Sunday, August 31, 2008
Saturday, August 30, 2008
Friday, August 29, 2008
Thursday, August 28, 2008
Wednesday, August 27, 2008
I heard from Mike Gintz of Clawjob about reviewing this cd after I reviewed The Serious Genuises record last month. The bands are friends and Mike was charmingly self-deprecating, plus it's not like the ol' inbox is clogged with bands dying for me to spout off about their stuff. He described the record as 'a concept record about 19th century life and people shitting all over each other (metaphorically, of course)' which I sort of hoped was a joke, despite my secret masochistic desire to hear a bastard offspring of GG Allin and Henry Steele Commager.
Tuesday, August 26, 2008
Then Katrina hit. While New Orleans took it's fair share, Banner's home state of Mississippi was hit just as hard. Perhaps even more so, as there wasn't a singular event for the media to latch on to. Banner dropped out of the public eye for a bit but worked tirelessly to shine a light on the plight of Mississippi post-Katrina and appeared in front of Congress to testify about African American Media Stereotypes when he wasn't castigating Al Sharpton or Jesse Jackson.
He also managed to put a record together. In the early part of the year, word started trickling out about the new release and the title was to be The Greatest Story Ever Told. Everyone loves an allusion, but arguably none more than Saigon, who had claimed to be naming his Atlantic debut the very same title. Granted, Sai-Gitty had been claiming that for years but the record never appeared, so it looks like our boy DB is trumping the Yardfather on this one.
But what about the music? Banner is claiming that The Greatest Story Ever Told is the best hip-hop record in the last three years. The first single 9mm (or Speaker, for those with more delicate sensibilities) with Akon and Snoop did well and the second single Get Like Me is blowing up, so we'll see how the buying public feel about that statement. I'd say it's the best Banner record yet. It's pretty strong, but get back to me about that whole 'best' thing. I'm tempted to disagree, but can't come up with a better record that isn't a reissue. While I sort that out, check out the David Banner website here. More links below.
David Banner web portal
DB online social networking mechanism
Monday, August 25, 2008
Sunday, August 24, 2008
Saturday, August 23, 2008
And loud. Many tubes and speakers are being called into action in the Batillus live show and much air is being moved. They aren't Sunn))) or Boris, but they are cut from the same cloth. These days, it seems like a lot of bands are jumping on the 'loud for loud's sake' bandwagon. It makes a lot of sense if you're a shitty band: deafen everybody in the room and then tell them how great you were. Provided you've put on a decent enough show to keep up the illusion, all you have to do is call the cops about the noise and start the hype machine.
Batillus are defying convention in that regard and deferring on the side of chops. Local guitar phenom Greg Peterson handles six-string duties while the rhythm franchise of Stabenau and Summers pound the hell out of their respective instruments. Ace Of Clubs (formerly ACME Underground) is not exactly Carnegie Hall when it comes to acoustics and sound reinforcement professionals. It's always an eye-opener when you have a three piece band without vocals and the mix is muddy. Or in this case, with nonexistent bass. Such are the pitfalls of the first band of five. Luckily they, and the rapidly filling room, persevered to give us six songs from what I assume will be their first recording.
Friday, August 22, 2008
Tickets go on sale today for the Hold Steady and Drive By Truckers co-headlining tour. Snap 'em up, but I bet they are gone already. See you there!
Thursday, August 21, 2008
Randy flirted with that world as early as 1971, writing for Norman Lear, but the success of his solo material kept him from the stage and screen until the 80s when he scored the film Ragtime and co-wrote much of the material for The Three Amigos. He released solo albums concurrently with his scoring fare, but they have taken a back burner to film in recent years. The shift in priorities seems to have worked well for him, as Newman has composed for many Pixar releases, even winning an Oscar in 2001 for his theme song to Monsters Inc. Lately, he has expanded his theatrical scope to the stage, adapting Faust (the Goethe one) into a musical and released an an amazing solo piano retrospective of his work called The Randy Newman Songbook, Vol. 1.
For fans that haven't been bitten by the theater or soundtrack bug, the solo retrospective only heightened the anticipation for a new solo record. Bad Love was released way back in 1999 and while the theatrical vagaries are entertaining, I'd like a bit of the raw uncut. It would appear that the Newman family might look down on the simplicity of pop-oriented music. In the most recent issue of Mojo, Randy shares a great anecdote about his Uncle Lionel considering Burt Bacharach's work to be rehashed third oboe parts. I'm not 100% sure what that even means, but I know snark when I see it, and that is one of the best snarky comments ever. Evidently, when you have eleven Academy Award nominations, there is no need to hold your tongue. I sure wouldn't.
