Archive for December, 2008

young at heart

neil young

The years come and the years go, but I still count myself a Neil Young fan.

From his artfully morose albums of the ‘70s to the often infuriating stylistic shuffles his music underwent in the mid ‘80s to the mix of triumphs and curiosities that have peppered his career ever since, I dug it all. From the folk hippie elegance of Comes a Time to the monster feedback of his mightiest barnstorming with Crazy Horse (which, for my money culminated on 1996’s underrated Broken Arrow and its subsequent concert record Year of the Horse), Young has always been a constant for me. Elemental. Cranky. Vital. At age 63, he remains an artist who matters.

Young wrapped up a late fall tour earlier this week with a two night stand at Madison Square Garden in New York. Just as grunge greats Sonic Youth were wooed to open for him in the early ’80s after Ragged Glory revealed his artistic clout to an incoming rock generation, so did Young persuade Wilco to open much of the fall tour, as well as the MSQ shows.

Envious? You bet. The rest of the country gets an arena tour by Young and Wilco (Death Cab for Cutie opened a few dates, as well). We get the promise of another Rascal Flatts date at Rupp Arena in 2009.

Several “amateur” recordings exist over the internet of shows from Young’s fall tour. In listening to an unexpectedly clean sounding chronicle of a Worcester, Massachusetts concert from last weekend, the tune that struck me most was the song that also seemed so electric at the 23rd Farm Aid broadcast back in September. It wasn’t one of Young’s classics, but a cover of The Beatles’ A Day in the Life.

It was sounded like a typical electric Young excursion: unapologetically scrappy, irrepressibly vital and full of rock ‘n’ roll reverence. It made you want to sing along with that prized, wordless chorus John Lennon patched onto the version The Beatles fashioned for the climax of Sgt. Pepper’s Lonely Hearts Club Band 31 years ago. Thousands were doing exactly that in New England with Young’s version last weekend.

For those with a similar, ongoing fascination with Young’s ageless music, here is a link to Nate Chinen’s review of the first MSQ show in yesterday’s New York Times.

holiday in baja

members of the bluegrass area jazz ambassadors performing at the lexington opera house on december 10, 2007. photo by phillips mitchell photography.

members of the bluegrass area jazz ambassadors performing at the lexington opera house on december 10, 2007. photo by phillips mitchell photography.

This is the point in the pre-holiday rush where we can all use a break. The members of the Bluegrass Area Jazz Ambassadors concur.

If seasonal stress has you down with Christmas a mere week away, then take a BAJA break. The 18 member ensemble of community jazz professionals and eager amateurs overseen by artistic director Miles Osland and musical directors Raleigh Dailey and Mark Clodfelter will offer a free holiday performance of, as Osland puts it, “the swingin’ist versions of your holiday favorites” tonight at the Singletary Center for the Arts’ intimate recital hall.

Can’t make the gig? Then invite BAJA over to your place for the holidays. Seriously. The concert will be taped by a three-person camera crew and broadcast, in edited form, on WTVQ-TV on Christmas night.

Santa – who, as we all know, digs bebop big time – really wants you to take in this show.

Seem a pity to disappoint the guy this close to Christmas.

+ The Bluegrass Area Jazz Ambassadors perform at 7:30 p.m. tonight at the Singletary Center for the Arts Recital Hall. Admission is free.

+ Tonight’s performance will be broadcast at 11 p.m. Dec. 25 on WTVQ-TV.

critic’s pick 50

tony bennett: "a swingin' christmas"

tony bennett:

One comes to us as an iconic pop presence, a singer rooted in a jazz tradition though he sounds fully inventive today in the company of small combos and orchestral settings. His modus operandi this time is swing, though his fine new holiday album is by no means married exclusively to it. Still, the resulting music sounds undeniably American.

The other comes from folk stylists largely unknown in North America that command a Christmas sound of another time and place. By mixing traditional carols, comparatively contemporary songs and narratives that speak both to the traditions of the season as well as to what we might hope to learn from them as we face the new year, a distinctly British – almost Dickensian – air emerges.

In the American corner, is the great Tony Bennett, who has taken stabs at holiday music before. But A Swingin’ Christmas succeeds without the usual celeb-heavy guest list of duet partners invariably unsuited or unqualified to match musical wits with the great Bennett. Instead, we hear the singer’s boundless holiday spirit wrapped up in the swing of the season with 13 horns from the Count Basie Orchestra cheering him on during the album opening I’ll Be Home for Christmas.

