SUMMER OF MIKE - A check in!

Summer of Mike! 2 months down, 1 to go! 

Back sometime in May, I believe I declared this summer the SUMMER OF MIKE, where I would do lots of fun things, and just generally have a good time doing things on my own or with people. The last two summers have been, well, strange, to say the least, as the first one was a combo of living with the first pandemic summer/going through a pretty rough mental breakup, while 2021 was kinda the same for self inflicted reasons. So how has the SUMMER OF MIKE been going? Has it lived up to expectations? Read on to find out! 

If you don’t want to find out, please prepare your snarky comments!

1. I went into this summer thinking that I wasn’t going to even try to date. I had gotten out of a relationship that reached its natural conclusion, and did just want to take some time to myself. But, in late May, I got back in touch with Jeanine, a prior girlfriend, and we hit it off again, and we’ve been going out for about 2 months now. So, unexpected in all the best ways, and things are going very well, building on the strengths of the first time around, but this time, being more communicative and open with each other. So, that’s all very positive and a “feel good” part of this summer… 

2. In May, I got to go down to see my dad/stepmother in Florida for a longish weekend, which was a lot of fun. These last two years have not been great for travel, so being able to get down to spend time together was a great accomplishment. A good time was had by all! 

3. The end of May/start of June was a bit odd, with my jury duty service on a 2nd degree murder trial. It did throw me for a bit of a loop, as the realities of the case were sometimes emotionally difficult to process, mainly just how random life can be (for the victim in the case, and therefore, for all of us in life). But it was an experience that upon reflection, I would not trade for anything. I truly believe, as I stated at the time, in doing our ‘civic duty’ in serving on juries when called to do so, and I’m glad my work was able to be so flexible for the 11 or so days of work that I missed. 

4. Jeanine and I have been able to hit two Broadway shows (American Buffalo and The Minutes), which were both very good, with The Minutes being my favorite of the two (although both were well worth seeing). We’ve been to two concerts together (The Musical Box, a Genesis tribute band; and the Ed Palermo Big Band), and both were great fun. We’ve been able to go out and about a lot more than we did in our first go round in late 2020/early 2021, which I think helps a lot with the actual development of the relationship, and it gives us something to both look forward to do together, and to talk about once we do it. We did go to a Star Wars fan event, which was basically some rich dude’s toy collection here in NYC, which was a bust, but we had fun joking about it, so we turn a negative into a positive! 

5. I got to see friends Brian/In/Rowan down in the hometown, which is always a pleasure! I’ve also been able to hang out with friend Andy, and do podcast recording with Tom and Adam (who I also saw when we went to see The Musical Box!). Pre-Musical Box show, I also got to hang out with friend Andrew DeSpirito, and had dinner with Lou for the first time in a long time! I got to see the Kid in the Hall Bruce McCulloch live with Stacy Godfrey and her friend Nicole! This was in May, so perhaps a bit before the SUMMER OF MIKE officially began, but I got to see Jerry Marotta/Security Project on tour, and caught up with AJ Chippero who was out assisting on the road with them! All this is something not to take for granted after these past few years. 

6. This may not seem like a big deal, but I’ve been able to get out to the movies, to see some new releases, and some revivals (Godzilla and The Thing!). As getting out to the movies is one of my main fun “get out of the apartment” activities to do, this has been a good summer on that front. I do like going to the shows that are reserved seating (to pick seats away from other humans!), and I do keep my mask on in general (I had Covid once, no need to get it again). So overall, it’s good to get that aspect of life going again. 

7. And, of course, there’s the continued walking around the city I do, to keep myself sane and healthy. The walking I’ve been doing over the past two years has not just been good for physical health, but it has helped in general with feeling better about myself overall. I am, at heart, a creature of habit and routine, and I’m glad that I’ve been able to build this walking into a habit that has continued. 

What does the rest of the summer hold? Traveling to Washington DC for a work conference in August, more outings with Jeanine, possible concert attendance with Tom (we still have to nail this down!), more activities around the city, a day trip to the beach (avoiding sunburn as much as possible!), and more of the good things in life… 

This summer, while it’s basically 2/3rds over, has felt “long” in the best of ways. Yes, we still have to be careful when out and about, and be considerate of others and be aware of health concerns. But, maybe, just maybe, there’s a bit of light at the end of this 2+ year long tunnel. 