Harps and Angels (Nonesuch) splits the difference between the two, pairing stripped down piano songs with more orchestrally-driven pieces. Newman is not a man to hold his tongue, especially when he can jam it right through his cheek. Tunes like Laugh And Be Happy or A Few Words In Defense Of Our Country hearken back to classically acerbic Newman fare like Political Science. A Few Words was released in MP3 form late in 2007 and got a fair bit of attention, even if most of the preaching was to the converted. I don't see Newman crossing over this late in his career, but his songs are starting to be recognized by the younger generation. Dave Bazan of Pedro The Lion has been covering Political Science in recent years and the sentiments hold just as true thirty years down the line, so maybe we'll get lucky.
While it keeps the lights on at the Newman house, it would be a shame to have one of America's finest songwriters confined to a world of Pixar adaptations. Newman has fought Epstein-Barr and spinal issues in recent years and these harbingers of mortality seem to have prompted a broader scope in the material on Harps And Angels. I personally enjoy the more New Orleans inflected stuff like Only A Girl, but the closing Feels Like Home reinterprets the song from in a solo arrangement that will break your heart at twenty paces. It holds its own with classic Newman fare like Marie or Real Emotional Girl and makes me want to hear more of his soundtrack work untarted up with string parts and the like. Here's hoping that Volume 2 of the Newman Songbook comes soon. In the meantime, pick up Harps And Angels here or on I-tunes and check the links below.
Official Randy Newman website
Interview and album stream
Wednesday, August 20, 2008
I have very little (read: none) affection for the bumper crop of new-school deconstructionist combos that have sprung up in the White Stripes' snail trail. Do the math: Matt and Kim are truly excrable, as are Mates Of State, and Black Keys need a bass player. White Stripes get minor props for allowing a woman with Down's Syndrome to get behind the kit, but none of these combos lend any credence to the idea that less is more. Ribbons continue the the recessive trend by plying their trade in the form of the trendy guitar/drums duo, but have the good taste to arrange their songs properly so as not to stink up the joint.
As it revolves around job duties on the good ship Ribbons, Sam Roudman handles the traps while Jenny Logan slings strings and sings. I hear a lot of Siouxsie in the vocals and a general Joy Division vibe all-around on Surprise Attacks. The female vocals are a nice change of pace, and do well in keeping silly Ian Curtis vocals out of the fray. Thanks to the pagan gods for that! The higher register is infinitely more pleasant, and more practically saves them from being eaten up by Roudman and his relentless pummelling of the drum kit. Pummel is by no means an understatement. I'm not sure what that drum kit did to Sam, but rest assured that it's paying the price.
While he beats the ever living hell out of that kit all over Surprise Attacks, the drums are never obtrusive. Logan does a great job of filling up the extra space with alternately atmospheric and jagged guitar and actual singing. She gets points for neither screeching and howling nor going all American Idol on the mike. It would be nice if other **ahem** vocalists (of either gender) would jump on that bandwagon.
Surprise Attacks is hooky without being poppy and interesting without being pretentious. That's a remarkable eventuality in this day and age, especially in a band coming from NYC. There are MP3s here and you can download the record from Amazon, Napster and I would venture I-tunes. I got a hard copy of Surprise Attacks through Team Ribbons and I can only assume you can buy it at shows. Luckily for your ear and eye holes, they play this Friday (8/22) at Hank's Saloon and Monday (8/25) at ex-galapagos. Both shows are in Brooklyn. Check the link below for more info.
Tuesday, August 19, 2008
Monday, August 18, 2008
Sunday, August 17, 2008
Friday, August 15, 2008
Bowery Boy Blue is a local band helmed by Indiana ex-pat Zeb Gould. You may know him from his old Bloomington band Three On The Tree, or perhaps from his work in and around NYC with Sandusky or Stereofan. Regardless of the project, his high tenor vocal and dexterous guitar playing bring whatever song he's involved with to the next level. Stalk That Myth comes on the heels of the (mostly) instrumental release All The Morningbirds.
ATM struck fear in the hearts of acoustic players around town, but the two tracks with vocals showed Gould to be a bona-fide bit of double-trouble.
