Skip to content

Housing Markets in Wonderland

25-Aug-10

Economist Arnold Kling points out the absurdity of the US government’s residential housing entities:

Old consensus: we need Freddie and Fannie in order to make housing “affordable.”
New consensus: we need them in order to “prevent further house price declines,” in other words, to make housing less affordable.

A crazy world we Americans live in.

No Idea What This Symbol Means

18-Aug-10

No Idea

I’m in that large minority of folks to whom this symbol means nothing.

According to an article on Yahoo! Autos:

Do you recognize the symbol here? It lights up in your instrument panel and looks like a U-shaped pictograph with treads and an exclamation point in the middle.

Do you understand what it means now?

If you guessed a low tire-pressure warning, you are right. If you didn’t recognize the symbol, that’s also understandable because one out of three drivers do not…

Only one in three? Seems like it should be much higher. I think I’m going to replace the exclamation point with a question mark and use it as an album cover. Stay tuned.

Review: Rush at Shoreline Amphitheatre, Mountain View CA: August 9, 2010

14-Aug-10
Rush "The Spirit of Radio"

"The Spirit of Radio" opening the show

On Monday (August 9, 2010) I saw Rush perform at the Shoreline Amphitheatre in Mountain View, CA. While the show was by no means perfect, the good – the great – far outweighed the bad. Rush fans of any generation should make every effort to catch the band this time out.

They seem to be calling the tour variously “The Time Machine Tour” or “An Evening with Rush.” These shows include performances of the entire Moving Pictures album from 1981. Previously Rush have never performed the entire album live in sequence – and I don’t think they’ve ever played “The Camera Eye” on stage.

I didn’t take detailed notes on the setlist, but I believe the Mountain View show’s was identical to others so far on the tour.

First Set:

The Spirit of Radio
Time Stand Still
Presto

Stick It Out
Workin’ Them Angels

Leave That Thing Alone
Faithless
BU2B
Freewill
Marathon
Subdivisions

Second Set:

Tom Sawyer
Red Barchetta
YYZ
Limelight
The Camera Eye
Witch Hunt
Vital Signs
Caravan
Drum Solo
Closer To The Heart
2112 Part I: Overture
2112 Part II: The Temples Of Syrinx
Far Cry

Encores:

La Villa Strangiato
Working Man


Rush "Subdivisions"

"Subdivisions": the anthem of every disaffected suburban boy in the early '80s

Let’s get the bad out of the way: each set was preceded by excruciatingly long and unfunny sketch comedy-style videos parodying what the band might have been like had things gone differently (oom-pah style dinner show performances, shots of babies playing Rush’s instruments, others with Neil playing guitar and Geddy on drums). The main character, I believe played by Alex, was a gigantic manager apparently modeled on Mr. Creosote from Monthy Python’s The Meaning of Life. The worst aspect of these videos was that they included album versions of the songs that started each set, so there was a sort of pre-climactic kickoff that minimized the excitement when the band actually came on stage.

The stage show itself was also pretty minimal, even half-assed. Equipment cases were left strewn about the actual set, and the load-in door backstage left open – like the guys had just set up and didn’t care to make the stage presentable. The screen was small with only intermittently amusing animations.

And the first set was very rocky. The mix was muddy – hard to discern instrumental lines, especially the triggered synthesizers from the ’80s tracks. Several synth lines seem to have been missed altogether – or at least not included in mix – mistakes that were especially obvious in “Time Stand Still” and “Marathon.” And the already-boring “Workin’ Them Angels” was an outright disaster – it sounded like Alex and Geddy were in different keys, perhaps having something to do with the Alex’ alternating between acoustic and electric sounds on his Les Paul (why not just play the acoustic portions on an acoustic?).

Nothing really caught fire until the instrumental breakdown of “Freewill,” which alone couldn’t make up for such lackadaisical presentation over the previous hour.