So, bravo to the SUMMER OF MIKE, and I hope all your summers are going as well as possible! Tell everyone in the comments how you’re doing! 

 And, I know this has been a lot of words, so to reward your reading, here’s a Haley cat photo…

Coin Collecting

While doing some organizing of shelves (don't tell me my life isn't exciting!), I came upon some of my old coin collection, in the classic blue Whitman holders. Pennies, nickels, dimes, quarters, all neatly arranged in their respective places. I collected coins from about the age of 9 or 10, to about 12 or 13, if my memory serves me right, and then, while I still had the books, the active collection faded. But still, I would look through my change for any older coins, the random silver dime or quarter, old Wheatie pennies (cents from 1909 to 1958, for those of you not in the know), and the like. Once that collection bug bites, I don't know if it ever really goes away. Looking at these older holders, I decided, why not start this up again? Collecting is fun, I can get some new folders, and now that I'm not a kid and have a real income, I might be able to really accumulate a collection, through buying of some older coins. But, there is that part of me that goes, does it really matter to simply accumulate "stuff," that'll sit on a shelf or in a folder, what does it really matter in the long run? The pleasure is in the finding, the chase, the enjoyment of the process! If a collection simply becomes the covetous, "I've got something on my shelf, and that's where it will stay," then the collections owns you, not you owning the collection. So, I think I am going to start up this collection again, and see where it leads. If it becomes too obsessive, if I can't bear the thought of giving it away, or losing it at some point, then I learn how to give something up that was important to me. That's something that perhaps we continually have to learn over again in life. If I find anything "cool," I'll keep you posted!

A salad revelation...

Joe Johnston may appreciate this, as it's based on conversations we have had in the past...

I was out at lunch earlier this week, and I was having chicken and rice from one of the local street vendors, which is quite tasty. Along with the chicken/rice, there's a bit of salad in the mix, and sometimes even a few french fries. It's NYC street food, you never quite know what you'll get...

Anyway, they always give me the option of having white sauce or hot sauce on the lunch. As the white sauce is a horrendous taste (although many people love it, as it seems like the default sauce to get), I always go for the hot sauce.

I have told many people that I find salad dressing to be a silly invention. If you like salad, just eat the salad, or if you like the dressing, just have the dressing.

While I was eating my lunch, and enjoying the salad that had some of the hot sauce on it, I thought to myself, why isn't there more hot sauce on salad? And then, I had my minor epiphany that the hot sauce *was* a kind of salad dressing, and that if there was more of it, I'd be happy to have it on salad in general...

So, I guess I'm not as against salad dressing as I thought. Please, go on with your regular activities while this revelation of mine resounds throughout the land...

King Crimson Dress Rehearsal - Albany, 8 September 2014

Yesterday, I had the opportunity to attend the dress rehearsal for the upcoming (starting tonight!) King Crimson tour, at The Egg in Albany, New York.  The lovely Eli, who is a member of the NYC Guitar Circle, was included in an opportunity to attend the rehearsal, and with us both being fans of the band, it was a no-brainer to accept this opportunity as presented to us.

I did joke with Sid Smith, KC documentarian extraordinaire, that I may have been the only male in attendance who was brought by his wife, as KC does have the reputation for being a 'guys' band. 

Before getting to the theater, Eli and I discussed where we would like to sit in the theater, if it was up to us.  We both agreed that if we could, we should sit in the front row.  Because, well, when else are you going to sit in the front row for a King Crimson dress rehearsal?  Most likely never.  Also, I've found personally, when sitting in the front row for other shows, it really does feel like the band is playing just for you.  We both wanted that experience for this special event.

On arrival at the venue, when we were able to enter the level of the theater, we made the acquaintance of the merch man Adrian, who we have chatted with at other shows, as he works for Steve Hackett's tours also.  It's a small world, this prog community... I bought the tour box/CD set, along with a t-shirt for the tour, while Eli waited until after the show to buy her shirt, a Larks' Tongues based design.  

