moon’s fractured gaze before landing on his back with a thud and a crackle.

The thud was from a log; the crackle was from the fire. Nestor was atop him bracing the spear’s shaft against his chest. His wrinkled face and deadeye staring down with drool falling from his lips. Underneath Oan, the fire burned away at his body. He could feel the flames roasting away, the blisters forming and then one popped spewing forth his frozen blood.

Everything was silent then except for heavy breathing of two men as Oan’s lifeforce kissed the flames, which danced as if the blood was a new, better fuel. His blood dripped down and then the fire screamed and hissed at its touch as if doused with a bucket of water and then shot out in all directions colored blue and green instead of orange.

Oan heard his comrades drawn to the fire by the commotion, scream in horror at the flames. They saw Oan, the boy raised by the witch, pinned to the fire and yet not burning. For years, rumors had swirled about what the witch had done to him. Now, they were all sure that his blood and his body were polluted by some spell. His longtime tribesmen, some of them he considered friends, fled with screams. Oan knew the Aldroubi well. They would regroup their wits and mettle soon. Then they would come back with spears and bows and maybe even the swords of their grandfathers to drive him away. His time with the Aldroubi was over.

His gaze returned to Nestor’s face. The old man was unaffected by all that was around him. Oan felt the strange tickle of his skin healing on his back as his chilled blood was suffocating the flames. He pushed up against Nestor, but the man was ungodly strong.

“Stop you’s fighting,” Nestor voice was strained. He could not keep Oan down like this long. “I let you up soons enough, I will.”

He felt another flame spring up and heard his skin pop on his left shoulder blade. Shadows hit Nestor’s face, making him more ugly and deadlier all the same.

“I’s had you pegged from the start boy, so I did,” Nestor started with his strange accent thick again. “Those waters still chills me to the bone a day later. Yet, you go in neck-high to get me and you’s skin is burning hot by the time we reach the bank. While’s I sit here shivering by the fire, you’re bear-chested and brave.”

“My blood runs cold, old man,” Oan said trying more to push the man off.

“Stop it boy, I’ve been a-watch in the Sorna since well-before you walked this earth. No one’s blood runs warmer than mine, I’ll hold you hear all night if I’s have to.”

Finally, Oan ceased struggling and his felt Nestor’s grip loosen.

“Now, I’ll know one thing before I let you up and from there it’s likely we’ll both be going on our way.”

“What is it, cursed man?”

“Gentle, boy. I’ve tangled with one demon on this earth before and paid a great cost for it. I know one when I’s see it with my good and bad eye. So what is it boy? What sort of demon are ye?”

Over Nestor’s shoulder, Oan could make out New Moon’s blue curved smile. It calmed him a little even though he knew his life was forever turned from its coarse. The witch had told him that one such as him could never grow comfortable on one path because sooner or later he’d have to go another direction.

He settled on Nestor’s empty socket and he was the man saw best from that one.

“I am Oan Stoneheart. The Belnor has taken my breath once. Madra the Lurking Witch healed me with a curse. The blood in my veins runs forever like the Belnor’s iced waters. My course is set to the underworld for one final great battle, but that is a very long journey and one that meanders often.”

Oan stopped, gauging Nestor’s reaction. There was little asthis man had seen enough not to be surprised by tales of witches and curses.

“Now, tell me man of the Sorna watch. Does thee spy for Salama of the Sand since thee failed you’re watch? Or do you truly flee from his evil?”

The lines on Nestor’s face slackened and he stood up.

Monday, November 30, 2009

CD Project Review: Post Academia Part 2

Artist or Band: Death Cab for Cutie

Album: Plans

Why (or how) did I get this: I have a vague memory of seeing the video late one night after I finished work for “I Will Follow You Into the Dark.” Ironically, I don’t recall thinking much of it at the time. Fast forward a few (maybe many) months and I stumbled upon the video again. This time, it’s like I kind of like this sound. Eventually, I was swayed to buying the album. I guess first impressions aren’t always right.

Songs included: Marching Bands of Manhattan, I Will Follow You Into the Dark, Your Heart is an Empty Room, What Sarah Said

Why is that: Snake may have mentioned this, but the songs from this group are all very similar in sound and have strong lyrics. I love the way that “Marching Bands of Manhattan” opens the album and catches my attention. “I Will Follow You Into the Dark,” is the single from the album and the one that convinced me to buy it. The last two could have been shuffled in and out with two or three others songs from the album and I would not have had an problem with that.

Others that just missed the cut: Like I said there is a group of six or seven songs after “Marching…” and “I Will Follow…” that are all pretty even. If I had to do it over again, I may have only included those two and tried to work in a couple songs from other groups. Of the remaining songs, it wouldn’t hurt to check out “Soul Meets Body,” “Summer Skin,” and “Crooked Teeth.”

The bad: I don’t know if I would call these songs bad, but they are sort of the weak sisters of this album (at least in my opinion). I’d put both “Someday You Will Be Loved,” and “Brothers on a Hotel Bed,” as the two tunes I like the least.

The verdict: I really like listening to this album. It’s mixed well, it has strong lyrics and it tends to mellow me out. I need that sometimes.


Artist or Band: The Wallflowers

Album: Rebel, Sweatheart

Why (or how) did I get this: The Wallflowers are really the only active band that I’ve made a concerted effort to buy their music when it comes out. I bought this without ever hearing a song or seeing a music video. I just connect with this band. I am not going to say they do anything more remarkable than your average band or that they are better than most bands going. I just like their music and that’s that.

Songs included: God Says Nothing Back, From the Bottom of My Heart, Nearly Beloved, Days of Wonder

Why is that: First, I put “God Says Nothing Back,” because it’s reached a pretty high level on my favorite song list. Will it slide back gradually in time, perhaps, but I think it will always hang on. I know Snake was hoping I’d leave “God Says Nothing Back,” and “Nearly Beloved” off simply because he had went out and already listened to them because of thing I wrote. I had considered that, but struggled to leave them off after making a big deal about them. “From the Bottom of My Heart” was actually the song that struck me the most when I first started listening to this. Musically, I just love the sound. Lyrically, I think if you listen to it closely, you’ll hear a fairly dark story shrouded in what seems like a love song. “Days of Wonder” is the throwback of the album. I wanted something a little more upbeat to show that it wasn’t all slower, ballad –type stuff.

Others that just missed the cut: This four stand out among the rest. I think songs like “We’re Already There,” “I Am A Building,” and “The Beautiful Side of Somewhere” are on that next tier of tunes, but not quite as good. There’s third tier of fine songs, but not one’s that jump out at me for any reason.

The bad: I really don’t like the tune “Here He Comes (Confessions of a Drunken Maionette)” for some reason. I think if it were on another album, it may not bother me. But this is sort of heavy, brooding album, which makes this silly tune kind of stand out too much.

The verdict: If you don’t have it, get it. I’d say that for all four Wallflowers’ albums that I have. This is a band that makes a living on the hidden gem rather than the big single.




Artist or Band: The Velvet Underground

Album: The Best of the Velvet Underground

Why (or how) did I get this: I always loved the sound of Lou Reed’s voice and finally decided I needed to see what this band was all about. So I used one of my free choices from BMG to get this one.

Songs included: Pale Blue Eyes, Sweet Jane, What Goes On

Why is that: I knew that Snake already had some of the Velvet Underground so I wanted to steer away from the things that he had and toward stuff that he didn’t know. While Snake recoiled at the pacing and sound of “Pale Blue Eyes,” I was drawn to it. I hear in it the pangs of reality closing in on a group living in a way that couldn’t last. The other to picks are similar in that encapsulate the sound of the band. Not heavy, but quick and driven by the steady voice and eclectic background of sound.