There is a spot of age in Bennett’s singing here (at 82, he’s entitled) that blemishes ever so slightly his vocal tone. But if anything, that only adds to the sort of unforced familial feel of the more swing-savvy moments of A Swingin’ Christmas. In fact, the cover portrait says it all about the collaboration, with Bennett and the Basie boys gathered around the dinner table as if they were at a board meeting. But there’s one difference: everybody is grinning to beat the band. Maybe even their own.

Fine as the brassy holiday feast sounds, Bennett is even more arresting when he lets the brass takes a breather. A quartet led by pianist Monty Alexander, who all but channels Basie’s spry piano sound here, provides a more subtle joy on Silver Bells. The music is pared down even further for O Christmas Tree, which provides the light, solo piano of Lee Musiker as Bennett’s only accompaniment. The orchestra charge is a blast, but nothing warms up a room like Bennett relishing the company of a small band setting.

the albion christmas band: "snow on snow"

the albion christmas band:

The Albion Christmas Band is the product of Ashley Hutchings, the bassist, singer and folk revivalist who formed the groundbreaking Fairport Convention 41 years ago.

Snow on Snow continues a sound formulated over two previous Albion holiday albums. It integrates British folk-dance instrumentation (specifically, melodeon, fiddle and percussive morris dance melodies accented by bells), traditional folk tunes with a seasonal air (as in the Cherry Tree Carol, which the Albions pump up into a polka) and more modern fare (James Taylor’s Frozen Man, reprised by longtime Fairport-er Simon Nicol, who recorded with it the group in the ‘90s). While the production is a touch safe and slick at times, the old world charm of Snow on Snow is bounteous.

Hutchings sobers things up, though, with a reading of the W.H. Auden poem Well, So That is That. It’s a somewhat scolding narrative that takes us all task: “Once again, as in previous years, we have seen the actual vision and have failed to do more that entertain it as an agreeable possibility.” Christmas cheer colored by humility. Now there’s a switch.

kotche/kronos

university of kentucky graduate and current wilco drummer glenn kotche recently performed with the kronos quartet in new york.

university of kentucky graduate and current wilco drummer glenn kotche recently performed with the kronos quartet in new york.

One tme Lexingtonian and University of Kentucky graduate Glenn Kotche has been a not-so-little drummer boy this holiday season. With his mainstay band, Chicago’s Wilco, Kotche recently opened a series of shows for the ageless Neil Young. A mere two days before a Wilco/Young performance in Detroit, the drummer/percussionist (this time without the Wilco brigade) teamed with the famed Bay Area string innovators of the Kronos Quartet at New York’s Zankel Hall to show off his composition Anomaly.

The adventures will extend into 2009. In early January, Kotche and several Wilco pals – including group leader Jeff Tweedy, bassist John Stirratt and guitarist/keyboardist Pat Sansone – will head to New Zealand to collabortate on a new 7 Worlds Collide album with Crowded House headmaster Neil Finn.

And somewhere in and around all that will be work on a new Wilco album.

Sadly, none of the these projects wil put Kotche back on Lexington soil anytime soon. In the meantime, check out this New York Times review of Kotche’s performance with Kronos along with a few more details on 7 Worlds Collide.

Groupon Expands Services in Canada

Wireless News December 23, 2010

Wireless News 12-23-2010 Groupon Expands Services in Canada Type: News

Groupon, a shopping website that offers a daily deal on the best local goods, services and cultural events, announced it has expanded its Canadian presence with the recent launches of Barrie, Ontario; Sudbury, Ontario; Abbotsford, British Columbia; and St. John’s, Newfoundland. website groupon chicago

“Groupon continues to expand the reach of social commerce,” said Rob Solomon, president and COO of Groupon. “We’re excited to bring our new Canadian subscribers unbeatable deals from the best businesses in their cities while creating new streams of revenue for local merchants.” see here groupon chicago

Barrie, Sudbury, Abbotsford and St. John’s consumers join more than 1.3 million subscribers in 16 other Canadian markets currently enjoying Groupon deals.

((Comments on this story may be sent to newsdesk@closeupmedia.com))

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for hugh hopper across the pond

hugh hopper

hugh hopper

We send supportive and positive thoughts over the Atlantic this weekend. Convening at London’s 100 Club on Sunday will be collaborators, co-horts and musical friends playing a benefit concert honoring bass guitarist Hugh Hopper.

A signature member of the most influential lineups of Soft Machine, Hopper has long provided a happy meeting ground for prog, free jazz, fusion and psychedelia within his music. Since June, he has also been battling leukemia.