Upon entering the theater, we were told that we could sit wherever we wanted to.  So, Eli and I went right up to the front, and plopped ourselves down in the two middle seats of the 6 seat long first row.  Because, again, why not?  The set up on stage had the three drummers in front, with Pat Mastelotto on the left, Bill Rieflin in the center, and Gavin Harrison on the right.  The back line was made up of Mel Collins (secret weapon of this lineup) on saxes and flutes, Tony Levin on basses and Stick, Jakko Jakszyk on guitar and vocals, and Robert Fripp on guitar.  

There was a very amusing audio recording from the band members played twice before the start of the show, asking attendees to be in the moment, and to not take photos or make 'viddies' of the show, as it is distracting to the other members of the audience, the band members, and to the photographer/videographer themselves.  I agree with this, and it was great to put the point across in the recording with humor and intelligence.

The show started promptly at 7:30pm (give or take a minute or two, I was not acting as timekeeper!), with the band coming out on stage to a tape playing from the end of the Islands album, of an orchestral warm up that led into a count, beginning the first song.  I will *not* go into the details of the setlist here, even though it is out there in internet-land for those who wish to find it. What I want to reflect on is my emotional response to the show, how this music affected me...

I move my head to music when I hear it in a live setting. It is one of those bodily responses that I don't even really think about.  It's how I enjoy the music.  It's not a wild shaking, but just a nodding along to the beat and accents in the music.  I think it is less distracting to others around me that clapping along, moving my whole body, or having some other crazy reaction to the sounds.  Needless to say, this music moved me.  I found myself a number of times locking eyes with drummer Pat, grooving along to the beat, trying to make sure in some of the trickier numbers to actually get the pauses and beats right.  (I'm looking at you, 'ConstruKction of Light!).  (Highlight blank space if you want to see what song I mentioned.)

In the front row, I almost feel a responsibility to show my enjoyment of the event, as I know that the musicians on stage often cannot see that deeply into the crowd.  Both Eli and I really get into this material, so we acquitted ourselves well (we hope!).

Without giving away any real setlist spoilers, I'll just say that the musical choices included songs from the first to the last KC album, but not all albums were represented. The set was heavy on instrumental material, but the vocal material that was played, *really* worked. As did the instrumental selections.

The only real performance issue I noticed during the evening was that during the start of the second number, for about 3 minutes, Tony Levin's bass did not work.  He and his tech worked the problem, and once the sound kicked in, you could really feel his presence in the song.

Last night, I was able to hear music played by talented musicians in a live setting, that I had never seen performed before.  The musicians brought their personalities to the music, honoring the original arrangements while not being tied to those arrangements.  The music was all recognizable (except the linking improvs/pieces, which appeared to be all new), even with some changes made to some of the pieces, particularly in the drum front.  Watching the seven musicians on stage was a joy, although when I would focus on one, I would have to consciously move my gaze to another, as it would be easy to just watch one of these performers all night.  

Jakko has such an expressive voice, a real wistfulness to his delivery that pushes the right buttons for me emotionally.  His guitar playing was solid, and I think will get more comfortable as the tour moves forward.  Surprisingly, there was no between song banter in this set, it was just the music.  I thought that was an interesting decision, as it really does keep the focus on the performance, not breaking the momentum of the set.

Eli commented after the show that she thought that Bill Rieflin just looked totally comfortable behind a drum kit, that his playing seemed like a natural outgrowth of his own personality.  Effortless may not describe his playing, but it does give a sense of the feel that he had.

I mentioned Mel Collins before, who was in the 1971-72 lineup of Crimson, and this was my first experience with him playing live.  His playing on both older and newer material was great, as can be expected from such an experienced musician, and it really gave the music another dimension that it did not have before.  

I had an immense amount of fun attending this gig, experiencing the first semi-public performance of this tour.  Being able to sit back, or lean forward, and simply experience this band, that is only going to get better as the tour goes on, was a rare treat and privilege.  I was able to hear music that I have lived with for years, in a setting that allowed myself and the other attendees a chance to see the start of something new in action.  I have to again thank the lovey Eli who created the opportunity for us to be at this event.  We were truly lucky to be there.

