The Annekenstein Monster

Holy Camoley, but this is a fantastic effin song.

I haven’t heard the original, which came out in 2003 on Iggy Pop’s “Skull Ring” album, but this version, dance-mixed courtesy of Felix da Housekat, is fantastic.
I mean, holy shit. Peaches and Iggy need to give us a whole album of duets because together they are almighty.
This song is raw, funny, rude, rockin’. When Iggy, at about the 2:50 mark, goes into the sex-punk mantra ‘titties titties titties…’ I always wanna break sumfin in honour of him. Right there, that glorious ecstacy, is the perfect punk moment for me. That it’s surrounded by 6 minutes of driving, pulsing dance beat only makes it better.

Check out Felix da Housekat’s mix of Iggy Pop’s Motor Inn by clicking here (7mb), or follow the arrow.

Holy Camoley, but this is a fantastic effin song.

I haven’t heard the original, which came out in 2003 on Iggy Pop’s “Skull Ring” album, but this version, dance-mixed courtesy of Felix da Housekat, is fantastic.

I mean, holy shit. Peaches and Iggy need to give us a whole album of duets because together they are almighty.

This song is raw, funny, rude, rockin’. When Iggy, at about the 2:50 mark, goes into the sex-punk mantra ‘titties titties titties…’ I always wanna break sumfin in honour of him. Right there, that glorious ecstacy, is the perfect punk moment for me. That it’s surrounded by 6 minutes of driving, pulsing dance beat only makes it better.

Check out Felix da Housekat’s mix of Iggy Pop’s Motor Inn by clicking here (7mb), or follow the arrow.

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For the ever of its existence, our home has used its own well from which we sucked water from an underground stream. This worked very well for us, and the water tastes pretty good.

Today, we get hooked up to the Charlottetown water supply, aka “city water”, and our well gets decommissioned.

It’s only costing $1400.00 to hook up, and we now get to pay an annual fee to have water supplied to us. Yesterday, water was free for us. We also will now benefit from the bonus of occasional chlorine-y tasting water and the odd boil order.

Good deal!

Of course, we are given the option to not hook up to ‘city water’. For that option, the option of not getting water supplied to us, we are only required to pay the water-supply fee every year. We would have to pay the water-supply fee in order to *not* get water supplied to us.

Good deal!

Inspired by The Accordian Guy from Accordian City, I present to you a sentence that I believe has never been written or thought by any human:

“An eardrum, like a cumquat, cannot possibly be held accountable for the sluice in my shoe.”

That is all.

On the sidebar here to your left, is a new feature, where I link to a download of a song that I think – no, I know – that you will like. I will change it on a whim, so if you want it, grab it. Of course, if you like it, buy the album.
I’d also appreciate hearing your thoughts on the selections that you decide to download. Did you like it? Did you not like it?

This first song is “25 Minutes To Go”, by Johnny Cash, which is on his Essential Johnny Cash 1955-1983 compilation, but is also on a number of other Cash albums. It was written by Shel Silverstein, one of my favourite poets.

It’s a song sung by a guy who, minute by minute, recounts his final 25 minutes of life, before he gets hanged. I’ve never heard any other versions of this song, but I love the way Cash sings it. At the beginning of the song, he’s rather cocky, a tough guy who kinda scoffs at the whole concept. That he is going to die hasn’t quite set in yet. But when the preacher shows up, with only 13 minutes to go, the finality of the situation really takes hold, and we begin to hear some cracks in the voice of that tough guy. Listen to the panic, regret and fear in his voice when there’s “just 4 more minutes to go”. Fantastic stuff, and perfectly illustrates to me what makes Johnny Cash so great.

I’ve read this song described as “jokey satire”, but I don’t agree (perhaps it is with other people’s renditions?) There may be humourous elements in the lyrics, and the upbeat tempo may bely the emotions that Cash expresses. But I don’t think Cash is joking.