Others that just missed the cut: Most of what didn’t make it was due to Snake already knowing it. “Beginning to See the Light,” would have been the next to go on the album from those not on the banana album. Otherwise, if you’re looking for good Velvet Underground tunes check out “I’m Waiting for the Man,” “Heoin” and “White Light/White Heat.:

The bad: I am not a big fan of “Femme Fatale,” and there are few tunes that seem to get lost or unnoticed when going through.

The verdict: Right before we started doing these CDs, I started really listening to this album. It had slipped through the cracks when I bought and collected some dust. I am glad that I took another look.

Monday, November 23, 2009

Red's CD Project Story 2: Part 2 – Stoneheart

Note: I've had this about 2/3 of the way wrote for the last week and haven't had time to finish it up till today. It strays a little from where I started, but I think it's turning out to be a nicely twisted tale. Enjoy and there's more to come. 

Disc 1
Track 2: Asleep on the Trail of Tears – The Louie’s

“He was made by God to make the playing field level”

A girl old enough for her bosoms to only start to blossom wailed at the name and ran off to the group of tents kept well away from the flames. She likely sought consolation of her mother’s tit. While many of Oan’s contemporaries would not believe it of the man they referred to as 'Stoneheart,' a part of him very much wanted to run and hide as well.

Fear was a foreign entity in Oan’s veins. When he was boy, four season cycles into life, he had made the same error in judgment that Nestor had by entering the icy waters of the Belnor. Since then, his blood flowed slow and cold and his skin sealed wounds before they could grow and infect and his heart was solid, heavy like a stone. It was truth he kept secret, but it was evident in his boldness and bravery. He did not fear.

His decision to enter the Belnor had been guided by a child’s ignorance and want for a toy boat that had escaped his grasp and started a voyage in the current while he was playing along the banks of the great river. Oan gave chase, his small legs pumping well away from his home village, from his mother and toward the end of his young life.

His boy legs burned trying to keep pace with the toy as it sped along. Tears and snot streaked his face as he trailed behind. Far away he heard a voice calling, but he could not afford a backward glance.

The knee-length grass was wet and clung to his bare skin. The weight of emotion was bearing down on his shoulders and his will to continue lagged. As he slowed, the boat skimmed off a log half submerged in the river with the other half buried deep into the bank. The boat spun in the current but away from the middle of the river. Instead, it made route to a still pool blocked from the current by a harbor of sort made by the bank jutting out. It stopped in the middle, but well away from his reach.

The old ones said that spirits dwelled in the murky waters and, on that day, the boy found those old tales to be true. As he extended his arm out trying in vain to grab the toy, he heard their voices calling to him, begging him to join them. At first he clapped his ears shut with both hands to block out the noise, but that did not stop the screeching, yet seductive voices.

He extended his am out once more in an half-hearted attempt. His attention was more on the ripples of the pool and how each sparkled as each lazy wave pushed out from the center. The voices sang out in unison, the words unintelligible to his ears, but his heart understood them perfectly. The spoke the old language, he would find out much later, but that day he knew only one word. It reverberated in his bones, his blood, his heart – “Come.”

And he did.

Head first into the pool with a little splash and a thousands prickles of pains stabbing into skin, he came to the voices. He re-emerged once to find the sky had turned red then dropped below the water level once more. The spirits attacked his ears in a million voices in a hundred languages. The only other noise he remembered was the thump of his heart, but then that went silent and all went dark.

Then there was only darkness and falling.

He remembered nothing more till he awoke in the arms of the witch.

Oan shuddered by the fire remembering her icy grip and her shining green eyes. From many worlds, she claimed to be from. Once she told him that in another world, she was called the Witch of the Weeping Woods and that her son was a Dragon slayer. In Oan’s world, she was Madra the Lurking Witch.

Oan had lost himself in the flames, when he looked up to see Nestor with his one-eyed stare. A memory tickled from that day as a boy in the waters of the Belnor. It came just before his heart beat for the last time. All the voices stopped all at once and rang out in one terrible screech of a name.

That name had been on Nestor’s lips when Oan pulled him from the water. Now again, by the fire, the stranger uttered the name again.

“Salama.” The cursed name of old, the name that haunted Oan’s dreams since that day he fell in the waters of the Belnor. Not even the witch could stop his nightmares. Now they had come to life.

Oan seized a spear lying next him and charged Nestor.

Friday, November 20, 2009

Snake's Reaction: Get A Haircut & Get A Real Job pt 3

Part 2: http://sbrlists.blogspot.com/2009/11/snakes-reaction-get-haircut-get-real.html

Kool Keith: I'm Seein' Robots from 'Black Elvis/Lost In Space'

I got this album from BMG. It was on a list of the 50 Greatest Albums you've never heard. I was already a fan of 'Dr. Octogenecoligst', so I thought it was worth the try. I'm Seein' Robots is probably the easiest song to understand the meaning outside of the context of the album. Basically half of the album is through Black Elvis's perspective, including the women who want all this stuff and look at the same as every other woman, being basically robots. The other half of the album goes into sci fi themes and the idea of being lost in space. Clifton, Livin' Astro, Keith Turbo, and Intro are entertaining songs. The Intro consists of the lyrics, "This is the intro." In some way that strikes me as genius, and a sample of Keith's sense of humor.

Verdict: Never for the faint of heart. His hooks are catchy and erratic at the same time. His raps will blow you mind if you can keep up.

System of a Down: Lonely Day from 'Hypnotize' and Sad Statue, Old School Hollywood from 'Mezmerize'

I was well aware of Red's opinions on SOAD going into this, so I tried to find some stuff that represented a little bit different side of their music from this split double album. I thought Old School Hollywood was just quirky enough for his approval. Lonely Day tears at my heart every time I listen to it, you feel it in Doran's voice. Sad Statue is probably the best political message out of the group, something you can always count on from them. Still, I think there would be more to please Red's ear out of this album.

Verdict: You like Lonely Day, then be sure to here Soldier's Side. The softer heartbreak of Day with the good support of our soldiers. I think I should have picked Lost in Hollywood, quirky yet with more passion in its message. Question! has a bit of that screeching to it, but the song structure is very good. There is something here from everyone, and I will never stop trying to shove it down Red's throat. :)

The Zutons: Confusion, Dirty Dance Hall from 'Who Killed...'

I believe this was another recommendation from BMG and probably the best one I ever got. I love this album inside and out. They mix current and old sound. They are fresh but familiar. From the opening riff of Zuton Fever, the album just sort of feels alive. I love it when bands mix in horns. I haven't gone out listening to any of their follow up albums. That is something I need to do.

Verdict: It is hard to pin down any song that is a must listen to above another. Zuton Fever, Pressure Point, You Will You Won't, Havana Gang Brawl, Railroad, Nightmare Part II, and Moons and Horror Shows are all classics in my mind.

Tenacious D: Tribute from 'Tenacious D'

Yes it is old and predictable Jack Black, but it still makes me laugh. I thought about some of the other tracks and maybe I should have went for something not a popular, but Red said he didn't have the D.

Verdict: Kielbasa is a nice sexual song, F*%$ Her Gently just makes me laugh, The Road sounds like a Molly Hatchet song and City Hall is a nice little story song to finish out the album. Don't take it too seriously, just enjoy the humor and the tributes to rock n roll.