Reading

Yesterday, in the evening, I gave into a creative endeavor once again, and participated in my second reading as part of an ongoing art group here in Jersey City.  I discovered this group through the connection from a friend I had met during my time working at my last job, and as I was going to have some free time on my hands, I asked her about any options for getting involved in something creative locally.

She got me in touch with the leader of this arthouse group, and I put myself in for availability to be a reader for works in progress that local writers are developing.  Scripts mainly, from what I understand.  I was lucky enough with my timing to get to be a reader in the first meeting I was able to attend, which was in December.  I was further, lucky enough to get to read for two scripts last night at the January meeting of this group.

I know that it is very unlikely for me that this would develop into something that could be a full time job, but I'm not looking for this to become that.  I'm looking for this to be a fun way to engage with local creative types, to perhaps get my own juices flowing in that area.

Out in the city (New York, of course) the other night, my friend Lou suggested an idea for a script that's been bouncing around in his head for a bit of time.  I've been thinking about it, and I think I'm going to have a go at creating some characters and a treatment/outline of his idea, to see what he thinks about it.  If nothing else, again, it can be a way to exercise some creative muscles.

I do think that it's important to have an outlet of some type for the mind to get creative.  It can be music, painting, photography, whatever works for that person's particular expression.  For me, I've tried music, and have enjoyed it, and I've done some writing, mainly poetry.  Doesn't everyone try it at some point?  In the college years, that's when I was able to write the most, with the free time (outside of studying) that the lifestyle of the time afforded.

I'll keep my public posted on what happens...

Review: Yarn - Idiot Pop

Today we are visiting the second of two albums I am reviewing for my good and dear friend Tom Arnold, and today we will visit a project that I believe he had more creative input in, a disc called Idiot Pop, under the name Yarn.  Those of you who know of my witty banter with Tom, will take as a given that there are many jokes that can be made about the name of the album, and the term "Idiot" in that title.

Again, the construction of said jokes are left as an exercise to the reader.

This project was recorded in the mid-2000's, but did not see a physical release.  It's now available online at this website, and I-Tunes may even sell it.  Tom worked with songwriter Simon Young on this release, so I have to assume that any good bits are Simon's.  The notes on the website describe this as intelligent English pop, so we shall see what we have in store for us...

My thoughts...

• Intro:  A relaxed intro to the album, mellow and laid back.  Well produced and calming.  Kind of 70's-ish in feel, but I say that in a good way.  No vocals so far.  Perhaps it would have been too pretentious to call this an overture, and I'll have to see if any of the themes from this intro crop up in any of the songs in the set.  

• Personality:  Ooh, a rocker!  This starts with some great upbeat guitar/drum/Hammond sound driving the track along.  The voice has a distinct sound to its quality, and is easily understood, which is not always the case with modern music.  Sounds like it's about the travails of being a pop star, which I know from experience is a rough life... Nice backing "la-la's" in the third verse.  Subtle, which makes it okay in my book.  

• Painter:  Almost funky in the start.  Keyboard on a Mellotron flute setting in the intro?  I like this song, it's quirky in a light, fun way.  A note.  Some of the endings of the songs tend to fade abruptly.  I'm not sure if that's an artifact of the MP3, or is actually how the album was mixed/mastered.  

• When We're Gone:  A more laid back track here.  Reflective about being gone, of being thought about in absence.  Now that's a Mellotron at the end of the chorus!  Lots going on in this track during the verse.  It may be a bit too busy, but it has a 60's vibe to it that does still work.

• Everybody:  This is a lighter track, but it feels a bit too robotic to me in the choruses, where I feel it should swing and be a bit looser.  The bass and drums are a bit *too* in lock with each other.  Perhaps the track could be better served with a different arrangement.  I think the song itself is pretty good, it simply needs better dressing.

• Stop the War:  The opening makes me feel like an older song from the 50's or early 60's.  Almost like lounge music that I'd see in a movie from that era.  Black and white, the lead walks into the smoky hotel bar, looking for his hookup for the evening.  She's at the bar, smoking a cigarette, looking off into the distance, while this song plays in the background... 

• A Better Way:  A good mix of louder and quieter sections in this song, but still not in your face.  It's very well balanced in that respect.  Nice vocal harmony in the arrangement.  A short track, at a tick under two minutes.  I'd prefer there to be a bit more to this one, it felt like it was just getting started when it ended.