Gould's musical foil (and wife - sorry ladies) is Megan Gould. Her violin and backing vocals have been a staple of Gould projects for some time now, establishing her as the Gillian Welch to his David Rawlings, and she also arranged the strings on Stalk That Myth. Her sympathetic arrangements bolster the songs wonderfully without being obtrusive or obfuscating the quiet beauty of the vocals. It's cliched to drop the Neil Young comparison, but the comparatively spartan arrangements and high lonesome vocals really do bring the great Canadian's CSNY and Harvest work to mind.
Lest you think that this is some slavish homage to another time, rest assured that Gould and the rest of Bowery Boy Blue are a forward thinking lot. Stalk That Myth was tracked at Chicago's Electrical Audio by up-and-coming producer Steve Albini and engineered by long-term cohort (and BBB co-guitarist) Sam Crawford. The end result is a warm, yet spartan, indie rock vibe ala Silkworm or Low.
The duality of the old and the new is reinforced by the tracks that bookend Stalk That Myth. The opening Great Dead Town mates minimalist backing with Gould's hushed voice. It sets the hook nicely and sucks you in for a half-hour or so of myth stalking before reprising as the closing Dead Great Town in an expanded Magnolia Electric full-band arrangement. Songs are songs, and the test of good ones is their ability to be played pretty much any way, whether it be solo or with expanded instrumentation. Stalk That Myth shows Gould to be a performer who knows his craft and his talent. Nothing is overwrought or needlessly tarted up, just well-written and recorded. It's a simple philosophy that more artists would do well to embrace.
Bowery Boy Blue play tomorrow night at Union Hall in Brooklyn with Beau Jennings as well as the Soft Drugs, who feature TW Walsh in their ranks. Buy Stalk That Myth here or check out the links below.
Bowery Boy Blue web portal
Bowery Boy Blue social networking interface
Zeb Gould web portal
Zeb Gould social networking interface
Space Photo Records
Thursday, August 14, 2008
Things have come a long way in NYC for Rancid. Fifteen years ago they were the darlings of the squatter set. Twelve years ago they went major label and all the punks were calling them sell-outs and giving Lars beatdowns onstage at Coney Island High. Now they have their own label and are selling out five nights at Irving without a record out. I hear it's coming out soon on Hellcat, but it's nice to see the gents having staying power above and beyond the Warped Tour set.
This was the first night of the run and arguably the most NYHC of the shows, with John Joseph and his band of old hardcore dudes playing under the Bloodclot moniker and the mighty Sick Of It All starting things off. I missed all but the last song of Bloodclot, but rest assured it sounded like JJ on the mike. If you haven't picked up a copy of John's book Evolution Of A Cro-Magnon, you really need to. I picked it up initially because JJ's a great guy, but was really shocked at how well-done it is. It's not all stories about him beefing with Harley or Cappo (although Parris is savaged fairly consistently) but some touching stories about his fucked-up childhood as well as a comprehensive recollection of his wayward days raising Hell on the L.E.S. As you might expect, no punches are pulled, but he's as hard on himself as he is anybody else in the book. Evolution really is a well-done work from a real New Yorker that has been there. Buy a copy here or check the links at the bottom.
No book for them as yet, but the Alleyway Crew are still kicking ass and taking names as they approach their 25th year. Lou's back seems to be holding up fine and the boys are kicking a hell of a lot of ass for a bunch of old guys from Queens. I could make snarky comments about Craig's hair or the fact that Armand looks more and more like Vinnie Paul every year, but I think I'm above that now. That said, Armand is pulverizing the kit these days, I'm beginning to think that Pete spends so much time in the air from the residual drumkit seismic tremors. It was their typical opening set: some new stuff, a Wall Of Death, Scratch The Surface. Good times, plus some kid had come all the way from Russia to see them and Louie gave a nice little shout out. Good set, great guys. If you're still dying to get a piece of the Core, I hear Lou will be appearing with the Madball and the Murphy's Law during their sets later on in the week. All you old guys rest up now!