Since my prognosticating prowess is powerfully proper and postive, I’ll let you all know how it’ll go down tonight on Survivor.
Tomorrow, won’t I look like real smart?
Rupert, realizing that this is the last chance to out-number the Rob-Amber alliance, tries to sway Tom and Jenna into an alliance of three. Jenna agrees. Tom says “Ahm gamma petwain chirsa chirsa goat titties.”
This, of course gets back to Rob, who soothes Tom into believing he’ll be safe if he promises to go to the final three with him and Amber.
Tom goes along with Rob, and they agree that Rupert must go next. Amber, ever the quiet manipulator in the background, all the while rubs Rob’s back, and nods.
Reward Challenge involves a running phase, followed by a brain-power phase. Rob takes the early lead, but stumbles with his brain. Jenna wins reward, which involves choosing to take someone to a traditional feast that involves a dance by the natives of the land. She takes Amber.
Immunity Challenge involves a brute-strength power and determination type challenge, which Rupert wins.
With Rupert safe, Tom and Rob (Amber nodding), decide it’s Jenna who goes, then.
Off to the vote.
Probst asks if it’s gotten ‘real’ now that there’s only five left. They all agree that it has. Jeff implies that, with 5 left, this would be a good time, perhaps the last time, for people to break any strong two-person alliances. Rob says “Thanks fo-ah tha heads up, Probst.”
Time to vote:
Probst: “The first vote: Jenna. Second vote for Boston Rob. Third vote Jenna. That’s 2 for Jenna, one for Rob. Fourth vote: Rob. That’s two for Rob, two for Jenna… The 13th person voted out is…Rob. Boston Rob, bring me your torch…”
“Well, guys, guess it just goes to show, no matter how sure you are that you’ve got all your bases covered, you just never know. Take your torches and head back to camp.”

We had our second meeting of the CD club. Another very interesting, eclectic bunch of songs for me to enjoy.
Here’s the list of songs I brought to the table.

