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Tag: musical comedy

Halloween Month Singles, Vol. 1

Today is a big dump of really creepy stuff, but plenty of ridiculously funny video and some calmer, organically-rooted sounds to balance things out. Some songs, some visuals, a macabre video skit and a few short reads, a long album’s worth of entertainment. Click on artist or author names for their webpages, click on titles for audio, video or a quick read.

Soon-to-be-expat New Yorker Daisy Moses offers her usual spot-on, hilarious take on Lizzo using her expert lips and tongue on James Madison’s 200-year-old crystal flute. Too funny: 2-minute read with videos

Investigative journalist Joel Smalley discovers that he’s somehow received not just one but two Covid shots! The UK National Health system says he did but can’t explain how. Too funny. 28-second silent video

The Halloween video of the week comes to us via Mark Crispin Miller‘s weekly chronicle of the casualties of Operation Herod. Is it deadly to be in close contact with Charles In Charge? Scroll down to the third video,

Here’s ex-BlackRock hedge fund analyst Ed Dowd – the first to blow the whistle on the lethal Covid injection’s effect on all-cause mortality – on the Jerm Warfare podcast, via Sage Hana. This is one of her savagely spot-on videos, with a surprise ending

Here’s another funny one: Prof. Freedom’s Covid Religion video – a free download at Unbekoming (scroll down about 3/4 down the page). Plus a bonus chapter from Dr. Mark McDonald’s future classic 2020 broadside, United States of Fear.

Investigative journalist Etana Hecht suggests to a script-reading CDC contractor phone operator that she might want to turn whistleblower. The good stuff, with some VERY pregnant pauses, starts at about 6:50 in the audio of the phone call: scroll to the bottom of the page.

World Economic Forum infiltraitor Jacinda Ardern of New Zealand gets caught snorting blow on camera, thanks to Wittgenstein on Twitter via 2SG on Substack

Turfseer, the king of artsy protest anthems, has a not-so-secret second life as film composer and dramatist. Here’s his cruelly funny, cynical Twilight Zone parody, – Nightmare at 1600 Pennsylvania Ave. Will the rebel army make it to the underground bunkers where President Fauci is hiding out with Zuck and Gates? And whose side is that mysterious BLM protestor really on? There’s a surprise ending to this 21-minute video with a good original score

Reliably wide-ranging, inspiring freedom fighter, author and podcaster Bretigne Shaffer gives us a free pdf of her metaphorically savage short story Elixir of Fear.

Need a break from this relentless darkness? Crank up pianist/singer Maria Mendes‘ lavish, symphonic new big band jazz single Hermeto’s Fado for Maria, by the iconic Brazilian composer Hermeto Pascoal. That goofy synth break midway through will crack you up

The MammalsIf You Could Hear Me Now is a front-porch protest song for our time. “The money’s in charge of the black coal barge and there’s no more fish to be fishing.” Thanks to investigative journalism legend Celia Farber for passing this along.

Jude Roberts sings his elegantly snarling ragtime-flavored protest song Fall On Your Sword, Dr. Fauci, “the world’s biggest industry whore” who puts his greedy fingers into every fucking pie.

Americana songstress Monica Taylor delivers Rescues, a down-home red dirt Oklahoma shuffle with banjo and dobro,

Let’s wind this up with a shot of raw adrenaline: Lara Hope & the Ark-Tones ripping their way through their ghoulabilly hit I Drink to Your Health, with a searing Eddie Rion guitar solo

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More Savagely Funny Protest Songs, Plandemic Parodies and New Videos From Turfseer

In the spring of 2020, it didn’t take long for songwriter Lewis Papier to get wise to the plandemic. He was outraged – as more artists should have been. So he and a rotating cast of hired guns – who were no doubt overjoyed to play his savagely satirical, often ridiculously funny songs – worked steadily on a series of singles. Recording under the name Turfseer, he would eventually put them up at Soundcloud as a whole album, Scamdemic Songs, in the fall of 2021.