• Making Monkeys:  A real sax in the track?  I think so... Another happy fun number, with a good drive along to the ending.  This is a good fun track, with a bouncy feel to it that makes me groove along with it.  

• I Do:  Slow Fender Rhodes starts the track.  A bit more serious?  A love song, that picks up after the start of the track.  A bit of melancholy in the verses, so I'm not quite sure if the singer is happy about this situation or not.  It certainly doesn't feel that way, but perhaps I'm mis-reading the tone of the song?

• Black Sheep:  A happy guitar starts the song, chording along.  Some horns in the verses make me think of some stereotypical Mexican music, but it does seem to work.   Again, this song feels happy to me, and I'm glad to be happy with it.

• Bend in the River:  Brushes on the drums.  And then, it turns into a more groove oriented song, with Hammond organ and piano driving the song along.  Is this an instrumental?  No vocals yet... Yes, I think it is all instrumental.  There certainly could have been vocals, with the structure of the song, but I don't mind their absence.  I would like the Hammond bits a bit higher in the mix during the verses.  

• Wings:  Not a tribute to the Paul McCartney band, although the intro piano sounds a tiny bit like the start of "Let It Be."  Not a Wings song, I know, but it is McCartney.  But back to this track.  It's a piano ballad.  It's okay.  Not jumping out at me to catch my attention, but I guess every album needs a track like this?  The solo in the middle of the track echoes the vocal melody nicely.  

• Golden Egg:  The longest song on the album, clocking in at 4:52.  The laid back intro goes into a Hammondish/spacey sounding section, with the drums still clicking along to their pattern.  I'm interested in where this is going, as again, we don't have vocals yet...  The piano is playing what could be a vocal melody, but I'm past the halfway mark here, so I think we're in instrumental land.  I like it... 

• With Everything:  And at the end, we conclude with a jumble of instruments and vocal snippets.  Truly, with everything.  Psychedelia without the drugs?  Clocking in at 1:44, something like this is about a minute too long.  

Overall, I enjoyed this disc.  When the tracks come up on random play on my computer, I certainly am not going to skip the songs, except for perhaps 'With Everything,' as it doesn't appear to bear up to repeated listening.  Although, perhaps repeated listening will reveal its charms?  On a 5 point rating scale, I'll give this 3.5 stars.    

Review: Ungagged - Where the River Meets the Sea

My good friend Tom Arnold (no, not the actor) is a professional drummer over in the UK.  He gave me two albums that he played on, and had asked some time ago for me to write one of my patented stream of consciousness, write as I listen, reviews.

Finally, I'm getting around to it.  Being unemployed, or only working part time, means I do have a bit more time on my hands as compared to normal, so I'm catching up on items like this that I've been meaning to do for awhile.

This album, entitled, "Where the River Meets the Sea," was released in 2006 under the moniker "Ungagged."  This one album project was recorded as a trio, with Tom Arnold on drums, Hammond organ (watch later for appropriate playing with organ jokes), Mark Allen on lead vocals and acoustic guitar (he also wrote all the material), and Richard Durrant on guitar and all other stringed instruments.

So, without further ado, the songs:

• Might Be the Reason:  A good opening number on the album.  A story song about people meeting along a railway trip.  Nice Hammond organ in the choruses.  The middle eight is a little bit too much of a break to me, but it does end with a nice subdued guitar solo.  Subtle arrangement in the third verse with some guitar punctuation and drum breaks giving some personality to the song.  So far, I'm enjoying this.

• Find a New Dream:  Another train song?  A song about moving on and leaving the past behind.  The singer's voice is calm and relaxing.  Very smooth sounding.  The main thought going through my head about the album so far is that it's very mature, and very well produced.  

• Let the Pages Blacken:  "Changed the key to your heart..."  Not sure if I like that metaphor.  Fingerpicking guitar and voice.  More laid back arrangement for this track so far.  Cello in the second verse?  A relationship song, talk of a letter, of needing the connection to keep going... Sometimes, you have to write for your own reasons, not for the pleasure of the intended recipient.