To Impregnate These Titles As Fast As Possible

1. Dreams – TV On The Radio, from Desperate Youth, Blood Thirsty Babe (2004)
Broody, moody and threatening to begin, build into a bit of a frenzy. Mix, and repeat. Add more dread. Keep feet moving.
2. Mushaboom – Feist, from Let It Die. (2004)
aka Leslie Feist, a Canadian now living in Paris, worked with Gonzales and with Peaches. This is a great song, but I think the following clip (translated from the French site inrocks.com) explains it better than I ever could:
“Mushaboom is emblème of this album. Only its title, makes dream: it sounds nicely with the ear, way bubble gum. Isn’t Mushaboom an invention, but the name of a true Canadian city in which Feist failed to live? Attractive song, it will not fail to be encrusted at the fine bottom with your spirit, resonant like a counting rhyme of kid. To impregnate this title as fast as possible.”
3. The Band – Mando Diao, from Bring ‘Em In (2003)
Imagine The Jam as a Swedish band performing in a garage in 2003. Or just listen to this song from Mando Diao.
4. A Menhi Menina – Band of Bees, from Sunshine Hit Me (2002)
From a rocking garage in Sweden, we now head to the Isle of Wight for a swingin’ acoustic fuzzy guitar rock number that might have come out of Jack White if he were happier and poppier.
5. The Dark of the Matinee – Franz Ferdinand, from Franz Ferdinand (2004)
This band, and this album, has seen a lot of chatter on most of the ‘hip’ internet sites the last month or so. From the songs I’ve heard off their debut album, the talk is warranted. Smart sounds and very catchy tunes from this Glasgow group.
6. Lost Mi Love – Yellowman, from Mister Yellowman (1982)
I never heard of Yellowman until I downloaded this great song. My only familiarity with Jamaican music comes from Bob Marley and his contemporaries, and what survived of it in the sounds of The Beat, The Specials and the like. If you’re familiar with this dance-hall reggae tune, and with Yellowman in general, my apologies. If you’re not, I hope you groove on this as much as I do.
7. Ka Lifu Laka – Z.C.C Mukhukhu, from The Rough Guide to South African Gospel (2003)
Continuing this musical trek around the world, we now settle into a simple, yet absolutely beautiful choral chant from what I expect, based only on this song, would be a lovely CD.
8. Oxala – Madredeus, from Antologia (2000)
I tend to veer away from World Music. At least World Music that I imagine sucks the soul out of the music of the regions from which it borrows, and ends up as a bland All-World Music Stew. Understand? Me either. Anyway, this is a pretty, soft little song from a band from Portugal that makes pretty music.
9. Steve McQueen – Lambchop, from Aw C’mon (2004)
After that little journey around the world, we come back to North America and relax with this 70’s sounding country song featuring a pop-ensemble orchestra complete with swirling strings. Did I hear you gulp with fear? Don’t worry. Just listen.
10. Laura – Scissor Sisters, from Scissor Sisters (2004)
From New York. You’ll either see this as a bouncy oom-pah throw-back to early 70’s sounds of Ziggy Stardust as if presented through a disco/broadway stage production, or, you’ll like it.
11. Distance – Grand National, from an Output Recordings compilation (year unknown)
I know absolutely nothing about this group, and I can’t find anything online, but I sure like the sound. Yes, I sure like the sound. The background singer reminds me of Sting’s background singing on Dire Straits “I Want My MTV”.
12. The Rat – The Walkmen, from Bows + Arrows (2004)
Kinda used to be Johnathon Fire*Eater. Now they are The Walkmen. I give this information, not because it has any relevance to me, but it may to you. This song is all I know of The Walkmen. This singer kinda sounds like what Bono might sound like if he was younger and pumped up on coke.
13. Bukowski – Modest Mouse, from Good News for People Who Love Bad News (2004)
Another I’m not too familiar with. Here are the ‘tones’ AllMusic.com uses to describe their sound: Volatile, Cathartic, Earnest, Brash, Rousing, Fiery, Confrontational, Reflective, Urgent. All of these descriptors may apply to this great song.
14. Waiting for the Heartaches – The Coral, from The Coral (1996)
Back to Britain, this time to Hoylake, on the west coast of England. This is from their debut album, which caused quite a stir in GB. The album chops its way through all kinds of genres, a couple of genres in this song alone.
15. If It’s Not With You – Phoenix, from Alphabetical (2004)
Britain again. Another one I know nothing about. Apparently he had a song in “Lost in Translation”, but I don’t have that soundtrack. This album doesn’t get the greatest props, but I quite like this quiet song with its 70’s songwriter vibe.
16. World Of – Jim Guthrie, album unknown (year unknown)
Who? I don’t know, but I wouldn’t mind finding out more. And I highly doubt that ‘World Of’ is the actual name of this track, but this is the way it came to me. After a quick search, I found this quote, source un-named: “If all is right in the universe, it should alert the world to the depths of his talents and dare to be said, his genius…an inspiration for a whole generation of post-rockers and lo-fi punks.” For god’s sake, don’t let that quote avert your ears from this lovely, delicate song. I’m guessing he’s from Toronto.
17. Solex in a Slipshod Style – Solex, from Solex vs. the Hitmeister (1998)
The story of Solex, as I understand it: Amsterdamian record shop owner, and songwriter, Elisabeth Esselink began to create lo-fi techno pop music, borrowing snippets of songs from records that weren’t selling at her store, and using the made-up character of Solex as the basis of many of her songs. Voice sounds a bit like Bjork’s to me, but don’t hold that against her.
18. Call My Name – Prince, from Musicology (2004)
I, like many, had given up on Prince. Sure, I could buy the claim that his record company was stifling his creative genius. Then came the post-record company albums, seemingly a new one each week, and none getting much positive press. Now I hear about Musicology, and how it’s supposed to be so wonderful, so I download the album. One word review: Yay!! This song, Call My Name, is to be filed under ‘Fantastic Prince Ballad’. I remember, years ago, Gene Siskel gave a thumbs down to Scorsese’s Casino, because Siskel felt it was redundant since Scorsese had so-often traveled the same themes and scenes in past movies. I expect some may feel the same about this song, because it sounds like classic Prince. Fair enough, I suppose, but I think Casino is a fantastic film, and Call My Name is a fantastic song. It gloriously sounds like classic Prince. Yay!!