This blog discovered them through Mark Crispin Miller’s invaluable News From Underground feed this past February, when there were a grand total of 33 songs on the playlist. It has since grown to 44! What’s more, there’s a growing collection of videos at Turfseer’s youtube channel, which mysteriously has not been censored. There’s at least one seriously LOL moment in all of them. If you’re bummed out by the prospect of more restrictions and endless doom porn, do yourself a favor and clipgrab these gems before they disappear. Watching the playlist for the first time, there was already a Youtube lethal injection propaganda pop-up ad in place by the third video. Then it disappeared…but sure enough, it was back for the song 1984 Is Here.

As a songwriter, Papier has an erudite grasp on a ton of styles: ornate art-rock, classic country, Beatlesque pop and more. The first of the videos is the Trust the Science Rag. ‘”You must refute and persecute all those who disagree,” Papier insists, over a rollicking piano tune. The video is a particularly apt Fatty Arbuckle/Buster Keaton silent film edit.

Is that one of the Chinese “big whites” spraying an empty bedroom with nameless toxic dust in the video for the darkly orchestrated, ELO-tinged Church of the Pandemic Mind?

The Virus Is My God, a southwestern gothic spoof of Covid true believers, has an irresistibly funny faux spaghetti western plotline: the devil is in the details!

The juxtaposition of the Salem Witch Trials and plandemic imagery in 1692 Was a Very Good Year, another ELO-esque gem, is spot-on. Sheeple University is a doctrinaire, churchy faux-Christian pop parody of wokester extremism: “Learn to bully, throw a fit, just obey and submit.”

The Commandant is one of the most chilling of the big art-rock numbers, with visuals to match: “We invented a monster that you’ll never see, how do you like that you’ll never be free?” O Holy Roman, another art-rock anthem, is just as metaphorically loaded. Turfseer’s insight into historical basis of plandemic brainwashing runs deep, underscored by the eerie folk-pop of The Ballad of Typhoid Mary.

Just Too Good to Be True, a country song, reflects the wave of deaths that followed the 2021 kill shot rollout. Another one from this past summer, You Didn’t Recognize Me, is a gorgeously bittersweet Amy Rigby soundalike, but with one of the most sinister undercurrents in the playlist

The most inspiring number on the original playlist, Forever Freedom Brigade, pops up in the middle of the videos. The Emperor’s New Clothes reflects the despondency that swept over the world before the freedom movement started growing toward critical mass.

Once in awhile Turfseer’s parody extends to music as well, as with the operatic spoof Vaccine, My Love; One Trick Pony, where he makes fun of lite FM piano pop; and In Toba Tek Singh, a searing Bollywood tale of the ravages of plandemic-induced poverty. The musicianship is strong all the way through: once in awhile there’s a sizzling solo, like the big guitar break in My Way Or the Highway Disease.

The playlist ends – at least at this point – on an optimistic note with a country song, Dawn of a New Day. And that, folks, is today’s installment of this month’s ongoing, daily Halloween celebration, which continues through the end of October. There will be more of the macabre, or at least something like it, here tomorrow.

Funny Memes, Big News and Some Good Singles For Sunday

Today’s singles page has about a half hour worth of good tunes and a couple of good visual jokes, but also a blockbuster video from one of the heroes of the freedom movement…and a stunning admission of guilt for crimes against humanity by a government insider. Click on artist or author names for their webpages, click on titles for audio, video, or just a good laugh.

As Etana Hecht reports, “Dr. Grace Lee is a Professor of Pediatrics at Stanford Medicine Children’s Health, with a specialty in infectious diseases. She also currently serves as the chair of the US Advisory Committee of Immunization Practices, otherwise known as ACIP. ACIP is the only outside organization that the CDC consults with when recommending a vaccine. As such, she’s the perfect person to bring vaccine-related information to. When Yaffa Shir-Raz broke the story that the Israeli Ministry of Health covered up the true rate of vaccine side effects, Steve Kirsch thought it was critical that Dr. Lee be aware of the definitive data that came from that report. As it’s not information the CDC is acknowledging or publicizing, Mr. Kirsch assumed there’s a good chance that Dr. Lee had not yet come across that data. He proceeded to email her and call her at work to inform her of this critical information, yet all attempts at contact failed. He then attempted to deliver the news to her in person, as a process server would. On a visit to her door yesterday, Mr. Kirsch wrote a note asking Dr. Lee if she’d like to see the Israeli data, with a reminder that lives are at stake.”