As jumping on a plane overseas for the Sunday benefit isn’t exactly a luxury even his most devout fans can afford, we instead suggest a spin or two of Hopper’s recordings this weekend in his honor.

Not familiar with Hopper? Lots of folks aren’t. Here are a few essential albums:

+ Soft Machine: Third (1970) The defining record by the classic early ‘70s Softs lineup with Hopper’s monstrous “fuzz bass” sound rounding out the band’s ensemble drive.

+ Hugh Hopper: Monster Band (1978): A tough one to find, but well worth a search. The half studio/half live recording compiles wonderfully organic sessions from 1973-74.

+ Soft Mountain: Soft Mountain (2007): A live 2003 recording of two extensive improvs between Hopper and saxophonist/one time Soft Machine mate Elton Dean (who died in 2006) along with a keyboardist and drummer from Japan.

+Hugh Hopper: Numero D’Vol (2007): Another brilliant return to quartet form with the spirit of Dean channeled by Simon Picard. Hopper colors spaced out ambience, jazz jams and lean, meditative grooves.

Hopper’s spirits and outlook seem high as his lengthy convalescence continues. In a late November posting on his website, the bassist said:

“Hospital says I’m clear of bad cells. Thanks to everyone who has sent healing vibes, best wishes, postcards from all around the world, cash. I’m still getting my strength back slowly. But it’s coming…”

More reflective of Hopper’s animated spirit was this Nov. 15 posting/comment regarding his benefit concert’s performance roster, which includes Soft Machine alumni John Etheridge, John Marshall and Roy Babbington: “Almost worth getting leukemia to be able to assemble a line-up like that.”

in performance: ben sollee

ben sollee performing last night at the dame. photo by rich copley, herald-leader staff.

ben sollee performing last night at the dame. photo by rich copley, herald-leader staff.

At various times during his homecoming concert last night at The Dame, Ben Sollee allowed the cello to become a brittle melodic tool built for pop, a vehicle for jawbone-flavored country and a playground for keenly agitated string-driven funk. And yes, there were moments – brief ones, like the arpeggios that bloomed into the show opening blues-soul romp How to See the Sun Rise – that referenced classical traditions.

Suggestions of chamber music stopped there, however. Sollee employed cello during the performance the way most singer-songwriters might use acoustic guitar. It serviced the heady songs, like Panning for God, that were inhabited by weary gods and even wearier mortals. But Sollee also took full advantage of the instrument’s orchestral abilities even when the lyrical framework of his songs became a bit thin.

In some instances, he would tighten the cello’s sound around the neck during improvisations to give the instrument the deeper echo of a double bass. During others, most notably Bury Me With My Car, the sound loosened to offer the country flexibility (and fierceness) of a fiddle tune.

Sollee has been playing predominantly solo cello concerts this fall. Last night, however, marked only the second time he has played in a trio setting with Lexington guitarist Justin Craig (of The Scourge of the Sea and These United States) and drummer Jon Moore (from Louisville’s Chemic). Among other neat tricks, Craig favored electric slide ambience during A Few Honest Words, I Can’t and several other tunes that created a curious harmony with the cello.

Last night’s repertoire favored most of Sollee’s Learning to Bend album and both songs from his even newer EP disc, Something Worth Keeping. But there were also a few intriguing covers that included works by Gillian Welch (a revivalistic Everything is Free), Gnarls Barkley (what else? – the mega hit Crazy, where the chorus unfurled into artful screams) and Sam Cooke (a funkified A Change is Gonna Come).

The highlight was saved for last when whisper-quiet show opener Daniel Martin Moore finally broke the sound barrier for the snakehandling spiritualism of Rattlesnake Gospel. But when the tune morphed into Tom Waits’ Chocolate Jesus to end the concert, the tired gods that figured so prominently in Sollee’s own songs cast off their robes and surrendered to the boogie supreme.

sollee solo

ben sollee. photo by liz linder.

ben sollee. photo by liz linder.

Ben Sollee had a plan. After graduating from the University of Louisville in 2006 with a music performance degree, he decided to give himself two years before even thinking about graduate school. First, he wanted to taste the life of a working musician.

Let’s see how he did. During that time, Sollee recorded an album called Learning to Bend, hit the road for national and international concerts with the Sparrow Quartet – an ensemble that includes such star string players as Abigail Washburn, Bela Fleck and Casey Driessen – and cut a follow-up EP called Something Worth Keeping which features vocal help from another famed Louisvillian, My Morning Jacket’s Jim James.