First of all, what is happening to Paula Abdul? A coupla weeks ago, she showed up on American Idol with her right arm in a sling. Now, last night, she had on far too much makeup, like she was trying to cover up facial bruising. Paula, is everything okay at home? Is somebody treating you like their personal punching bag? You can tell me.
Whatever the case, that was some ugly Paula makeup last night. Very trampish.

Speaking of Ugly, how about that blue dress the Diana DeGonner was wearing? Yeesh. Nothing like picking a dress that makes you look stumpy while accentuating your tummy roll. Speaking of tummy rolls, I’m afraid Diana is gonna end up going the way of Dawn “Mary Ann” Wells, and Cindy “Shirley” Williams. That is, I fear she’s going to get fat, and sooner than later. You can see it’s in her genes.
But, how did she sing, you ask. Not very well, I answer. On her first song, she sounded nervous and her voice was weak and trembly. The second song, which was more up-tempo, served her better. But she still wasn’t all that good, I didn’t think.
She’ll be safe tonight, though, and make it to next week, because she’s the last white person in the competition.

As ugly as Diana De-uglyGowner’s dress was, George Huff looked pretty natty in his dark suit, dark shirt and dark tie. Remember the first time we saw George, he looked really old, like he was mid-30’s. (let’s pause here to give us who are currently past mid-30’s a moment to wipe away our tears). Now, he looks like a boy who’s playing at being a man. How’d that happen? George looks like he should be licking a lolipop.
As for his performance, when he was singing his first song, I was thinking that it was too by the book, too note for note, too safe. Simon concurred with me. I like it when I think the same thing as Simon, because he is always right on about the vocal talent. (sometimes he is way off on things like the performer’s personality or their look, but he is very seldom off on his critique of their vocal qualities). When I heard George say he was going to sing “What A Wonderful World” I shuddered. For me, that song has long stopped being a song, and has become an icon for the Big Chill generation. I was pleased to hear him sing it well, though. He spinned it enough to make it distinct, even though the judges chastised him for not doing that. I think their chastisement was more for the first song, though, which was well sung, but lacking his individuality.
George will be safe tonight because he is the last male participant in the competition.

I can’t recall the dress that LaToya ‘R’ Us was wearing, so I won’t comment on it. Except to say that I expect it was just like her performance: Perfectly styled. LaToya did a fantastic job with both of her numbers. But as I was listening to them I was thinking that I don’t think I’d want to buy a record of hers. Yes, there’d be great singing, but that’d be about it. Not much personality emanates out of the pores of LaToya. She definitely has the most polished and professional voice, and she may very well win American Idol, but I don’t think she’s the best choice.
LaToya will be safe tonight because she has the best voice.

The denims and top with dangling chains that Jasmine Triage was wearing didn’t do anything for me. Then again, neither did her singing. She just doesn’t have the singing chops. And anyone who’s downloaded any of my songs here, should agree that I know all about not having singing chops. I never liked Jasmine as a singer, and her personality does nothing for me.
She’ll be the one who gets removed from the competition tonight.

I also don’t remember the outfit that Fantasia was wearing. I thought she did a great job with her two songs, though. I can understand why people don’t like her personality. It’s because she has one and is willing to display it. I guess there are many who are hoping she doesn’t win, but I’m not one of them. I’d be much more inclined to buy, and much more curious about, the music she’d create than I would any other competitor in American Idol.
She’s safe for another week or two.

Finally, I was always impressed with how quickly the show’s editors could, at the end of the show where they recap snippets from the performances, cut in the final competitor’s recap in time for the recap. Last night, though, I saw how it was possible. In the live performance we saw, Fantasia never ended either of her songs with her now-trademark ‘yeah yeah yeah yeah’ vocal run (thank goodness, as I was getting tired of it). Yet, in the recap, they showed the ending to her song, and there it was, the ‘yeah yeah yeah yeah’ vocal run. So, obviously, the recaps (or at least the final performer’s recap) is/are taken from a rehearsal performance. Fair enough.