• I'm Not Afraid:  Starts uptempo, with banjo in the mix!  Uptempo, with solid backing vocals in the chorus that drives the song along.  Nice hi-hat and cymbal work.  Subtle.  The bass gets a bit of movement in this song also, which keeps the pace up.  Good stuff.  I'm almost thinking that these songs may be linked lyrically more than I caught on previous listens.  You could make a story moving forward with the songs on the album up to this point...

• Pull Away:  Relationship song, but more about family this time, talk of a father, being distant?  The music is a bit happier sounding than the lyrics would call for, I would think.   Not that it all has to be minor key and a downer with a song like this, but it's seems a bit of a mismatch for me.  I'm not feeling a real connection to this song, like I did with the others.  Some good Hammond work again from Tom near the end.  It's an instrument that doesn't get used as much now as it had in the past. 

• Reaction to You:  A song about how love makes you feel... A laid back song and arrangement, no drums so far.  Driven along by guitar and Hammond.  This middle eight worked for me, bringing me back into the song, to go along for the rest of the ride.  Now there's a turn at the end, making it seem like the reaction to the person in the relationship is now negative, that he wants to get out... Not sure where that came from...

• Jackie:  More relationship issues, again with parents/father in this track.  How the relationship at home affects the life outside of the home also.  He goes to jail in the middle eight!  Got into a fight with some soldiers...  Not a song that worked for me, although I did generally like the music for this one.  Just guitar and voice, with some other flourishes thrown in.

• If You Trip:  I think we're in the acoustic part of the album.  No drums again in this track so far.  Harmonium in this track, or is that an accordion?  The lyrics, again about someone walking a tightrope in their life, don't do much for me, but I am finding my head nodding along to the music, which is a good thing.

• Cold Cuts:  Another angry song, but with no drums.  Wait, here they are!  After the first verse or two.  I think the song could have been stronger had there been some sort of percussion at the start running up to the part of the song later on.  I think the songs may be better served by some more variety in the arrangement, or perhaps there were just too many drum free songs in a row, after the strong start the album had.  Ended a bit abruptly... 

• I'll See You:  Something about the start of this song just makes me smile.  Light percussion, the vocal, a guitar figure, just makes it all work for me.  I'm looking forward to the rest of this song, after having a bit of a dry spell in the middle of the album.  This almost feels like it could be the last song on the album, but I know there are two other songs.  We'll see how the rest of the album feels after this track.  The momentum of this song in the choruses really works for me.  An interesting counterpoint with backing vocals during the last part of the song.  One person saying "I'll see you again," while the other says "I won't see you, when you're dead and gone."

• Where the River Meets the Sea:  Piano ballad!  Haven't had one of these yet on the album.  I'm curious to see how this develops.  Almost any song about rivers meeting the sea works for me.  "The Sea Refuses No River" by Pete Townshend comes to mind.  This is not a copy of that song, but the metaphor still works.  No drums again.  Maybe I'm a sucker for the dramatic, but I think some different arrangements for some of these tracks could add some oomph to the message of the music, accenting or projecting the music more strongly.  

• The Offering:  Music as an offering, is the metaphor in the lyrics.  I'm enjoying the verses, but the chorus loses it for me, it's trying a bit too much to be inspirational, and be the *final song* of the album, whereas I think "I See You" could have been a more natural closer to the album.  Yes, it's trying a bit too hard at the end, with a "la la la" chorus, with the singer asking us to sing along.  Maybe it would work in a live setting, but on this album, it feels a bit contrived to me.

Overall, I have to say I enjoyed the album.  Yes, there's songs I don't enjoy as much as others, or that I think just don't work, but there's few albums out there that do meet that standard.  If you're looking for laid back music, that has a mellow feel to it, professionally done, then this is a good album to give your ears to for awhile.

Also, my compliments to the album packaging, I see many "independent" releases that the album art and packaging appear cheap and tawdry, but this album is put together very nicely, to the band photos on the front and back cover, to the lyric booklet, and even the font choice of the booklet credits looks professional.  

For those of you who like ratings, I'll give this 3 stars out of 5.  If the order is rearranged with the last song on the album dropped, and "I'll See You" at the end instead, I'll bump it up to 3.5.

Now, tomorrow, I'll review another release that Tom played on, a collection of songs called "Idiot Pop," under the band name "Yarn."