As for touring work, we caught up with Sollee last month while enroute to a gig – in Montana.

“I gave myself two years to go out and be a musician in the world,” said the Lexington native. “And so far, it’s been a really good run – good enough certainly to keep doing it. I’ll go to graduate school at some point. But for now, I’m going to keep following the music where it leads me.”

Now here’s the novel part of the story. Sollee’s instrument of choice is a cello, even though his music celebrates everything from folk and Americana to indie pop and R&B. In short, he is as progressive as contemporary songwriters and instrumentalists come. It’s just that he plays the cello. Not only that, he plays it alone, using his voice and the instrument to harmonize with each other. As one man string bands go, Sollee is in a class by himself.

“I grew up having an Appalachian fiddler for a grandfather, a dad who played guitar around the house and a mother who sang,” Sollee said. “But I play an instrument that is usually studied within a classical institution. So the push and pull of all that sort of makes up how I play the cello.

“Most of my music, though, tends to be a very organic thing. For me, it’s just about being able to use the instrument for whatever a song is asking it to be used for and feeling OK about that.”

Introduced to the cello while a third grader at Yates Elementary, Sollee was quickly versed in the classical stereotypes often tagged to the instrument. Using the cello to play a pop tune? Now, how could that be?

“There have always been conventions about how the cello should be played within the realm of what is considered ‘legit’ music. I’ve heard that word used a lot. But when teachers talked about ‘legit’ music, I never got that. The cello is a big wooden box that I play that makes sound. I should be able to play it however. Of course, what these people were trying to say was that you need a classical language to be able to explore other styles and languages on the cello.”

That’s not to say Sollee hasn’t immersed himself with classical studies. Among his first high profile performances were concerts with the Central Kentucky Youth Orchestra. But he eventually quit when a more engaging gig presented himself – specifically, a spot on the WoodSongs Old-Time Radio as a member of Michael Johnathon’s Folkboy Orchestra. He would remain with the show for nearly four years and roughly 200 broadcasts.

“Week after week, I got to hear different artists talk about the music business. I got a feel for what the world was like with respect to making a living playing music. I was exposed to great Irish bands, to Matt Haimovitz playing a cello concerto and Jimi Hendrix music, and to Odetta and the way she sings. Seeing all these figures gave me a huge breadth of stuff to draw from when it came time for me to be a lyricist, when it came for me to be a singer and when it came time for me to an arranger.”

Sollee left WoodSongs when touring alongside blues stylist Otis Taylor began to intensify. But it was the connection with the Sparrow Quartet that gave the cellist a concentrated glimpse of life as a professional musician. This year, the group toured extensively throughout the country and as far afield as China. It even wound up at WoodSongs, making Sollee a featured guest instead of a performance volunteer.

“With Sparrow, there was this incredible level of musicianship every night. Then there was the business aspect, where I learned what it was like to have a band with a major label release and the publicity push that comes with it. I also learned a lot about the actual touring, about why it’s so significant and so consuming. Stuff like that was just mindblowing to me.”

For now, though, Sollee’s sole performance mate is the cello. While he is out to explore pop and rock possibilities for the instrument, he is also broadening the scope of the venues he plays. As with cellists like Haimovitz, he is taking his music to rock clubs. Hence his Thursday show at The Dame.

“It’s not too intimidating, really,” Sollee said. “For people who haven’t seen me with Sparrow, it can be an eye and an earful. There is still that association with classical styles, so you can get a lot of people who are kind of taken aback in trying to figure out what’s going on.

“But it’s a challenge for me, too. I’m just trying to find a way to fill up a room without compromising the natural beauty of the cello.”

Ben Sollee, Daniel Martin Moore and Neva Geoffrey perform at 8 p.m. tonight at The Dame, 367 East. Main. Tickets are $10. Call (859) 231-7263.

 

in performance: riders in the sky

riders in the sky: joey the cowpolka king, woody paul, too slim and ranger doug

riders in the sky: joey the cowpolka king, woody paul, too slim and ranger doug

Familiarity suits Riders in the Sky most any time of year. After all, the Grammy-winning singing cowboy troupe thrives on a brand of harmony rich Western music – the kind popularized a lifetime ago by Roy Rogers, Gene Autry and the like – that is an endangered species in today’s pop world. That goes for the repertoire (Tumbling Tumbleweeds) as well as the one-liners (“May the horse be with you”) in its shows. Both were reprised again last night, as if on cue, near the end of the Riders’ annual holiday concert at the Kentucky Theatre.