Fortunately all was forgiven and forgotten with the opening synth chord of “Tom Sawyer,” which kicked off a downright jaw-dropping second set.  The mix was clear, the synthesizers integrated nicely (especially on the interesting and unusual “The Camera Eye”), and Geddy and Alex beautifully in sync. After “Red Barchetta” all three band members even took a moment out to smile at each other, as if to acknowledge that the concert had kicked into gear. There was hardly a misstep for the rest of the evening – even the new song “Caravan” and recent “Far Cry” rocked hard, standing up nicely next to the classics they shared the stage with.

Rush "Time Machine" Show at Shoreline Amphitheatre in Mountain ViewGuitar-wise, Alex played Gibson Les Pauls throughout the evening, usually Axcess-style versions with with whammy bars. He brought out a Fender Telecaster for “Closer to the Heart” and the famous white Gibson ES-335 for “La Villa Strangiato” (my friend and I think there was also a PRS for one tune, but we might be misremembering).

Geddy played his usual well-worn black Fender Jazz with the pearl pickguard, though for this tour he has replaced his trademark ’70s-style black-inlay neck with a neck with split pearloid inlays. He occasionally brought out an all-black Jazz bass, and once or twice played the bright red Jazz bass (no pickguard) with his the black inlays. Wonderful Geddy tone – tons of growl, lots of low and high-end both. I do really wish he would break out the old Rickenbacker 4001 again, even just for “2112,” but it’s hard to argue with the sound he gets from the Fender basses. And even though Rush is hardly known for improvisation, I was delighted to hear Geddy let loose with several extended bass licks.

It’s hard to overstate what Moving Pictures means to a certain generation of a certain type of music lover – I missed it at the time, but have grabbed on entirely since. Hearing it played live, in sequence, is a special treat. When Rush clicks with a good mix and good material, they still create a wonderful magic, as they did during the second part of their Mountain View earlier this week.

"Attention all planets of the Solar Federation: We have assumed control"

Report: 13th Annual IPA Festival (2010) at The Bistro: Hayward, CA

10-Aug-10

This past Saturday (August 7, 2010) I attended “The Bistro’s 13th Annual IPA Festival” in Hayward, CA. The event was like most of the Bistro’s beer festivals over the past few years – which means well-organized with great energy and a fantastic selection of beers to try.

The two-sided tasting sheet (reproduced below – click to see full-size images) listed 54 beers. I think all of them were present, with at least one semi-secret “extra” beer not listed (see comments below).

My general thoughts on the selections and the India Pale Ale style have not changed from last year (my full writeup of the 2009 festival here), so I’ll just repeat them:

Although The Bistro’s IPA Festival is second probably only to the Great American Beer Festival in the number of India Pale Ales under one roof, the lineup does not try to give an overview of this beer style in general. The beers here are almost exclusively from California, and almost exclusively brewed in the West Coast style popularized by breweries like Stone in Southern California and Bear Republic up north. These are dominated by citrus-y American hop varieties, tending more toward a fruitiness than the grainy spiciness of the India Pale Ale style invented in England.

This “American IPA” sub-style is probably my favorite type of beer. The good news is that California brewers have really dialed this style in – these days it’s hard to find an outright bad one anywhere. On the other hand, even hardcore proponents would probably admit that there’s not much stylistic variation among California IPAs. So even though I focused on beers that were new to the scene or more obscure than most, they were more similar than they were different.

This year I tried sixteen of the beers (including four of the five named winners of the formal judging and People’s Choice, the full results of which you can find on Jay Brooks’ excellent Brookston Beer Bulletin here). But my palate got tired, so I’ve only posted notes for those that I think registered properly. They’re in alphabetical order by brewery.