Rancid came out pretty quickly after SOIA to a bunch of excited youngsters and sweaty exhausted old dudes. Everybody on the team looks healthy post-divorces and cancer scares and the kid from The Used who's playing drums for them now seems to be upping the enthusiasm level a whole bunch. He really seems to be excited to be in the Rancid and I'm pleased to find that even I can't begrudge a kid being stoked to join his favorite band. He does look uncannily like a Matt Freeman mini-me, but I'm sure that just makes for a tighter rhythm section. And DAMN if Freeman isn't killing it. Not like anyone is surprised, but his solo on 999 was even more terrifying than normal. It was a very And Out Comes The Wolves-centric set for what I saw, but everything they played was eaten up the rabid youth. I'd leave the Op Ivy songs out of the set, or at least trot Jesse out on the regular, but that's just me. They are well done (and their songs, for chrissakes) but I'm beginning to think more and more of the young people think that Knowledge is a Green Day cover. Sigh!
I'm as surprised as anyone that I was at a Rancid show in 2008, but it was a pretty damn good time. Thanks to E Warz for the company. Alleyway are just great. They really make me proud to be a New Yorker. Rancid are a good time, but someone either needs to make Tim play that damn guitar or hold it away from the monitors. My ears are still fucking ringing. Rancid are at Irving through Sunday. It's way sold out, but they seem to be doing a brisk business out front, so try your luck.
Rancid web presence
Sick Of It All web presence
Sick Of It All MySpace
Bloodclot web presence
The Evolution Of A Cro-Magnon book
Wednesday, August 13, 2008
Tuesday, August 12, 2008
I had ordered Resignation Day through Nate as a pre-order back in June, with the implication that I'd be getting it early and with a t-shirt. Punk rock being punk rock, I only got it yesterday, which is before the release date (actual release date: 8/12), but I gotta say I'd like a wee bit more for my pre-order dollar. The t-shirt is nice, though.
Oh yeah, and the record's pretty fucking top-notch, too. The EP got lots of play around Chez Rivington (at least someone does) and still gets a lot of bike time. If I've dropped you sprinting up the West Side, chances are these gents had something to do with it.
Maybe you remember that Nate used to play with Ryan from Off With Their Heads in Rivethead (and played in previous versions of OWTH). If you liked Rivethead and currently like OWTH, Banner Pilot are a no-brainer for you. They are cut from the same beer-soaked punk rock cloth as their aforementioned compatriots from the Twin Cities. On Resignation Day Banner Pilot treat your ears like a basement show at the Alamo and have their way with them.
Don't worry, you won't complain and there will be a lot less clean-up.There is absolutely no new ground being broken on Resignation Day, but if you like your the punk rock in the power trio format ala Jawbreaker/Larry Arms/Alkaline Trio, you won't be disappointed in the slightest. Stuff like Cut Bait and Baltimore Knot will have you pumping your fist in the air and shouting along wherever you are. I've done it in the house, at the store and on the bike in the last twenty-four hours and people really seem to receiving it well. It would be a lot easier for me to assimilate into common society if the gents would actually come East, but I'm more than willing to be 'that guy' and sing along in inappropriate places until the boys come through NYC. I smell a short and/or disappointing late-night G0-Kart showcase at CMJ in my Fall. The record's on sale at the GoKart site here. Buy it suckas, and see them on tour West of the Mississippi starting tomorrow through the end of the month. Links below.
Banner Pilot MySpace
Banner Pilot web presence
Go Kart Records
Monday, August 11, 2008
Rocks Off Cruises are a good time, by and large. Provided the weather holds up, that is, and this cruise had to take place on a Sunday where we were to be beset by summer thunderstorms. Doing the math, it was a Lucero show, so some beers were probably going to be in order. Did I want to do that on an empty stomach, or was that going to prove messy and ill-advised? These are the conundrums I wrestle with in my old age.
Sunday, August 10, 2008
You've got to give these kids points for their moxy, if nothing else. They definitely are coming out swinging, or talking, really. There's not a huge amount of genius, per se, on You Can Steal The Riffs, But You Can't Steal The Talent, but golly if there isn't a whole lot of irony, especially when one looks at the boldface Archers Of Loaf rip-off that is Echo Made. The track Station is more of a Small jock, but rest assured that the Early 90s North Carolina scene is well represented in these kids MP3 collections.
Saturday, August 9, 2008
Friday, August 8, 2008
Julie Ocean take their name from the Undertones song and definitely have an UK sensibility about them. Luckily (for me at least) these gents are old enough that their touchstones are older than Oasis. I don't think I can stomach another American band wallowing in affected Gallagher-isms. long gone and nearly there is chock full of hooks and guitars like Teenage Fanclub and GbV having a mutual backslapping session at Mac McCaughan's place. I’m not sure who's taking the leads on this record, but both parties get props for being tasty as hell, driving and chiming with equal power, but never resorting to full-on wankery.
