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"keyboardist," and Mark Stewart as a "guitarist," since at lastĬount, they played 104 different? things. Verging on disinformation to describe Rob Schwimmer as a Somehow remains palpably verbal and it would be an understatement While the level of sheer musicianship is impeccable, the humor With the winds of several generations worth of popular culture. Tends to tack hither and yon, variously tilting at and colluding
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Then cut to the chase in Tommy - "Pinball Wizard," renderedīy Johnny Cash under the influence of "Folsom Prison Blues." Got The Beverly Hillbillies and, uh, "Whiter Shade of Whale," Polygraph Lounge: Not just another pair of Of puerile hostility passing, these days, as wit. , the work nonetheless never stoops to the ubiquitous brand Deeplyĭigressive, transgressive and ultimately delightful Of the Polygraph Lounge boys, a tertiary reference. "Never waste a secondary character." Or, in the case This is particularly evident at Joe's Pub, since there areĪctual lighting cues at work here (as opposed to a single, probably
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Over comic-strip characters, connected by a series of diminishingīubbles?or a silent rendition of Bugs Bunny's borscht-belt to-cameraĪsides. The back-and-forth between them is like internal "thought" balloons Rob's shadow of a grin says it all: "That's gotta smart. Takes an extended percussion solo popping - no, pounding. Mild, brief, yet sadistic smile flickers across Rob's lips as Mark The interplay between P-L's bait-and-switch tactics (a RealĨ-year-olds, with buzz-cuts and pants that fit and baseball hats wornĪnyway. Two or three 8-year-olds sucking back a round of sodas. Lamps, one to a table, and a glass of whiskey, unembellished.Įxcept tonight I've got a clear view of the stage over the heads of Manages to make you crave the flattering low light from shaded (if self-consciously so) you're going to find. Twentieth century, the last millennium) New York night club Closest thing to a classic mid-century (that's Polygraph Lounge: "Skip the part that listeners tend to expect."įorget/To hell with New Media. Hear - what you were missing en route to where you were going, likeĮlmore Leonard: "Leave out the part that readers tend to skip." Resembling the digital suspension between channels (the radioĮquivalent of "dead air") we currently endure.
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At any rate, a satisfying switch of the televisionĭial at that time produced a bone fide, straight jump cut in no way Noogies, half-nelsons, hammerlocks and applied Sunday afternoon Since there was no remote, both hands were freed to administer head Keeping the smaller ones at bay with any and all means at hand (and Siblings generally imposed their program preferences as a tag-team, Time when a) there was generally just one set per home, whichĮntailed sharing and b) you actually had to get up off theĬouch and cross the room to "spin the dial." Older or larger P-L reminds me of fighting over the TV, pre-remote: Born of the We've also got a blistering country rock cut from singer Andrew Combs, who gets political on a song called "Bourgeois King." The baroque pop of San Fermin gets bigger than ever on the band's new full-length, Belong the Paris-based singer known as ALA.NI croons like it's the 1940s and NPR Music's Lars Gotrich stops by to blow our minds (and ear drums) with the scorching punk of a band called Exit Order, tempered by the hypnotic jazz of Joshua Abrams and Natural Information Society.Polygraph Lounge : Quotes and Reviews THE POLYGRAPH LOUNGE! It's not spin, it's torque It turns out that, apart from singing, Puddles never speaks, so we gave his assistant and interpreter Mike Geier a call to learn more about how this crazy mashup came to be. Watch the video in our playlist below if you don't believe me. So, for Bob's birthday this week, it felt appropriate to begin our show with nearly seven-foot tall clown named Puddles who sings a surreal mashup of Johnny Cash's "Folsom Prison Blues" and The Who's "Pinball Wizard." We're not making this up. We've often joked on the show about the virtual circus that's endlessly unfolding in Bob Boilen's brain, where his childlike imagination dances to the sound of a whistling calliope. Clockwise from upper left: San Fermin, Puddles Pity Party, Exit Order, Andrew Combs, Ala.ni