Thursday, November 12, 2009

Snake's Encore: Hot Shots II - If Only I Could Remember My Name

In Snake's Collection:

Hybrid Theory - Linkin Park

This album really sticks out as a turn of the century time piece. Like they finally got the rock/rap formula right and made some good songs. The problem is they didn't change that formula and have since faded it seems. I like this album, alot of anger and pain in the lyrics.

Hunky Dory - David Bowie

This is easily the most important, influential album in this group. This represents the transitional period for Bowie from the early Rock N Roll roots to the glam rock that he would basically invent. The music is more laid back, but the lyrics are deeply expressive and directly lay out Bowie's new career direction. The first track, 'Changes' puts it all out in the table from the start. "Strange fascinations, fascinating me. Changes are taking the pace I'm going through." The gem of this album will forever be 'Life On Mars?' The lyrics are cut up, imaginative and give everyone a different impression of what is going on. The tune grabs you and makes it want to sing along, but you are forced to listen hard to the words and decipher what it means to you. When I first heard this song a couple years ago, it was a transcendent experience. It is the single best example of Bowie's genius. 'Oh, You Pretty Things' is a catchy interesting tune in which Bowie sings of the ending of the Homo Sapien race in favor of the Home Superior, saying "Earth is a bitch". There is something in the way he says bitch that seems to always catch my ear. 'Quicksand' also deals with the influence of Nietzsche's idea of the Overman. The majority of the album is based on tributes or stylings from the various musical/artistic influences in Bowie's life. 'Kooks' is a song for his newborn son that is in the style of the early 70's Neil Young record he was listening to. 'Queen Bitch' is a tribute to Velvet Undergound and their style. 'Andy Warhol' and 'Song for Bob Dylan' are self explanatory tributes although I read that Andy Warhol didn't like his song because he thought Bowie was poking fun at his physical stature. Bowie somehow takes all these influences in his life and weaves them back into this tapestry that is all his own. True Genius.

Good Stuff

Hysteria - Def Leppard

It is hard to deny this song line-up that reads more like their greatest hits. Tragedy seems to bring out the best in rock groups (a la "Back In Black"). Although I still hear more people talk about "Pyromania" than this album. I really don't know why.

BIGGEST SNUB THUS FAR

Houses of the Holy - Led Zeppelin

This is probably my second favorite Zep album and represented a major turning point for the band as it was the first with completely original material, displayed a new direction using more studio techniques and most obviously, the first not named after the band. 'The Crunge' is the best hidden gem among Zep albums. The funky bass line and musical style of this song is like nothing else in their catalogue. 'Over The Hills And Far Away', 'Dancing Days', 'The Song Remains The Same', 'D'yer Maker', and 'The Ocean' are still staples of classic rock radio. 'No Quarter' is epic. 'Rain Song' is beautifully done. This album and LZ IV represent the height of their musical prowess. No one should ever over look or under credit this album!

Other Notables

Human Clay - Creed

This album was everywhere! Literally, even one had a copy of this album. 'What If', 'Higher' and 'Arms Wide Open' were so good it pissed me off, because I had already taken the stance in high school that I didn't like Creed. It seems like the kind of album that would be in this book.

Hypnotize - System of a Down

This was the second half of the split double album, the first half being "Mezmerize". This album seemed to go even deeper with their lyrics and message as it was heavily built by Doran Malakian. The songs seem to flow better and are less frantic, most of the time. And I know Red liked 'Lonely Day' which I think sets up nicely for 'Soldier's Side' to finish the album and tie it back together with "Mezmerize" which featured 'Soldier's Side' as a short intro track. The album is still heavy and powerful when it needs to be, like the first song out the gate 'Attack'.

I Get Wet - Andrew W. K.

This frantic debut was a large part of my musical life for probably two years. It is a good time and all the songs just get into your blood and make you wanna sing, dance and go crazy. The album cover is awesome, too. It really sets a good stage for the rough ride ahead. And then just as fast as Andrew hit the big time, he faded back into obscurity. But man it was a wild ride.

Icky Thump - The White Stripes

This was a return to their roots after "Get Behind Me Satan". 'Rag And Bone', 'Little Cream Soda', 'Catch Hell Blues' and 'Effect and Cause' represent those blues roots (Baby Brother is actually a bonus track). There is a great cover of 'Conquest' on this album that is kind of a treat. 'You Don't Know What Love Is (You Just Do What You're Told)' is another one of those quintessential White Stripes songs. 'I'm Slowly Turning Into You' is a slow, whiny heart breaking song that seems to be a Stripes staple as well. 'St. Andrew (This Battle Is In That Air)' is an interesting Scottish influenced tune. A very good album all around.

Tuesday, November 10, 2009

1001 albums (386-400): Hot Shots II - If I Could Only Remember My Name

Note: I stuck to one line for most of these crappy albums. Not a good group with only two legitimate albums. Proceed with extreme caution.

The Good

Hybrid Theory (2000) by Linkin Park

This album was everywhere with hit singles “Crawling,” “One Step Closer” and “Crawling” climbing up the charts. A sure-fire diamond in this rough of crap albums.

Hysteria (1987) by Def Leppard

Probably the best album here with 7 U.S. hits including “Pour Some Sugar on Me.” This the first album with drummer Rick Allen playing with just one arm after a car accident.

The Rest

Hot Shots II (2001) by The Beta Band

There’s a scene in the John Cusack movie “High Fidelity” where he tries to sell five copies of the three LPs from The Beta Band. I find that to be the kind of trivia people like to learn.

Hounds of Love (1985) by Kate Bush

A British rocker who hit it big with this album split into two thematic parts.

The Hour of the Bewilderbeast (2000) by Badly Drawn Boy

I’d give this the best album title of this group and the music has a funky, fun sound.

Hunky Dory (1971) by David Bowie

Other than “Changes” I don’t think I know anything else on this album and I think we’ve about reached the limit of Bowie albums for this list.

Hunting High and Low (1985) by A-ha

We’ve all heard “Take On Me,” and I’d say that’s probably all we need to know about this album.

Hypnotised (1980) by The Undertones

This a power-punk from Northern Ireland – possibly hidden gem of this group.

Hypocrisy is the Greatest Luxury (1992) by The Disposable Heroes of Hiphoprisy

They call this dail-an-issue rap music, OK then.

I Against I (1986) by Bad Brains

This Washington D.C. punk band released a cassette only album, which seems the most notable thing here.

The Idiot (1977) by Iggy Pop

Here is Iggy’s contribution from his time spent in Berlin with David Bowie.

Idlewind (1988) by Everything But the Girl

A dance album hit from a UK band with a clever name.

I Do Not Want What I Haven’t Got (1990) by Sinead O’Connor

“Bald Banshee” that made a name with her cover of Prince’s “Nothing Compares 2 U.”

If I Could Only Remember My Name (1971) By David Crosby

A somber bunch of tunes recorded after the death of Crosby’s girlfriend in a car accident.