  • Ballast Point Sculpin (7.0+/10): A favorite of many beer geeks as the big brother to the brewery’s Big Eye IPA, and certainly priced as if it’s something special (22oz bombers sell for $8.99 in the San Francisco Bay Area). Generally in that citrus hop-forward American style, but I found the texture a little thin. Sculpin wasn’t on the printed list (Big Eye was), so discovering it was a special – if somewhat disappointing – treat.
  • Bear Republic Racer 5 (6.5/10): The day’s surprise. This is one of my all-time favorite beers, a desert island go-to. Racer 5 helped pioneer the American IPA style. But today it felt a little tired and unassertive. This is the last beer I tried before I pronounced my palate unfit for reliable feedback, so maybe that was part of the problem. Or maybe the American Pale Ale style has caught up to Racer 5, with American IPAs dialed up farther (Bear Repulic enters Racer 5 in the APA style at the GBF).
  • Drake’s Aroma Prieta (7.5+/10): “All bitterness, all the time. Slightly murky.” Interesting, but I don’t love the edgy bitter profile – I prefer some sweeter, heavier malt to keep things grounded.
  • Fifty Fifty RyePA (8.0/10): First tried at least year’s Festival (see my writeup and the brewer’s comments for some context). I’ve since had it at the brewery, and today’s sample is what I’ve come to know as this beer. Very murky yellow, though not unattractively so. Clean tasting, with lots of rye tang that avoids sharpness. Downright wonderful silky mouthfeel, like a Pinot Noir. Still, I want to love this beer, but always end up just really liking it.
  • Fat Heads Head Hunter IPA (7.0+/10): This beer from Cleveland won the formal judging at last year’s festival, and this year rated Honorable Mention. I found it well made, but unusual – almost English tasting, with some heavy drying tannins reminiscent of a big American Cabernet. Head Hunter has personality, but it’s not one I want to revisit all that often.
  • Firehouse Hops on Rye (6.0-/10): I’ve still never had a beer that I enjoy from Sunnyvale’s Firehouse. I think the brewer and I have differently-calibrated palates. And I love rye beers! In this case I could see the beer polarizing drinkers in a “love it or hate it” way. Some earthy overtones, also maybe a minerality common in certain waters or wines. Very hard to describe.
  • Firestone Walker Union Jack IPA (9.0/10): Such a great beer. Beautiful amber color, not straw/yellow like many others of this style. Hop-forward, but remembers that beer is made from grain, with a great rich malted barley undertone. One of my favorites since it was introduced (at this festival!) several years ago.
  • Iron Springs The Crippla Version 2.1  (6.0/10): I love Iron Springs’ Casey Jones Double IPA, but Saturday’s beer bore little resemblance to its big brother. The Crippla Version 2.1 was thin and watery, closer to hop water than a robust beer. My notes read “Enough malt?”
  • Midnight Sun Sockeye Red IPA (7.5/10): It’s always a treat to be able to try beers from Alaska’s storied Midnight Sun Brewing Company. Their “Red IPA” was good. Though the hops are traditional American – listed as Centennial, Simcoe, and Cascade – I tasted more of the earth and spice I associate with British hops. Not citrus-dominant like most others at the festival.
  • Russian River Blind Pig (8.5/10): Always a great beer. Blind Pig has a downright wonderful hop aroma – such a hallmark of consistent quality. The character is just a little more “piney” than I like – more trees and less grapefruit than most other American IPAs.
  • Russian River HopFather (9.0/10): Probably my favorite of the day. And most others’, too – this beer won the People’s Choice, though it didn’t place in the formal judging. That wonderful aroma, with a welcome sharpness in the texture. A nice, bracing beer. I’ve heard that this one is only good fresh – that it quickly changes character for the worse as it ages in the keg – so your mileage may vary if you encounter the HopFather on draft. But it’s certainly worth the risk.
  • Sierra Nevada Chico IPA (9.0-/10): I loved this beer, made with “experimental hops.” A darker color than most, with a very substantial bitter character. The hops had the tangy character of New Zealand’s Nelson Sauvin, which I quite like (but probably isn’t to everyone’s taste). Chico IPA placed second in the formal judging, so I wasn’t the only one who thought it was great.
  • Triple Rock IPAX IPA (9.0-/10): Another huge favorite for me. This was the beer I would most want to have two or three of. Wonderfully balanced, but still with the hop-forward character of an American IPA. Not a sweet beer, but still gives the palate some releif from bitterness. This is the second time a Bistro festival has pleasantly surprised me with a great beer from Triple Rock in Berkeley. I need to get over there more. (And IPAX placed first in the formal judging!)