As anglo-philic as the chiming guitars and sunny harmonies are here, Julie Ocean definitely tip their hats to their indie rock pasts, especially on Looking At Me/Looking At You where the boys bring some stateside pride through a little Husker Du homage. It's a great song that closes the record nicely and leaves you wanting for more. There are about a million other bands who could take the hint on that. While the whole record clocks in under a half-hour, there is not a bad song in the ten that comprise long gone and nearly there. I’m not sure whether the title is meant to be taken literally, but it’s certainly apt for Julie Ocean. Whatever has kept these gents from the scene had given them time to write ten of the best guitar-driven pop songs that I've heard in a long time.
Julie Ocean are out on the road next month with Magnetic Morning. It's great for them and they certainly deserve the slot, but I really don't want to have to run the double gauntlet of bitter old Swervedriver fans and new school Interpol trendoids, in Brooklyn, no less. My personal issues aside, they are at Southpaw on 10/21 with MM and Springhouse, which I'm pretty sure is Jack Rabid from The Big Takeover's band. Should be a good night, or at the very least a reason to go home early. The records $10 postage paid from Transit of Venus. If I master simple computer skills, you may be able to buy it by clicking here, if not, check the links below.
Thursday, August 7, 2008
I’m sure both parties are getting tired of the comparisons, but when you have the unlikely success that Explosions have, one party better be grateful that somebody cares after eight years and the other should be damn happy that the door was held open for them. Not that there’s any beef between the two and with Explosions going on extended hiatus, I suspect a torch may very be passed.
The last two years have been prosperous ones for Team TWDY. Their dazzlingly cinematic sound has been used in a host of documentary works and even popped up in a Pentagon briefing video. How’s that for placement? It’s not Friday Night Lights, but it certainly gets the tongues wagging. All the talking is in danger of overshadowing the music, which really is wonderful. And beautiful, too. TWDY use dynamics and space masterfully. It’s obvious that there is someone, if not all of them, in the franchise that is familiar with composition and scoring.
Magic Bullet sure have scored with this one. They have always been known for working with innovative artists, but this is definitely a record that I can see bringing a lot more people toward their catalog. This Will Destroy You have geared up for some serious road work behind their first full-length. and I can’t think that it’s not going to bear fruit for them. For once it seems to be happening for the good guys. This Will Destroy You is not for everyone, but in an ideal world it would be.
This Will Destroy You will be on tour with Lymbyc System in September. Check them out in Brooklyn on 9/15 at Union Hall and 9/16 in Manhattan at the Knit. Tix are $8 in advance.www.myspace.com/thiswilldestroyyou
Tuesday, August 5, 2008
The Tim Version sound a lot like their Gainesville brethren in Hot Water Music, but truth be told both bands (and a lot of the No Idea roster) owe a huge debt to the U.K. majesty that is Leatherface. Sunderland’s own Frankie Stubbs and his compatriots have combined Husker Du and Motorhead for some time now and while they may have flown below most people's radar on this side of the pond, their sound certainly has not gone unnoticed by
And pretty fucking great, to boot. The Mats influence is there: not only in the drunken guitar bends and loose arrangements, but also in the great songs and raw energy. This is not an overdub record: this is four guys, five or six cheap beers in, playing the fuck out of great punk rock songs with big ol’ hooks. Decline is a twelve-pack of hits and much like beers at the Tim Version rehearsal space, they pass quickly in a little over a half hour. Believe me, when it‘s done, you’ll want more.
No Idea has persevered from its humble beginnings to become the high water mark for punk labels today. They have weathered the loss of Hot Water Music like a champ and continue to expand their roster of great bands, most recently with Off With Their Heads, but with a host of other up and comers as well. Decline Of The Southern Gentleman is notable for being one hell of a great punk record in general and a great No Idea record in particular. It’s only short-coming might be that Team Tim have just released a comp of all their older, hard to find material called Still Have The Nerve To Call Themselves A Band on A.D.D. In it’s wake, Decline comes off a little weaker, but in the same way that The Thing is weaker than The Hulk. Either way, The Tim Version pack a hell of a punch.