Then Lee called the cops. Tension ensued – and Kirsch got it all on video. “Somebody is on the wrong side of history and it isn’t me.”

In 2 minutes 12 seconds, Dr. Paul Alexander reveals how the CDC’s Robert Redfield told him that the six-foot rule was completely made up and had no basis in science – via Celia Farber. “People died because of that six foot rule.”

Here’s 57 seconds of Holocaust survivor Vera Sharav on the psychology of compliance: pretty much all you need to know.

In a minute 20 seconds, the spiritual face of the Canadian freedom movement, Pastor Artur Pawlowski explains why “the fence belongs to the devil,” and you can’t sit on it. Either you’re on the side of the angels…or the other side.

Texas Lindsay compares lethal injection uptake and deaths by income to a familiar Pink Floyd soundtrack.

Chirpy singer Andrea Lynn’s band Iceblynk has a new single, Tragic, a skittishly catchy take on swirly/jangly early 90s Lush dreampop.

Julia Kugel of the Coathangers has a solo project she calls Julia, Julia. Her latest hazy, sad janglerock single, Do It Or Don’t, makes a good segue – with some gruesome imagery in the video!

Continuing with the dreampop, Emeryld’s Bombs Away is a louder, punchier take on it, as Garbage might have done it in the mid-90s. Speaking of creepy – check out the Jean-Paul Sartre visual reference in the first 20 seconds!

A.A. Williams‘ seven-minute art-rock trip-hop epic The Echo comes across as a less angst-fueled, self-absorbed Amanda Palmer, maybe

In addition to publishing one of the most intelligent, thoughtful daily news feeds out there, Joss Wynne Evans is also a connoisseur of poetry and a great reader. In about a minute and a half, he reads Nick Snowden Willey’s poem A Deep Perplexity That Has No Name. “Out on the moors last night I found the bones of memory…”

The Babylon Bee did a pretty hilarious skit about a Cali couple adjusting to a new life in the (mostly) free state of Texas, via Mark Crispin Miller‘s must-read Substack.

Another front-line freedom fighter, Brooklyn’s Brucha Weisberger gives us a newly creepy way to think of kids and smoking.

In addition to being one of the great prose stylists on the web, Amy Sukwan is the queen of memes. How do we solve global warming? Hint: the same way we got rid of Covid (not).

Let’s close this out with a harrowing look at the possible future and then a heartwarming alternate view. Want to know why the World Economic Forum is pushing so hard to keep muzzles on toddlers? Conditioning. This two-minute video of Chinese babies being groomed to submit to the New Abnormal will break your heart, via the 2nd Smartest Guy in the World Substack.

But there’s hope! Scroll to the very bottom for Tessa Lena’s look at cross-species compassion. The buffalos and the birds are showing us the way!

The Attacca Quartet Play Outdoors This Month. and Stagedive Into Punk Classical

Quick: name the New York string quartet who’ve played for a larger live audience than any of their peers. Obviously, that’s kind of a trick question since those groups typically all share a circuit of intimate spaces best suited to that repertoire.

Some of you might be surprised to find out that the answer to that question is the Attacca Quartet, who were invited by Jeff Lynne to open for the Electric Light Orchestra at that group’s Manhattan appearances during the mid-teens. What may have endeared them to him is their dedication to material far outside of standard repertoire, as well as their fondness for unorthodox venues.

One unorthodox space they’re playing this month is Madison Square Park, where they’re holding down a three-week Wednesday evening residency starting on July 13 at 6 PM and continuing with shows on the 20th and 27th. While they tackle a vast range of material from 21st century works, to art-rock with songwriter Becca Stevens, all the way back to Renaissance composers like John Dowland, they also have a punk side. And a punk classical album, Real Life, streaming at Spotify. It’s possible they may air some of that one out in the park.