Kudos to Vic Kralj and team at The Bistro for putting on these festivals – and for keeping the price the same this year! I think it was $25 for a souvenir tasting glass and four tickets, with extra tickets something like $2 each. Not cheap, but worth the price.

My blog covers all sorts of unrelated topics. You can find just the posts on beer here, including writeups of several other beer festivals.

Some favorite fretless bass guitar tracks

04-Jul-10
Rob Allen Mouse 30 Fretless Electric Bass Guitar

One of my own fretless electric bass guitars, made by Rob Allen

I love the sound of the fretless bass guitar. Apparently the modern version of this instrument was invented in 1961 by Bill Wyman, bass player of the Rolling Stones, though it was popularized starting in the early ’70s  by Jaco Pastorius, best known for his work with Weather Report.

Jaco kicks of my selection of favorite fretless bass tracks. There are dozens, even hundreds, of mind-blowing Jaco recordings to choose from (I tend to prefer his recordings accompanying others to those he led under his own name). A great introduction to his style and to fretless bass in general is the title track from Pat Metheny’s first solo album, Bright Size Life. Recorded in 1975, this recording is also one of Jaco’s first.

(Click here to play if you don’t see the Flash player below.)

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

Next up is Mark Egan, a prolific modern bassist probably best known for electric jazz (and also for his work with Pat Metheny). One of his many rock credits is So Red the Rose, a 1985 “art project” album by most of the members of Duran Duran. His playing on “The Promise” inspired me to get a fretless bass guitar. The song is essentially a duet between his up-front bass and Simon Lebon (with some great “Money for Nothing”-style background vocals from Sting, not to mention guitar by David Gilmour and keyboards by Herbie Hancock). Just listen to the huuuuge slides up and down the fingerboard.

(Click here to play if you don’t see the Flash player below.)

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

And third for this post is a bassist not known for fretless: the late Allen Woody, who played with Gov’t Mule and The Allman Brothers Band. The superb Shades of Two Worlds solidified the Allman Brothers’ early ’90s comeback, and it ends with an acoustic version of Robert Johnson’s classic blues “Come On In My Kitchen.”

Woody must be playing a five string acoustic bass guitar here, because he goes down low. And it sounds great, immaculately produced by the great Tom Dowd. Turn this one up loud (and like all of these, play on on a setup that can reproduce the very low frequencies – not your laptop computer).

(Click here to play if you don’t see the Flash player below.)

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

And I can’t resist one Jaco Pastorius bonus track: “Coyote” from Joni Mitchell’s Hejira. Jaco just in a great place, easing all around and through the song – he’s a character. (Click here to play if you don’t see the Flash player below.)

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

  • Jaco Pastorius on Wikipedia here
    • Pat Metheny’s Bright Size Life on Amazon here
    • Joni Mitchell’s Hejira on Amazon here
  • Mark Egan on Wikipedia here
    • Arcadia’s So Red the Rose on Amazon here
  • Allen Woody on Wikipedia here
    • The Allman Brothers Band’s Shades of Two Worlds on Amazon here

Related posts:

Happy Mother’s Day!

09-May-10

I started this blog in July 2009. The first post of substance was about my mother, Marilyn Prater, who died in January 2008.

Today is Mother’s Day in the US, so I thought I would highlight those words and images again. I think of Mom every day, and I’m prouder than ever of what she did for her family, her friends, her students, and herself.