Friday, November 6, 2009

Journey Thru 6,500 Songs

Everybody Wants Some. That some seems to be different for every person. Some people, and I would currently put myself in this category, have no idea what it is that they want, they just want something. I struggled to make a birthday gift list. Things change over the years, my wishes usually on a whim. I definitely would not want a Cayonero or some other huge SUV. We have a mini van now, that is fine for me. Although I was asked what I would want if money was no object and I replied that I wanted a new fully rigged out F-150. Not gonna happen. If I had one, I wouldn't have a need for Maps anymore. It would have GPS guidance even though I go no where to need it, but for some reason I want that. I could drive off into the country and get lost looking for a home grown Jalapeno and then use the GPS to find my way back. It would have those fancy running lights, looking like a Neon Tiger running through the night sky ablaze of fire. It would frighten the creatures of the night, like that mountain lion I swore I saw a couple weeks ago run off into a corn field. My wife said it was a coyote. Logic would say she is correct, but I know what I saw. Perhaps it was a wolf, running back to its House of Wolves. I guess the correct term would be a den. Daniel and the lion's den was the bible story. Although I remember absolutely nothing about the story. Jonah and the whale, now that one. I at least remember he lived in the whale, somehow. I guess he had Nothin' To Lose really. You're already stuck in there, might as well make the best of the situation. Isn't that the true measure of the human spirit or some one's resolve. What do you make out of the bad situations? The Word I believe I am looking for is character. No that isn't it, and I have lost The Word I'm thinking of. That there is me in a Nutshell these days. I lose my trains of thought, I feel like I have wasted my brain. I used to take it for granted in school and cruised based on natural talent like some big shot sports player. Now I just ask it, Don't Let Me Down. Really I was the one that let it down. So maybe now it is trying to get back at me. Can I consciously be aware of a subconscious plot my brain has against me? Like we are two separate entities in the way that Homer Simpson always has conversations with his brain. Like we are Alone, Together, apart but one. I think I am realizing this makes absolutely no sense. And somehow that gives me peace.

Red's CD Project Story 2: Part 1 - Nestor

Note: So I wasn't going to post this today, but it seems like Snake has some time on his hands, so I thought I'd give him something to read. I started this yesterday an took about an hour to write a paragraph. I knew from the lyric where I wanted to go, but was struggling to get there. Like the last time, I don't know where I am going with this. Unlike the last time, this one section is very long. Could be interesting to see if I can keep this kind of length up (that sounded dirty).

Disc 1
Track 1: Three Fingers - Buckethead

I spotted him like night sky plotted and star struck

Old Moon with its fractured face was just escaping the underworld as Nestor, barefoot and with a bison-skin blanket draped over his shoulders, hobbled to the fire, crossed his legs and sat opposite of Oan. The paunch of his stomach peaked out from underneath with long, spiraling gray hairs spotting it. Old Moon lingered low in the sky praying that New Moon escaped their daily voyage through the sky of the dead. Moments later, New Moon, blue and curved, appeared.

Like Old Moon, Nestor’s face was scarred down the middle. An inch-wide crevice spotted with bright red sores started at the top of his forehead and cut downward between his eyes and then curved at his nose enough to only claim his left nostril. His right eye was sharp, scanning the crowd around the fire before settling on Oan. His left was no more than an empty socket that never closed and Oan thought, had the look of yearning to see again.

“I’s owed yar one for pullin’ me from the drink, young one over thar,” Nestor said, eyeing Oan with both his troubling eyes. “A mite frosty, it t’was, it t’was.”

Nestor clawed at his face where clumps of scraggly, no doubt flea-infested, hair grew. The day before Oan had found Nestor floating belly-up in the river. Instinct drove Oan to forfeit his hunt and rescue the stranger. The instant he dragged Nestor’s bloated, nearly blue body from the waters with the name of ancient omens slipping from his lips, Oan regretted not letting the man drown.

“A fool enters the Belnor. It’s waters run across a bed of ice in the heavens and never warm till they sizzle in the fires of the underworld,” Oan replied.

“So they do, so they do.” Nestor grinned accepting an earthen bowl full of stew. He brought the bowl to his jaws with his right hand that was missing its first two fingers. He held it there taking long, slow slurps that echoed accompanied by nasally wheezes from his one open nostril. He brought the bowl away from his face. Brown broth hung from the hairs of chin and his mostly toothless mouth beamed open as he chewed on a chunk of deer meat.

“Tis very good,” Nestor added hoisting the bowl up. “Bland to my tasters, but good nonetheless.”

Oan was growing tired of the man’s accent and the pitch of his voice. No one had crossed the Belnor since the days of the great flood had doubled its width. The waters were too choppy to risk the canoes, too cold to swim across. Yet, this man with his brown skin and his accented voice clearly was not one of the Aldroubi that hunted the eastern shores of the great river. He was from the west.

“Perhaps, not only a fool jumps into the Belnor,” Oan said. “Perhaps, a man running from shame would do the same.”

Oan eyed all of Nestor’s flaws and easily imagined him as a villain, a thief or defiler of young girls. Nestor’s good eye closed and he rubbed his temple with his thumb and two remaining fingers of his right hand.

“A bright boy you are,” Nestor started in again. “I could tell it even in my delirium after you scooped me from the waves, I could.”

Oan noticed some of the accent was gone, along with some of the jovial enthusiasm. The change worried Oan more than if Nestor were some sort of fleeing miscreant. A thief, Oan and his men could handle swiftly. No, Oan now believed some of Nestor’s appearance and behavior was an act, a subtle play to misdirect. If this man was so clever, maybe there were other more sinister reasons he jumped or maybe he was thrown into the Belnor. Nestor’s gaze never left Oan while these thoughts ran through his head.

“I can see the wheels a turning, my boy,” Nestor said with a short mocking laugh barely stifled from turning into a roaring chuckle. “I can see them well with this one good orb I have left. My sight has always been sweller than others.”

Nestor pointed to his right eye and smiled. For the first time, Oan was truly repulsed by the man. There was some sort of sick game being played here. Oan despised games.

“Are you a wizard?” Oan blurted out. The thought occurred to him as his lips asked the question.

“Nay, nay,” A sneer raised Nestor’s cheekbones and lines from a lifetime of woe raced out in wrinkles. All the friendly patter in his voice was gone. He cleared his voice as if to recite a long tale.

“You’re wrong about dat. But t’was right about one ding. I was running. I wish to gods above or below, I’d started running earlier. From the first, when I saw him striding out in the sands of the Sorna (a few of the old ones gasped at the name of mythical desert). I was manning my tower as I had all my days, when I spotted him from far off. He stood out all in black on the golden sands like Old and New Moon and all thar star droppings do on the night sky. I should have ran right den, I should. That mistake cost me my fingers and my eye, it did. And more den that, I warrant, I do.”

“Who did you see?” Oan asked over the lump in his throat. It was midsummer, the air still warm and the fire burned well, but Oan shivered.

Nestor leaned toward the fire, maybe warming the same shiver, but more than likely not wanting to say the name too loud. Shadows crept in the night, even east of the Belnor. They crept and waited. Nestor was no fool of a man.

“Salama, of course. Who else?”

Thursday, November 5, 2009

CD Project Review: Post Academia Part 1

Note: I think I might approach this a little different than Snake. Why? Like I've said, I am no music reviewer so I'll write what I find cool, interesting and what motivates me.