The album’s shtick is string quartet arrangements of EDM themes. They’re simple and repetitive and obviously weren’t originally conceived for any kind of close listening, let alone much of a shelf life. To call their insistent riffs and endless whoomp-whoomp rhythms minimalist would be giving them too much credit – and the quartet seem to get that. This is closer to the early Kronos Quartet at their cheekiest, or Rasputina, than it is to, say, the fluffy orchestral versions of RZA or J Dilla themes that have been staged in recent years.

Cellist Andrew Yee seems to relish the chance to dig in hard on the low end, whether with his bow or his fingers. Violinists Amy Schroeder and Domenic Salerni and violist Nathan Schram are most likely playing their parts straight through rather than simply looping them. There is also a percussive component, which seems to be electroacoustic: it’s not clear who’s on the drums.

The quartet have the most fun when they’re ornamenting the sound with saucy glissandos, pizzicato flickers, mimicking the sound of a backward-masking pedal, or building hazy ambience before the whoomp-whoomp kicks in. There’s a drifting, summery interlude which looks back to 70s disco, as well as moments of sheer chaos and a woozy, wallowing tableau. This is a gimmicky record, but it’s fair to say that these versions will outlast the source material. And you can do the punk rock dance to most of it.

The Best-Ever Playlist on This Page

Today’s playlist is a murderer’s row of singles. Just for starters: a deviously subtle new video for the best song of 2020, and a new electric recording of the best song of 2016. There’s about half an hour worth of music here, plus some funny visuals. If you know this blog, you know the drill: click artist names for their webpages, click titles for audio or video.

Karla Rose’s allusive, slinky serial killer parable Battery Park topped the charts here in what was a pretty nightmarish 2020. She’s got a new video for it: see if you can spot her!

Another noir-inspired artist, LJ Murphy earned the top spot for 2016 with his cruelly prophetic Panic City. It was mostly acoustic then; it’s an electric scorcher now.

We live in perilous times, and Grace Bergere offers a more metaphorical take in A Little Blood, one of the most offhandedly chilling songs of the past several years.

Mark Breyer made a name for himself as sort of the Elvis Costello of powerpop and janglerock with his long-running studio project, Skooshny. And he keeps cranking out sharp, jangly anthems as Son of Skooshny. His latest is Runs in the Family: imagine the Church at their lyrical peak in the 80s..

Atlanta band Faithless Town‘s roaring slide guitar-driven protest anthem New World Order has a great newsreel video: protestors battling SWAT teams in Europe in the summer of 2020, images of the Lockstep tabletop exercise and Event 201, and plenty of usual Davos suspects.

Amy Rigby was not idle during the lockdown here in New York. Here’s her hauntingly hazy cover of the Bob Dylan classic Not Dark Yet

From the anonymous protest songwriter known as POTP – the same guy responsible for the viral video Bill Gates Sings – here’s Vaxx in the Cradle, sung to the tune of the old Harry Chapin hit. Beyond the snarky jokes, it’s amazingly well-crafted – it even follows the plotline of the original. “This song has Emergency Use Authorization to be deployed far and wide in the effort to stem the epidemic of infant experimentation.”

Loosie‘s No Future is the catchiest, most anthemic thing the band’s ever done, with a wistful Lynchian edge. A scruffier Sharon Van Etten, maybe?

You might know Mike Adams as the scientist in the lab coat who founded Brighteon, home to innumerable good censored videos. Want to know what video is at the very top of the search page today? The full stream of the Plandemic II documentary!. But believe it or not, Adams also has a history as a rapper. Check out his hauntingly prescient 2010 video Vaccine Zombie, which has resurfaced courtesy of the consistently brilliant and provocative Midwestern Doctor Substack page.

Moirai’s Völuspa is a starkly gorgeous recreation of an ancient Icelandic dragonslayer myth. Is this classical music? Folk music? 21st century minimalism? Maybe all of the above?