Ryan from OWTH is as DIY as he is crazy (which is probably as big as an understatement as the fact that I date crazy ladies). He lives at Alamo House in Minneapolis where he and the roommates do a lot of house shows. Maybe house shows are more fun in the Midwest, but in NYC it can get a little terrifying. Case in point would be the show in Bushwick with The Ergs, Four Letter Word, The Arrivals and Off With Their Heads. Not that it wasn't a blast, but the prospect of seeing another show in a firetrap messenger house is not something I look forward to. That said, it was a lot better than standing around in the backyard of Sealab 187 and being pelted by garbage or waiting around crappy Greenpoint bars for three or four hours to not see them play. I do so love punk scheduling.
Not that I was smart enough to learn anything from the experience, as I bought a ticket to Insubordination Fest seconds after I found that Ryan and the boys would be playing. It was rumored that they would have copies of their new release for No Idea with them and I, for one, was not going to miss snagging a copy. As Insubordination Fest got closer, more and more info about the new record came down the pike: old stuff was going to be re-recorded, there weren't going to be more than one or two new tracks, blah, blah, blah. As I have moved past my vinyl era, it worked for me. I'm way beyond working too hard to get stuff I'm just going to digitize anyway. In doing some digging, most of the re-records were precipitated by the last Fall's infamous OWTH tour of Japan with Yoshi from Snuffy Smile. After Ryan and Yoshi butted heads and the shit-slinging started, Ryan vowed (and I believe this is a pretty exact quote) that he would 'rather be face-fucked sideways than have those songs be available exclusively through Snuffy Smile'. Such eloquence!
Rehashed or not, From The Bottom is a rager from note one to note last. If the boys were redoing crappy songs to fill things out it would be one thing, but if you are going to save me some cash and give me a gang of great songs for $7, I am there with bells on. From The Bottom ain't long, but it sure is great, especially the re-record of For The Four. That itself is worth the price of admission. You're not going to hear any of the tracks here at your next positive affirmation meeting, but if you fall on the more cynical and/or nihilistic end of things, you'll be shouting every word.
Monday, August 4, 2008
As a young bass-playing dork and big fan of the NBC era of Late Night With David Letterman, I pretty much always checked in to try and steal riffs or whatever from Will Lee. Around the same time, I started getting into music magazines and was able to put the pieces together as to why Late Night's band was called The World's Most Dangerous Band. Granted it was in the early 80s and the cats (save for Paul, perhaps) were not especially well known outside the session scene, but when you have a four-piece band with Steve Jordan on drums, Will Lee on bass and Paul on keys, you better not slouch on the six-string spot. And slack they did not. Every time the Late Night intro cut to the studio and panned to the right, Hiram Bullock was there, barefoot and in cut-off sleeves with battered Strat in hand, straight killing it from stage right.
Hiram had played with Will in the 24th Street Band prior to working with the Brecker Bros and was pretty well known as hot shit at the University Of Miami, where he came up with heavy hitters like Jaco Pastorius and Pat Metheny, as well as Will Lee and WMDB adjunct David Sanborn. He hit the session scene hard and did a lot towards ushering in the Strat with PAFs era. The battered sunburst Strat became as associated with Hiram as Blackie was with Clapton and even was honored with a signature model in it's later years.
After leaving Late Night in 1983 (I started to treat it like a job and was forgetting to show up, he remembered) he continued to play on a gang of session and sideman gigs while trying to get his own band off the ground. He was well-recieved overseas and did much more work in the Far East than the States, but would pop up around town with various incarnations of the band. In recent years, he quit a lot of the vices that he was known for and ended up putting on a lot of weight, but still kicked a healthy amount of posterior regardless of his girth. There was a lot more movie work as he grew older, including an appearance in Under Siege, but in recent years rumors of his being ill started to trickle out. After Michael Brecker's passing, word came out that Hiram was fighting cancer. He confirmed it in a post on his web page in March and downplayed his illness in typical fashion, remarking that he needed to lose weight anyway and that his treatments would help. Ominously, he also mentioned that he had lost his ability to taste.
This past Friday, Dave and Paul took a moment to remember the guy who had been such a huge part of the show in it's early years. It was only a couple minutes, but taking into account that Hiram had left the show almost twenty-five years previously, it was a pretty classy move on their part. There was a memorial service on 8/4 and his family asks that in lieu of flowers, donations be made to nature and animal conservation organizations.
Thanks for the good times , Hiram!