Artist or Band: The Band
Album: Greatest Hits
Why (or how) did I get this: I remember in my youth watching the Sunday morning program hosted Charles Kuralt that did a feature on The Band. At the time, the group looked strange and the music was beyond me. But broken images from that stuck with me. Years later, I had a free CD to pick with the now defunct BMG music service. I picked The Band with that in mind and knowing that I liked a couple of their more well-known tunes.
Songs Included: When I Paint My Masterpiece; Stage Fright
Why is that: I think whenever I mix a CD (or back in the day with tapes; I miss those days). I use two main criteria. The first – songs I like – is a no-brainer. The second – it fits or serves a purpose in progression of the album I am trying to make - is trickier. When we started this, I knew I wanted to start with "When I Paint My Masterpeice." Musically, it's a powerhouse. Lyrically, it rich with images and references. From Snake's response, it did the trick of perking his ears immediately and making him receptive to the rest of the album. "Stage Fright" is another great scene setter with an underlying theme of hope and overcoming of fear.
Others that just missed the cut: I didn't chose "The Weight," "The Night They Drove Old Dixie Down," and "Up On Cripple Creek," because I was 10o% sure Snake already knew these songs. They're still great and, if by chance you don't know them, take time to look them up. This album had 18 tracks, most of which are solid to really good to great. Check out the cover of "I Shall Be Released." It's powerful. Also very good are "Tears of Rage," "Ophelia" and "Acadian Driftwood."
The bad: "Ain't Got No Home" is the only real miss on this album.
The verdict: One of my favorite albums from this list. It's a sound from a different time that still sounds relevant and fresh today.

Artist or Band: Tom Petty
Album: Highway Companion
Why (or how) did I get this: This album fell literally into my lap. My sister somehow ended up with two copies and gave me this for free. I never turn away free music. Otherwise, I highly doubt I would have bought this.
Songs included: Flirting With Time; Square One
Why is that: "Square One" jumped out at me right away when I first listened to it. My instincts always are to include songs like that when I am asked about albums and such. I did consider dropping it though because I thought it wasn't fitting my vision for the CD. "Flirting With Time," on the other hand, grew on me as it popped up on my MP3 player. I'll grant that none of these tunes are much different than what we've heard from Tom Petty before.
Other's that just missed the cut: "Damaged By Love," started out as my runner-up for favorite tune from this album, but slowly started to slip down the list. They lyrics get repetitive, but you expect that from pop songs. "Down South," has grown on me and has some of that southern or backwoods charm of Petty.
The bad: The middle of this album hits a terrible funk. The tracks "Turn This Car Around," "Big Weekend," and "Night Driver," all take the underlying theme of a car trip a bit too far and are annoying in other ways.
The verdict: Those that like Tom Petty will probably enjoy this album. It won't stand out as his best, but it won't totally offend either.

Artist or Band: James Blunt
Album: Back to Bedlam
Why (or how) did I get this: I don't recall wanting this album, which leads me to believe this must have been a featured album at BMG that I didn't get declined in time and I decided to give it a try. It's mellow and that served a purpose when I was being attacked on a semi-regular basis.
Song included: Wisemen
Why is that: Most of these tunes get pretty slow and I knew Snake would never make it through those if they weren't also excellent tunes. Nothing on this album is excellent, so I went with this song because it had a decent hook and some interesting lyrics.
Other's that just missed the cut: "You're Beautiful" got heavy radio rotation and I am sure Snake has heard it. I didn't won't to include a single that well-heard. "Goodbye My Lover," is kind of guilty pleasure in that I know it's kind of cheesy, but sometimes I feel kind of cheesy.
The bad: I don't know if anything on here is really bad. Everything sort of falls in the middle. Everything towards the end gets kind of silly, plus he's a ballad singer that's obsessed with letting people know that he does drugs.
The verdict: Again, I don't think I ever actively sought this album. I give it a C.

Wednesday, November 4, 2009

Snake's Reaction: Get A Haircut & Get A Real Job Pt 2

Part 1: http://sbrlists.blogspot.com/2009/10/snakes-reaction-get-haircut-get-real.html



Franz Ferdinand: No You Girls & Twilight Omens from 'Tonight: Franz Ferdinand'

This is the third album by these Scottish rockers. It is a loosely conceptual album around a night of partying and the morning after effects. No You Girls is infectious and since I put together this album I hear it in commercials and just about everywhere else now. Katherine Kiss Me is the last song on the album and is basically the acoustic reprise of No You Girls. The band explained the concept as No You Girls is about the first time two lovers kiss and how awkward it is and how they don't really understand each other. Then Katherine Kiss Me (last song on the concept album remember) is how that moment is later remembered. I just plain like Twilight Omens and I am not entirely sure how it fits into the concept yet. Lucid Dreams and Ulysses are other great songs from this pretty top notch album. It is a bit more electronic and dancey than their first album, but that seems to fit the mood and concept of a night on the town. They definitely always do well to set their moods.

Verdict: Not a good as their self-titled debut, but more polished than their sophomore release. They set the mood and it really comes to life as you listen to the entire album. There are lots of remixes out now if you are into the dance stuff. Listen to No You Girls then Katherine Kiss Me. If you enjoyed the two songs I picked, then just get the album because you will enjoy it.



Queens of the Stoneage: Burn The Witch & Tangled Up In Plaid from 'Lullabies To Paralyze and 3's & 7's from 'Era Vulgaris'



I pulled from my two recent Queens albums. I agree Burn The Witch is in their signature sound. Tangled Up In Plaid continues to play on the dark tone of 'Lullabies'. The vocals go into fuzz mode which livens up the song a little bit. The title, 'Lullabies To Paralyze', is to tie this album to its predecessor 'Songs for the Deaf' since it is a line in the last song from that album. While it isn't quite as inspired, it is a solid album with more of their distinct sound. Little Sister is my favorite song but I don't think I put it on here because it was their big hit single and figured most had already heard it. I Never Came, Someone's In The Wolf, & You've Got a Killer Scene There are good songs. I love the riff to 3's & 7's the second I heard it. 'Era Vulgaris' is a departure from their mellow brooding sound to something much grittier, driving, industrial sounding. I think that is what turned me off at first, but the album continues to grow on me. This is probably the same reason the album garned such mixed reviews. Sick, Sick, Sick, Make It Wit Chu, Into The Hollow & River In The Road are pretty good tracks.

Verdict: 'Lullabies' is basically 'Songs for the Deaf 2'. 'Era Vulgaris' is a different sound to more industrialized, metallic music while the former are the more organic, Desert Rock sound. I guess take your pick or like them both.



Serj Tankian: Lie, Lie, Lie & Saving Us from 'Elect The Dead'


I knew Red's feelings about Serj going into this album creation. I knew 'Elect The Dead' was marginally good at best and not really a departure from anything Serj did with SOAD. Yet for some reason I put it on here. Mostly because I really like Lie, Lie, Lie. I think it is a little demented. I remember the first time I heard it on shuffle and was like did he just say what I think he said? The whole album sounds pretty much the same with the same mix of politically charged lyrics and just crazy crap. Sorry to offend people's ears, but the album is a decent listen if you dig SOAD (which I know Red doesn't). So probably in my subconscious I was trying to torture him a little bit.

Verdict: Not gonna set the world on fire, and basically giving his fans more of what they like. The whole album mostly sounds like these 2 songs over and over again. I am pretty sure I put this on here just to force Red to listen to it at least once.

The Raconteurs: Intimate Secretary & Hands from 'Broken Boy Soldiers'

Side project/Supergroup for Jack White & Brendan Benson gets better every time I listen to them. Intimate Secretary is a neat song in the styling and the normal White wit with lyrics dealing with Free Masonry. Intimate Secretary being the 6th degree of the Scottish Rite. Hands has more of Benson's influence and is well put together. Steady As She Goes is the hit single and probably the closest sounding song to the White Stripes. Level is a great blues tune in the classic Jack White tradition. Together was a song Benson was prepping for his own solo project and is a nice slower love song, at least as nice and slow as Jack White could get. Broken Boy Soldiers, Store Bought Bones & Yellow Sun help round out this amazing album. I have since bought their follow up, 'Consolers of the Lonely'. So if I do another album, you can look forward to that.