Let’s close with some funny stuff. First, click and scroll down the page for a 45-second tv ad for Oomph’s new “human meat plant based burger” via Jeff Childers’ indispensable Coffee & Covid. Reputedly the jury’s out on how it tastes compared to genuine human flesh.

And here’s a meme from cartoonist Anne Gibbons: a spot-on take on the FDA’s self-declared “future framework,”  where if they get their way there will be no more safety trials for any pharmaceutical products.

Singles for Early June: The Theme Is Laughter, More Or Less

Been a long time since there’s been a collection of singles on this page. In celebration of how we managed to make it through May without losing our collective sovereignty to the WHO, and that all the concentration camp proposals died in session in the New York State legislature, here’s a bunch of songs, a couple of snarky videos and a meme to keep our spirits up. Click on artist names for their webpages (a couple of these are anonymous), click on titles for audio or visuals.

This one just came over the transom today thanks to the irreplaceable Mark Crispin Miller’s News From Underground. Bill Gates Sings! At :41 “I identify as a medical doctor!”

Muzzleboy reads a book on German history in the 1930s! Sometimes a meme is really worth a thousand words.  Screenshot this and make it your screensaver maybe?

El Gato Malo reminds us, in a minute 41 seconds, how in the fall of 2020 all the Democratic candidates were railing against the “Trumpvax.”

Sage Hana offers a creepy, dystopic mini-movie about what bioweapons may be waiting for us this fall courtesy of the sinister Ralph Baric of the University of North Carolina-Chapel Hill.

Genius animator Ken Avidor has launched his Unjabbed short video series about freedom fighters in a postapocalyptic future, which have been banned from Vimeo. Thanks to Steve Kirsch for grabbing these and saving them for all of us

Here’s a real subtle one. In the stately chamber pop cadences of Matter of Time, Lydia Luce wants to know, “Who’s gonna grow food for the masses?”

Here’s another subtle, drifting pastoral pop number: Meadow, by Emily Tahlin. “The meadow stretches out for miles, I have come to hide.”

Let’s wind up today’s playlist on an upbeat note with Rebecca Day & the Crazy Daysies doing their Americana tune Old Jeans Blue. “A shot of Jim and a sixpack in and I can’t pretend.” Scroll down to the middle of the page for the video. Thanks to Tom Woods of the absolutely essential Tom Woods Show (a guy with great taste in music too) for the heads-up on this one

Martin Wind’s New York Bass Quartet Have Irresistible Fun Beyond the Low Registers

Bassist Martin Wind‘s new album Air with his New York Bass Quartet – streaming at Bandcamp – is sublimely ridiculous fun for those of us who gravitate to the low registers. Like most members of the four-string fraternity, Wind and his accomplices – Gregg August, Jordan Frazier and Sam Suggs – are heartily aware of the comedic possibilities that abound in the F clef. Yet Wind’s arrangements here are as erudite as they are irresistibly amusing. As party music, this is pretty hard to beat. And to Wind’s further credit, he uses pretty much the entirety of his axe’s sonic capability – there are places where these guys sound like a cello rock band or even a string quartet.

They open with a sotto-voce, tiptoeing four-bass arrangement that sticks pretty close to a famous Bach piece that a psychedelic group from the 1960s ripped off for the most-played radio single in British history. Then Wind and his merry band make low-register bluegrass out of it – and guest Gary Versace comes in on organ as the group pivot to a lowdown funk groove. The solo, of course, is for bass – that’s August doing the tongue-in-cheek pirouette.

The third track, a Beatles medley that starts with Long and Winding Road and continues with an emphasis on the chamber pop side of the Fab Four, is even funnier, considering how artfully Wind weaves the individual themes together.

They do Birdland as a clave tune, and then as funk, with Lenny White on drums and Versace on organ again: again, no spoilers. Matt Wilson’s suspenseful tom-toms and Versace’s misterioso organ simmer beneath a surprising plaintiveness and judicious solos all around in an epic arrangement of Charlie Haden’s Silence.