Of course, the very makeup of this kind of performance only compounds such familiarity. If the Riders’ arsenal of vintage cowboy tunes is by-and-large the same every year, what chance in the world does Christmas music have of sounding novel?

The answer? None, really. The Riders – singer/guitarist Ranger Doug, bassist Too Slim, fiddler Woody Paul and accordionist Joey the Cowpolka King – offered more or less the same performance as they have during past holiday seasons.

Too Slim slapped the side of his face to the tune of Dueling Banjos again, Ranger Doug offered more stratospheric yodeling and there was a repeat of the holiday medley that set snippets of a dozen or so Yuletide favorites to the single tune of Let it Snow, Let It Snow, Let It Snow.

But the thing is, it all worked. Again. The Riders remain an ingeniously G-rated act with a scholarly command of a neglected musical tradition. They performed I’ll Be Home for Christmas with whispery three-part harmonies orchestrated modestly by accordion, just as they did last year and the year before. But, as also was the case in years past, the tune was dressed not with overcooked sentimentality, but with a cordial, conversational warmth that bordered on the bittersweet. Ditto for Corn, Water and Wood, sung by Too Slim in the guise of a trailhand who encounters a very real world miracle.

There were lighter holiday moments, too – like the Yuletide facelift given to Rawhide (“keep those reindeer rolling”) or when Too Slim, in the more broadly comic guise of the Riders’ sidekick cook Side Meat, recited a variation of The Night Before Christmas where Santa is sidelined by the flu. Amusing as that was, it wasn’t half as funny as an impromptu chat between Side Meat and Ranger Doug about “the rest of the Meat family” (including as “Mama Meat” and “all the little Meats”).

Such an exchange signaled that for all the planned, family friendly cowboy fare, there remained a hint of vaudeville in the Riders’ performance persona that yielded some very un-cowboy-like comments. For instance, when introducing Joey the Cowpolka King, Ranger Doug remarked, “He’s over to the far, far right, just past Sarah Palin.”

There was also a brief, brilliant eruption of spontaneity during the show’s encore segment when Ranger Doug sang an off-the-cuff verse from the Osborne Brothers’ bluegrass staple Kentucky. Too Slim took the serenade as a playful dare.

“Betcha don’t know all of that song,” he said.

“Betcha I do,” Ranger Doug replied.

“Betcha won’t sing it,” Too Slim countered. And without waiting for answer, Too Slim set a bass pattern in motion for Kentucky. Ranger Doug took the bait, exited the set list and sang the remainder of the tune.

It sounded tentative, of course. But the whole bit simply exploded with heart. But then that’s Christmastime for you. Sometimes the best gifts – or, at least, the biggest surprises – come in the most disarming and unassuming packaging.

critic’s pick 49

yo-yo ma: songs of joy & peace

yo-yo ma: songs of joy & peace

You get the sense of what cellist Yo-Yo Ma is up to on Songs of Love & Peace as soon as Jerome Kern’s You Couldn’t Be Cuter kicks into gear. First of all, it’s not a Christmas song, but a spry jazz treat popularized by Ella Fitzgerald. Here, Ma’s “friend” is Diana Krall, who quotes Have Yourself a Merry Little Christmas on piano just as the tune switches from pastoral reserve to swing. It’s a trim arrangement – just cello, piano and bass, with Krall’s hushed singing serving as the muted star on the holiday tree. But in a manner that is purely effortless, the music takes on an earthy seasonal glow.

Meshing genres to create profound moodpieces in understated terms has been a Ma speciality for years. It didn’t matter if he was introducing his classical audience to Appalachian string music with Mark O’Connor or exploring multi-cultural instrumentation with his Silk Road ensemble. Ma long ago earned the artistic clout to jump stylistic fences. To hear him forge new holiday voices out of music both familiar and foreign is the real joy behind Songs of Joy & Peace.

A quick look at the top tier of the vast guest list – specifically, such mainstream stars as James Taylor, Alison Krauss and Chris Botti – can imply a snoozefest is at hand. But even here there are surprises. For example, there is a presence to Krauss’ whispery singing on The Wexford Carol that is positively ghostly. Of course, with Ma and the extraordinary Cape Breton fiddler Natalie MacMaster behind her, an old world string sound emerges to make the song one of the more richly atmospheric moments on the album.