Verdict: Best of this group by far. Most consider it a great side project, which in fact it hasn't lasted as White as moved on to make the Dead Weather. A little bit of White Stripes with a richier sound that will come from having 4 members of a band. Every song is a winner in my opinion.

Tuesday, November 3, 2009

The Dark Tower III: Shadows and such

Note: I am not really doing this justice here, but having read this book again I feel like this may be the real linchpin of the series. I don't if what I wrote makes adequate sense, but hopefully you'll get something out of it.

THE WASTE LAND

We’ve talked about settings.

We’ve talked about dreams.

We’ve talked about the world that has moved on.

In the Book 3, Mr. King provides something different from either. “Your shadow at morning striding behind you/Or your shadow at evening rising to meet you.”

Now we’ve entered “The Waste Land.” A place of dual meaning, dual memories, dual existences and not by chance a book split into two parts.

A week ago or so, I wrote a free writing loosely based off the song “Hold On.” This series is loosely based off the Robert Browning poem “The Childe Roland to the Dark Tower came.”

But this book isn’t about the Browning’s poem; it’s inspired by the T.S. Eliot poem entitled “The Waste Land.”

I don’t pretend to understand much of Eliot’s poem. I studied another one of his poem’s “The Love Song of J. Alfred Prufrock” in college and never got a firm grasp of it. The relevant thing to note about Eliot’s style is that it’s very stream of conscience. He also turns a lot of great lines.

The opening line of Prufrock is iconic – “Let us go then, you and I, /When the evening is spread out against the sky/ Like a patient etherized upon a table;

In the selection below the final line is prevalent in King’s book and is also one that sends chills through one’s spine – “I will show you fear in a handful of dust.”

What all this adds up to is paradox. Roland the Gunslinger and the boy, Jake, must deal with a very literal paradox throughout the first part of this book. Resolving that paradox opens the door for part 2 and the continuation of the search for the Tower.

The paradox of the series is that King is presenting a Tower with many levels, not unlike the theory of multiple dimensions, yet deciding if any of this adventure is real. It appears that creative minds like Eliot, Browning and others have had glimpses of other levels of the Tower without realizing it, but have used those glimpses as inspiration that now provide keys to the character and reader.

King appears later in the series as a character writing the story of the Gunslinger in our world. His completion of the series is paramount to the success of the characters.

Which leads to the main paradox of the series – Are the characters only a figment of King’s imagination or is the world of the Gunslinger a real story being told through King?

Below is the stanza from Eliot’s poem “The Waste Land” that is most prevalent in the book.

From the The Waste Land by T.S. Eliot

Second stanza of section entitled “The Burial of the Dead”

What are the roots that clutch, what branches grow
Out of this stony rubbish? Son of man,
You cannot say, or guess, for you know only
A heap of broken images, where the sun beats,
And the dead tree gives no shelter, the cricket no relief,
And the dry stone no sound of water. Only
There is shadow under this red rock,
(Come in under the shadow of this red rock),
And I will show you something different from either
Your shadow at morning striding behind you
Or your shadow at evening rising to meet you;
I will show you fear in a handful of dust.

Monday, November 2, 2009

Red trolls the web

Note: I plan on posting the next installment of my Dark Tower exploration sometime today, but I found this while trolling the web and found it interesting.

For those keeping score at home, in August of 2008 I stated that "Atlas Shrugged" was one of my ten favorite written works. During the time since, I've thought about this book a lot as the economy crumbled and government panicked.

I don't prescribe to all of Rand's political, social and philosophical views, but if I were teaching some sort of course entitled "Classic literature and it's relevance in the world today," I'd put this in the syllabus first.

Below is an article from Newsweek reviewing a book about Rand that discusses "Atlas Shrugged" and "The Fountainhead." I've never read the "The Fountainhead," simply because it seemed more like another edition of the same text book, but maybe I'll try it out sometime.

I'm not drawing any big conclusions here, just providing a little something to think about here.

Wednesday, October 28, 2009

Snake's Encore: The Healer - Hot Rats

Note: Trying to put two groups together to make a decent posting here.

In Snake's Collection:

Highly Evolved - The Vines

I once described this album as manic depressive. There seems to be a definite effort to alternate between fast and slow songs with melancholy moods and frantic hysterics. I still listen to this album quite a bit. I think it is very good and probably a forgot gem from that time period over shadowed by similar sounds and lumped into the "The" band craze that seemed to hit in those two years. "Get Free" and "Outtathaway" are the hits. "Autumn Shade" is a slow gem. "Sunshin'" kind of has this old school early sixties vibe with the melodies in the verses. "Factory" is a personal favorite because Red and I experienced it first hand. This would fit into the upbeat, melancholy group. "Homesick" is a beautiful, soft piano song that should make most people's eyes water. "In The Jungle" hits with this awesome opening riff that you can't get out of your head. All in all a very good album which undoubtedly brought on a bit of a sophomore slump with Winning Days.

Highway 61 Revisted - Bob Dylan

The album starts off with probably the best period piece/shaming song that was made in the sixties. "Like A Rolling Stone" can mean so many things and probably a little different for everyone. 'You better take that diamond ring, you better pawn it babe!' I don't know why that line has always stuck with me. I could write a novel just dissecting six minutes of brilliance. The rest of the album is ok, but the opening track definitely over shadows every thing else. I would say it is on this list simply for that song and the musical relevance it had at the time.

Highway To Hell - AC/DC

This album was a beginning and an end all in one. It started the short time when AC/DC ruled the world with 3 straight mega albums and the end of Bon Scott's life. This album also brought on controversy for the boys as the "Night Stalker" Richard Ramirez killed people and left AC/DC hats at the scenes and was a noted fan of the song "Night Prowler" which is the last track on this album. So of course everyone thinks AC/DC lead him to kill. But seriously, I can't think of one AC/DC song that isn't some childish reference to sex and "Night Prowler" is no different. I would put this as the 2nd best of the 3 great albums behind Back in Black of course and ahead of For Those About To Rock.

Hot Fuss - The Killers

This is the one I've been waiting to write about. As I've said before, there are so many layers to their music. The top layer is this really tight pop, retro 80's sound that is totally infectious. Below that are these lyrics that don't always have the same mood the music presents, sad lyrics and meaning underneath this up beat super pop song. Every time I listen to this album, I get a little something different out of it. "Mr. Brightside", "Somebody Told Me", "Smile Like You Mean It" and "All The Things I've Done" were the singles that turned into some big hits. "Jenny Was A Friend of Mine" is the opening track and I believe told from the perspective of a man being interrogated for a murder. 'There's no motive for the crime, Jenny was a friend of mine' 'She couldn't scream as I held her close, I swore I'd never let her go'. My wife refused to listen to the Killers for the longest time because of the freaky video for "Mr. Brightside" featuring the ever freaky looking Eric Roberts. "Somebody Told Me" almost sounds like they are accusing their girlfriend of cheating on them with another woman. 'you had a boyfriend that looked like the girlfriend I had last February'. "Smile Like You Mean It" seems to be about remembering better times or further yet someone looking back on life now that they are dead. I highly recommend every Killers album to everyone. It is like a good book, listen quickly first to get the tunes and vibes of the song. Then go back and listen to the lyrics a little harder and see what you can get out of them.