Wind’s first original here, I’d Rather Eat is a hypnotic, rhythmically pulsing, judiciously contrapuntal piece that brings to mind cellist Julia Kent’s more insistently minimalist work. The group’s gorgeously bittersweet take of Pat Metheny’s Tell Her You Saw Me has the bassists plucking out piano voicings, plus Versace on piano and accordion.

Wind’s other tune here, Iceland Romance is a tango with surprising poignancy but also several good jokes, They bring the album full circle by revisiting Procol Harum – woops, Bach. Whether you call this classical music, or the avant garde, or jazz, it’s an awful lot of fun.

Wind’s next gig is with Wilson’s great Honey and Salt quintet at the Saratoga Jazz Festival on June 25. And Verrsace is leading a trio, from the piano, at Mezzrow on June 15 with sets at 7:30 and 9. Cover is $25 cash at the door.

Lots of Laughs and Surprising Subtlety in the Righteous Gemstones Season Two Score

What could be more ripe for musical satire than an over-the-top comedy series about a dynasty of hypocritical televangelists? On one hand, the soundtrack to season two of The Righteous Gemstones – streaming at Spotify – gives the cast the chance to chew some musical scenery. Composer Joseph Stephens distinguishes himself by taking a deep dive into a vast number of musical styles – cheesy autotune corporate pop, soca, powerpop, Stonesy rock and various Nashville sounds from across the decades – infusing much of it with ersatz gospel touches. On one hand, this is The Sound of the Sinners by the Clash, on steroids. On the other, it’s surprisingly subtle, to the point where some of what is obviously a spoof becomes such a spot-on evocation of one Christian subgenre or another that it could pass for the real thing.

The album is as vast as the Gemstones’ shady financial empire: a grand total of fifty tracks, most of them under the two-minute mark. The first part comprises a series of songs delivered in fluent southern accents by cast members including Joe Jonas, Jennifer Nettles, Edi Patterson, Danny McBride and Adam Devine. After that is a long series of instrumental set pieces ranging from tense horror-film interludes, moments of southwestern gothic menace and grittily pulsing synthesized action sequences – it’s funny how the country influence completely disappears in favor of deftly orchestrated suspense. When the churchbells ring, it is not for a rousing hallelujah but a grim amen.

The best song is Some Broken Hearts Never Mend, an absolutely perfect parody of fluffy, orchestrated 1970s Nashville country-pop where McBride, Patterson and Devine take very diverse vocal parts. It wouldn’t be out of place on Ween’s classic 12 Golden Country Greats album. Children appear as an obvious but long overdue punchline, more than once. Christmas music gets a well-deserved crucifixion. There’s a song-length homoerotic joke, later echoed in a lurid stripper instrumental snippet titled Manscaping. By contrast, track forty-three, Memphis Confrontation is a gem of a mashup of stark oldtime gospel and macabre cinematics. It’s rare that a composer gets called on to deliver as many good laughs as shivers, and Stephens rises to the challenge.

The World’s Funniest Jazz Band Explore Weird Pennsylvania

Since their beginning in the early zeros, Mostly Other People Do the Killing have built a wild and erudite career as the Spinal Tap of jazz. Their satire ranges from over-the-top cartoonishness, to layers and layers of inside jokes, to mimicry that sometimes so closely resembles the style they’re spoofing that it’s hard to distinguish it from the source material. And these guys go deep. Over the years they’ve flipped the bird to Count Basie, Ornette Coleman, and 80s fusion jazz in general, sometimes lovingly, sometimes with a snarky sneer.

They started out as a horn band, took a hiatus after multi-reedman Jon Irabagon and trumpeter Peter Evans became occupied with, um, more serious projects and have lately reemerged as a piano trio. How does their latest album, Disasters Vol. 1 – streaming at Bandcamp – stack up against the rest of their magnificently twisted oeuvre? This spoof of lounge jazz and occasionally other genres is sick, cruel and as ridiculously funny as anything else the band have ever recorded. The sickest thing about it is that a lot of musicians play music that sounds exactly like this sometimes, and think it’s good.