Botti is a trumpeter of sublime tone that is often squandered on stagnant, syrupy smooth jazz recordings. But here he turns My Favorite Things – a pop standard with unbreakable ties to jazz after it was appropriated and redefined by John Coltrane – into a conversation piece between cello and trumpet that builds with quiet but bright wintry colors.

Of the big leaguers, only Taylor disappoints on George Harrison’s Here Comes the Sun. God love him, but sweet baby James simply sounds anesthetized on the tune.

But cut to some of Songs of Joy & Peace‘s less obvious guests and Ma’s party really comes alive. Leading the pack is 88 year old piano pioneer Dave Brubeck, who takes Joy to the World out for a cunning stroll as Ma solos around him before Paquito D’Rivera crosscuts the fun on clarinet with the melody from The Christmas Song.

Then there is Dona Nobis Pacem (Give Us Peace) , which is repeated like a theme throughout the album. It opens with Ma playing an overdubbed duet with himself and surfaces again with bassist Edgar Meyer and mandolinist Chris Thile. Their interplay is a mere set-up for the brittle, animated chill of The Wassail Song. Brazilian guitarist siblings Sergio and Odair Assad later improvise on a third Dona Nobis Pacem with Ma before the tune is reprised yet again with Botti. As the final version blends into Auld Lang Syne to end the album, the mood conveys subtle but stately celebration. Once again, the obvious becomes new.

That’s the brilliance of Songs of Joy & Peace. Its emotions are universal, its tone is quiet but expansive and its sense of seasonal spirit is radiant.

in performance: juliana hatfield

juliana hatfield. photo by jonathan stark.

juliana hatfield. photo by jonathan stark.

Late into her 90 minute set last night at The Dame, indie pop priestess Juliana Hatfield remarked that she was limiting her late fall touring so she can spend time with her ailing dog. “Well, that plus I hate to tour.”

For the duration of her performance, Hatfield’s first local outing since a 1993 date at Lynagh’s Music Club, it was tough to pinpoint whether or not she was joking. The singer seemed to enjoy the company of the modest sized crowd. Or maybe she simply found consolation in it. After all, Hatfield’s songs – most of which revolve around some form of desolate love – weren’t the sort of tunes anyone was going to be whistling home on a cold December night. But through the music’s stark details and even sparser delivery, Hatfield struck up a suitably wintry mood.

“It’s a basic need to lie and be believed,” Hatfield sang during Oh, a tune that typlified the often fragile emotional fabric that her songs operated from. Hatfield was hardly content to be the doormat in all of her material, though. On the show-opening 364, the mood became defiant, almost liberating. “I wonder what you will do when you find me gone,” she sang in a voice that balanced pop reserve and assurance. “Who will feed you, stroke your ego and love your songs?”

The majority of the performance had Hatfield performing solo on 6-string electric guitar, which managed to nicely convey the pop jangle of Spin the Bottle as well the quieter tension of Slow Motion. Bassist Christopher Pappas and drummer Joe Seider from the opening band The Everyday Visuals (which, like Hatfield, hail from Boston) later helped embellish the power pop charge of My Baby… and My Sister.

At evening’s end, however, Hatfield was back by her lonesome, allowing On Your Mind to bleed very figuratively into the concert’s lone cover tune – a dirge like reading of The Rolling Stones’ It’s Only Rock ‘N’ Roll. While Hatfield took the tune’s bloodlust lyrics to heart, there was still a curious glimpse of faith as the tune’s chorus rolled around. Maybe rock ‘n’ roll, in the end, is salvation for even the most splintered of pop romantics. It certainly seemed that way as she ended the concert by the repeating the chorus lyric like a mantra: “I like it, like it, yes I do.”

US Fed News Service, Including US State News February 5, 2008 The Vermont State Police issued the following news release:

DATE: 2/5/08 CONTACT: Vermont State Police Computer Crimes Unit DETAILS: irstaxrefundnow.net irs tax refund

— Internal Revenue Service [tax.refund@irs.guv] wrote:

From: Internal Revenue Service[tax.refund@irs.guv] Subject: IRS Tax Refund Notification ! go to website irs tax refund

Date: Wed, 23 Jan 2008 16:58:30 -0800 Tax Notification Internal Revenue Service (IRS) United States Department of the Treasury After the last annual calculations of your fiscal activity we have determined that you are eligible to receive a tax refund of $184.80.

Please submit the tax refund request and allow us 6-9 days in order to process it. A refund can be delayed for a variety of reasons.

For example submitting invalid records or applying after the deadline.

To access the form for your tax refund, click here.

Regards, Internal Revenue Service Document Reference: (92054568).

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