SNUBS

Hefty Fine - The Bloodhound Gang

Not the greatest thing out there, but certainly catchy and funny. This is one of their newer albums full of blatant and sly sexual references. "Foxtrot Uniform Charlie Kilo" is the single and a fun song to write down a bunch of sexual innuendo phrases. "Uhn Tiss Uhn Tiss Uhn Tiss" is along the same lines. "No Hard Feelings" closes out the album and is my favorite of all time. It is a good breakup song for the perverted mind. 'It ain't my job, to f*** you on your birthday, anymore!'

Hellbilly Deluxe - Rob Zombie

This was Rob's debut as a solo artist and got heavy rotation in our football locker room in high school. "Living Dead Girl" "Superbeast" & "Dragula" are great songs. It was still creepy dark music like the White Zombie stuff but seemed to have a little more groove to it. Something that could suck in non-traditional metal fans in.

Help! - The Beatles

This is the first Beatles album that isn't on the list, I think. I can't say that I disagree really. It is an ok album mainly made as the soundtrack for the movie with some filler songs at the end. So you ask why is it in the Snubs area, well because I just wanted to point out that it was not on this list. Yeah makes no sense.

Here For The Party - Gretchen Wilson

This is her debut album. It featured "Redneck Woman" that I am confident everyone in the world has heard at least once. She was discovered by Jon Rich (of Big & Rich, more to come on them). She is in that group that sort of represents a new rebellion within country music. She mixes new attitude with old country stylings. Some of her more classic country songs are just amazing. "Homewrecker" and "Chariot" would fit into this group. The album finishes with "Pocahontas Proud" which is a heartfelt ode to her small home town and the weight that could be on her shoulders being the most famous person from the place.

Horse of a Different Color - Big & Rich

This marked the change in country music back in 2004. I remember flipping to the CMAs or some other country award show like that in the middle of a performance of "Save A Horse (Ride A Cowboy)" and being repulsed. I am sure that is the main reaction of anyone expecting country and getting that song. Really there are alot of great country roots in this album. Big & Rich just bring it into the 21st century. They had the same vibe as Gretchen Wilson. They have these rebellious/party songs and then turn around and hit you with this amazing deep rooted country song. Red can already attest to the power of "Wild West Show". It only recently fell to my second favorite song, now behind "Saved". "Six Foot Town" and "Live This Life" are other powerful songs that showcase their well fit together vocals. "Kick My Ass" and "Love Train" fit more into the rebellious party songs. This album continues to grow on me and I recommend it as a boundary pusher for both sides, old school country fans needing to grow into the new era and more rock fans needing to experience some deep rooted country songs.

Tuesday, October 20, 2009

1001 Albums (371-385): Highway 61 Revisited - Hot Rats

Note: We spend a lot of time in the 70s here. It's a better group then last week, but it falls off pretty badly about halfway through. But there's enough good before you get to the fodder to keep everyone entertained. We have a few more "H" albums before we get to "I."


In Red’s Collection

Hot Fuss (2004) by The Killers

I’ll be the first to admit that I have to take a closer listen to this album. It was one that joined my collection when I got married. I know the singles and they are for sure catchy and guitar-driven. I just need to spend more time with the other tracks to see if I can find some gold there.

The Good

Highway 61 Revisited (1965) by Bob Dylan

Dylan plugged in a month before the release of this album and was jeered at the Newport Folk Festival. This album turned Dylan from folk artist to rock star. Gone were the catchy 3-minute, chorus driven tunes. Enter driving 6-minute epic poems set alongside electric guitars and the drone of Dylan’s voice.

Highway to Hell (1979) by AC/DC

This was the first international breakthrough for the boys from Australia and the last album with Bon Scott as lead singer. The blueprint for even more success later is found on these tracks.

Hotel California (1976) by Eagles

There is probably not much more to say about the title that hasn’t been brought thousands of time. It’s a tune with layered meanings. There are a half dozen other “hits” here. I’ve always enjoyed the last song “The Last Resort.” It’s sort of a hidden gem.

The Middle

Honky Tonk Heroes (1973) by Waylon Jennings

A former Cricket and longtime studio musician in Nashville, Jennings took to producing here and along with songwriter Billy Joe Shaver created a stripped down, landmark country album.

Horses (1975) by Patti Smith

Patti Smith is an icon among female rock stars. She’s raw and this is her debut, which was produced by Velvet Underground alum John Cale. You can here bits of underground in there.

Hot Buttered Soul (1969) by Isaac Hayes

Hayes, like the cartoon character he would portray decades later, had one thing on his mind and in his music. Sex. He made make-out music like no other. There’s nothing wrong with that.

Hot Rats (1969) by Frank Zappa

Zappa couldn’t afford the Mothers of Invention anymore, so he broke up the band and brought in new musicians to record this instrumental jazz/blues album.

The Best of the Rest

H.M.S. Fable (1999) by Shack

Drug addict brother’s Mick and John Head made this album after several failed bands and projects. The music is a like a humbled version of Oasis. The artistry isn’t quite there, but neither is the pomp.

The Rest

The Hissing of Summer Lawns (1975) by Joni Mitchell

Mitchell is starting to reach the ranks of Eno in terms of number of albums needlessly popping up here.

Histoire De Melody Nelson (1971) by Serge Gainsbourg

I think this might be the first French album we’ve had. At least, it has that going for it. Basically, sounds like some old guys trying to bag a hot younger girl by making this album.

The Holy Bible (1994) by Manic Street Preachers

I think we’ve seen these boys before. This is essentially the sound and self-loathing style that Radiohead has made millions with.

Home Is Where the Music Is (1972) by Hugh Masekela

Soul jazz, bop grooves and all kinds of things I don’t really understand happening on this South African album.

Honky Tonk Masquerade (1978) by Joe Ely

Here’s another supposed start of alt. country. I think we get one a week. Interestingly, the Clash picked him to open for them after he recorded this album. Their fans didn’t quite get the pick.

Homework (1997) by Daft Punk

Well here’s another French album. Aren’t we lucky today? Plus, it’s dance music. That’s double super.

Thursday, October 15, 2009

Hold on

Note: I am just having a little fun with this. I don't know if it's something I'll do any more with. Although, there are some interesting thoughts. Snake will recognized my favorite fictional locale. Also take a listen to the tune first. It's a cool song and I wrote this to match up with some of the lyrics and mood.


Well, the moon was gold, her hair like wind. She said don’t look back just come on Jim” – “Hold On” by Tom Waits

Pulling the pink ponytail tie out, Sandy was pouting now. The long thin strands of her dirty blonde hair fell about the side of her face sticking at places where sweat and nerves and fear all gathered.

“We can’t stay here, Jim,” Sandy said in a whimper. “There’s nothing, nothing!”

She twisted around to face the screen door of the front porch poking her middle finger through a hole in the mesh. Beyond, the sun settled down low behind the city’s water tower. Jim squinted to make out the fading green letters at top. He could clearly make out an ‘I’ and an ‘N’. The rest were lost in the building dusk shadows and passing time. He knew what it said.

“Lincoln,” It slipped his lips in awe.

“Yes, damn it, Lincoln.” Sandy swirled back around. “That’s what it comes down to, don’t it?You wantin’ to stay in Lincoln. Where there’s nothing and ain’t going to be nothing.”