In conclusion, bye Jasmine.

I know, I know, posts about grammar are ho hum. Still.

People, you gotta stop trying to sound smart by using ‘whom’. Most of the time, ‘whom’ gets used improperly. I only say this because I’ve noticed its incorrect use more often in the past month or so, on various sites that I visit. So, please, just stick with the ‘who’. At least when it’s incorrect, it’s not as noticable. Okay, people? As for which people, you know whom you are.

Also, since I’m here, please be careful with the ‘blank and I’. I know teachers drilled it into our heads in elementary school, but, alas, it went to the opposite extreme, and now ‘blank and I’ is too often used incorrectly. “The pizza was eaten by John and I” is incorrect, for instance. It should be “John and me”. Yet, I see this very thing happening all the time. (I am so La De Da)
Here’s a simple test to know if you are using it correctly: When you are writing a sentence where you wonder whether it should be ‘blank and I’ or ‘blank and me’, separate the names, and read the sentence with each as an individual entity.
The pizza was eaten by John. (that’s okay)
The pizza was eaten by I. (that’s not okay)
Anytime you’re in doubt, just try that test, and you should see which is correct.

I just had to get that off my chest.

Carry on.

This song, I call a Chimp song because it was recorded during the period in which we recorded the Chimp songs. That, and it uses electric guitar while all ‘my’ other songs are acoustic. Really, though, I think it’s safe to call it a Rob song because I wrote it myself, I made all the noises on it myself after Dave went home one night, and, most importantly, it just doesn’t sound to me (or to Dave, i’m guessing) like a Chimp song.

Anyway, onto the song.

Does anyone from Charlottetown remember about 15 to 10 years ago, there were posters all around town, on telephone poles, walls, everywhere, with a picture of a guy who was missing? The poster asked ‘Have you seen this man” or something similar. I guess he committed suicide or drowned or something, so the rumours go. At any rate, the posters were up, seemingly, for years, and over the course of time, they became pretty disshevelled, some with glasses and moustaches, etc, drawn on them.
I found that lack of respect interesting enough to write a song about them. Or, at least, a verse.

“Have you seen this man” said the posters, in a pessimistic hue.
Been up for weeks on poles, uh oh, does not look good for you.
Your frightened eyes, caught by surprise,
Marker moustache and blackened eyes
Obscure your grainy face.
No sympathy for such an ugly face.

So, I had written that, and thought it’d be good to forge a song around it. Since the guy was rumoured to have drowned, I thought it made sense to talk about the harbour in which he likely drowned. Those of you who know the Charlottetown Harbour would have to agree that it’s very pretty. Not the sort of place that we’d want to associate with suicide. Especially us being a tourist town. That was the thinking that led me to the title “So Exquisite Harbour” and to the chorus.
Now I had a verse, and a chorus. I wrote the second verse about a fictional character, a nouveau hippy chick who thinks she’s ‘literary’ and drinks herbal tea. She thinks she has it together, but ends up dead in the harbour as well. Happy song!
I am not proud about the lyrics in the bridge, or for the melody of the bridge, for that matter. They aren’t horrible or anything, just not very smart or clever. Yet, it seems the song needs them to be there.
After two verses of sad-luck people I thought it needed to become a little uplifting, so I wrote the third verse about a guy (the singer of the song) who remains optimistic (he claims he won’t end up dead in the harbour like the others) despite having lost both his arms in a farming accident, and despite the fact that he pisses on himself every time he pees.

So, it ends kinda happily. Yay for the song!

I like the fuzzy sound of the guitar, and it’s a pretty tight little tune, mixed pretty well, too for someone who didn’t really know what he was doing. I don’t even think there are points in the vocals that disgust me. Perhaps it’s because I put my vocals through the same kind of fuzz distortion as I did the guitar. Very John Lennon, if you ask me. The distort-your-voice technique, not the song.

Anyway, here it is: So Exquisite Harbour (3.9mb)