As usual, all the songs on the album relate to a location in bassist and bandleader Moppa Elliott’s native Pennsylvania. This time, he expands the concept to disasters, most of them manmade. The group go straight for the ultimate Pennsylvania nightmare with the opening number, Three Mile Island. How lethal is it? Hardly. The liner notes, by longtime MOPDTK chronicler “Leonardo Featherweight” claim that it depicts a nuclear power plant meltdown in reverse, and that’s plausible, as the band coalesce from dissociative bubbles (both drummer Kevin Shea and pianist Ron Stabinsky muck around on Nord Electro here) to hints of blues and eventually a jaunty swing blues tune.

The second number, Exeter is where the howls really begin, Shea reprising his usual suspect role as a Jones more Spike than Elvin. This snide lounge jazz parody may or may not reflect the corporate cynicism of the owners of the Knox Mine, who in 1959 attempted to save a few bucks and drill a little too close to the Susquehanna riverbed. The resulting flood turned not only the mine but the area around it into an aquifer and effectively destroyed the local coal mining economy.

Marcus Hook, on the Delaware River, has been the site of more than one fiery collision involving an oil tanker. The band commemorate one or more of them via a succession of loungey cliches in what more pretentious types would call an electroacoustic performance.

Stabinsky gets to revisit his hometown of Wilkes-Barre in what is supposedly a tale of the 1972 flooding there in the wake of Hurricane Agnes, but seems more of a snotty bag of cheap fallback piano riffs. Then the band make a diptych out of Centralia (home to the eternal flame, or at least eternal smolder) and Johnstown (that one everybody knows, right?). In the first part, Elton John seems to be a target, maybe Vince Guaraldi too. The second is a fool’s paradise of a jazz waltz.

Elliott breaks out his bow for a long overdue spoof of Halloween jazz (and maybe Thelonious Monk) in Boyertown, where a horrific theatre fire claimed over a hundred lives in 1908. Dimock, best known as the town where tap water would burst into flames as a result of fracking run amok, is immortalized with an endless series of cheesy quotes run amok – the false ending is priceless. These merry pranksters wind up the record with an “alternate take” of Wilkes-Barre which is too venomously good to give away. Somewhere there’s a cynical music blogger who’s going to pick this as the best jazz album of the year.

Ridiculous, Virtuosic, Outside-the-Box Fun From Joyride

It takes a lot of nerve to make music as amusing as Joyride‘s. Their irreverent reinventions of famous classical and jazz themes are as funny as they are outside-the-box. Whoever heard of an accordion-and-oboe arrangement of Bach’s Air on a G String, with a jazzy bridge? Throughout their debut album – streaming at Spotify – the duo of oboist Colin Maier and multi-keyboardist Charles Cozens have unrelenting, sometimes snarky fun and show off an impressive fluency throughout a wide variety of styles.

Maier cuts loose with his sizzling chops in what could be the most ridiculously over-the-top version of Tiger Rag ever recorded. Their Piazzolla-inspired piano-and-oboe version of Flight of the Bumblebee is pretty ridiculous, too – the punchline is way too good to give away.

Cozens goes back to accordion for Rhapsody in Light Blue, where the duo reinvent the Gershwin theme as a quasi-fugue before stretching it out. The most cynically spot-on track here is Isolation Blues, a ragtime-flavored reflection on endlessly exasperating plandemic restrictions.

Klezmer Fun is aptly titled, beginning with a brisk take of a famous hora, Maier adding subtle multitracks and shivery trills through an unexpectedly low-key interlude. Czardahora is a more harmonically adventurous take on the same formula. Tango de la Noche has Cozens on both piano and accordion, along with a similar mashup of popular nuevo tango riffs.

They close with La Fiesta, where Cozens and then Maier spin through supersonic riffage in what sounds like a loving spoof of flamenco jazz. One caveat: when you make a playlist out of this, ixnay on the little jokey skits in between some of the songs.