“It’s where we grew up Sandy. It aint’ so bad.” He pushed past her and out into the open air. A small dog yelped down the street. The dust from fields being harvested only a mile out of town floated in the air and piles of leaves spotted each yard on the block. Off in the distance, children giggled romping around with a football.

“It ain’t so good,” Sandy's hands went to her hips and for the first time her charcoal colored eyes settled on the blue Toyota parked in front. “This is it.”

“There’s somethin’ to stay for,” Jim said taking her hand, but she pulled it away. A silver ring, really an old twisted spoon that he had shaped down in shop class years ago, slipped off her finger and fell to the sparse, yellow grass. He’d given it to her with words of love. Words he had meant. He didn’t want to lose her. “There’s somethin’. I don’t know what. Something’s happening, can’t you feel it.”

“Yeah, I feel it,” Her words came out like arrows from a bow. “It’s dying. I feel, I see it, I smell it.”

She moved then quickly away toward the Toyota, her heels tapping off the cement sidewalk. Opening the driver’s door, she pulled back her hair again and tied it back.

“Sandy,” His voice was hoarse as he bent down to scoop up the ring. She looked up. “Hold on.”

Tuesday, October 13, 2009

Town & Country

Note: I never claim that anything I write is very good, especially when I try to compare myself to Red. But I think this is probably one of the best things I have written, at least in awhile. I'll let you be the judge. The title does bug me though. Enjoy.

I smoothly turn the protruding black knob increasing the radio volume. The faster speeds begin to make my Chrysler Town & Country noisier. Perhaps it is just the voice of the man that I am listening to reading a book. My brain almost tricks me into asking him if he could read louder. This man reading a short story recorded onto CD, more than likely 10 plus years ago, is my only companion for his jaunt offering a false sense of accompaniment on this otherwise bleak drive. The highway is fairly empty making for easy cruise control maneuvering and allowing my mind to wander across the land. The vast corn fields are a shade somewhere between brown and green, stuck between life and death. The first story finishes and two short ones follow. I struggle to listen and comprehend what I am hearing. Doesn’t matter, I think to myself, I’ll just listen to them again later.
The edge of the suburbs starts to fade in from the distance. Groups of large houses begin to fill in between the fields. The irony strikes me that these people wanted to escape from the crowd of the city only to cram together in some housing development built on an old corn field the farmer was forced to sell. I seem to chuckle to myself trying to decide if either they have a misguided conception of the country or that they truly can’t live out here on their own. The first speaks to the perception, no the fact, that city folk don’t truly understand what the country is like. The latter is more akin to the primal instinct of the settlers needing to huddle together to protect themselves from the elements and beasts of the open country. Still, I just shake my head and keep on driving.
I notice there more vehicles on the road all of a sudden. They just appear. They aren’t streaming out of the various on ramps; they didn’t speed up behind me. They are just there as if to materialize out of the blue. This oddity continues the closer to the city I get. Massive office buildings line the left side of the highway. They seem to look more like fancy hotels, certainly more so than my place of work. That one has a basketball court, I point out, not audibly, but in my head as if my brain wants to make sure I am paying attention. The right side of the highway contains a high wall of stone. The old trees rise above it, their friends cut out years before to make way for this expanse of concrete, a monstrous symbol of efficiency and progress. The massive ramps swerve overhead like some grand scale water slide flushing the cars over the other roads depositing them down into the rushing river of exhaust and metal. Little trees are planted sporadically out in front of the office buildings, a true example of form over function. The large, aged trees seem to look down on them, as if scowling from disappointment that the young trees somehow sold out to the man by helping to make his creations of concrete and steel seem more organic. How did that first story go? I press to jog my memory out of the doldrums of the drive. I must have gotten something out of story to have trees jog my memory. Ah yes, as my mind clicks back. The potatoes attack the man and turn him into one, too. This presses me farther into wondering if trees think. In fact, I’ve always wondered if plants have feelings. They respond to their environment, but do they really have thoughts and feelings? Do they care what we do as long as they are allowed to exist?
I sweep the landscape again and notice the trees are gone. Not a one in sight, only an immense rail yard. Train cars are lined up for miles. Semi trucks litter the edges ready to speed off with loads of TVs, cell phones or some other junk imported from China. A retirement high rise sits between the rail yard and the approaching airport. Efficient use of space, I think to myself. The noise shouldn’t bother them too much. The air looks dirty here, the dirt looks dirty. It is as if the ground is rebelling against itself, against the monster it helped to create. I am almost to my destination. I look at the blazing green numerals on the dashboard. Seven hours from now, I can turn around and go back home.

The Dark Tower II: How Did I Get Here?

Note: I am about 2 to 3 weeks removed from finishing the second book of the series. I haven't found time to write of late, but I have worked my way halfway through the third book, which presents a problem. There are about three of four things I want to talk about from what I am reading now and I am trying to dust off my thoughts from book 2. I'll try my best to make this clear and relevant.

THE DRAWING OF THE THREE

Dreams have always been a conversation piece around my family. Not that we put stock in them like mystics or most primitive cultures. But, alas, we talk about them. The what happened. The who was there. The where. ...

That's tricky isn't it.

The where. My grandmother talks about being lost in all her dreams. That she's always searching and searching, but can't find her way.

The where. We always provide the setting when we talk about dreams, but we're lying more times than not. Because while we sense, for instance, that we were reading a book on the sofa in our living during the dream we had two nights ago or naked in front of a classroom of peers. That particular part, where we are at, isn't that fixed. Dreams' setting are ever-evolving. Morphing sometimes subtly, sometimes drastically and never finding a constant homeostasis.

So what am I rambling about?

The hardest, maybe most distracting part, of the Dark Tower series is trying to understand the setting or the world, in this instance, of the Gunslinger. We're told nothing concrete with the most common answer being that he lives in "A world that has moved on." What does that mean? A lot of things, that I don't have the time to fully explain.

What you really have here is almost a dreamscape. People like to say Stephen King likes to bring nightmares to life. I think the best way to describe Roland and his world is a dream, with nightmares lingering.

Yet, there is the physical, societal and cultural landmarks to deal with. Early in the first book, the Gunslinger (Roland), walks into an old town (sort of a common western movie kind of place), but from a saloon he hears them singing. The song - "Hey Jude."

The confusing litany of images and references continues. From Roland's knowledge of the bible to the fact that he carries guns (a modern invention) and that he refers to the line of Arthur Eld (or King Arthur). It is an ever changing, sometimes subtle, sometimes drastic, perception of this world.

In the second book, we get references to the "great old ones" and their dependence on machines.

We also get the major plot line, where he walks upon a beach and confronts three doors. The first he jumps to 1980s New York and brings back Eddie Dean, a heroin addict, the second he brings back Odetta Holmes, a black civil rights activist from the 1960s who's lost both her legs just above the knees and also happens to be a schizophrenic who's alter ego Detta Walker is a real (insert expletive). The third door is Jack Mort, who doesn't get brought into the world of the Gunslinger. If you want to know more about Mort, read the book.

Oh, the Gunslinger also losses his first two fingers on his right hand and a big toe to some sort of mutated lobster in the first couple pages of the book. It's a plot device, but the important thing to remember about King, he loves putting people into situations and seeing how they get out.

Anyways, it's hard not to think about Roland's world. Obviously, the Dark Tower is there also. But if you do read it, don't let it distract you too much. Take it for what's it worth and listen closely to what the characters are saying. There is something abstract about this whole series and it has to do with the world all characters (even you and I believe) live.