Restlessness. I mowed the lawn today which is an epic project as my house's property takes up 1/2 a city block and hasn't been mowed since last Fall. Sadly, no poker tonight nor tomorrow. I skipped last night's game to go to my friend Reva's graduation/ hot-tub party. The previous night, however, I won $11, which for the third night running made me the night's big winner. Now I'm up $77 post-tour and up $177 post-2002.
I'm lonely for women, tonight. And gambling. I'll read a book or maybe watch t.v. with my house-mates. Ice cream is said to have healing qualities.
Here's a friendly review from Performer Magazine:
"The Sandman has long been associated with mystery and legend. From the comic book character, to the guy who puts gunk in your eyes while you sleep, to Metallica songs, he is a strange character of uncertain origins. Olympia, Washington's Sandman, a.k.a., Chris Sand, is an equally mysterious character. A white guy raised on a Montana Indian reservation and as a musician in part of the Nashville and Olympia scenes, it's difficult to pin Sand down. This mixture is evident in Sandman's unusual take on the singer/songwriter genre, in which he successfully winds folk, rap, country-western, and R&B beats into one tidy bundle. This eclectic mix is pretty standard for the Olympia diaspora of which Sand is a part. He has several connections to the K Records/Calvin Johnson scene (although who doesn't in Olympia?) and shares its spartan, D.I.Y ethic by doing his own publicity and selling tapes and CDs directly from his home. His fourth full-length album The Long Ride Home takes a more folk-driven singer/songwriter turn from 2000's hip-hop collaboration with fellow Olympian Camo Davi, Until the End of Time. Several themes are explored over the course of the LP's fifteen songs, including carpentry, September 11th, sick pets, and bearded ladies. Sand's clever, insightful and sometimes-hilarious lyrics keep the jig running throughout, but the strongest songs come when the instrumentation is expanded beyond spare vocals and guitar. Opener "Radio Works Fine" weaves intricate acoustic guitars with LL Cool J samples and a galloping drum beat. "Hammer and Screw" tugs some genuine heartstrings, with its musings on self-confidence and loneliness. "Imaginary World" layers several string tracks along with a banjo and Sand's decidedly Dylan-like vocals. The album closes out in grand fashion, with a tribute to Martin Luther King called, "Folk Legend (MLK)". The Gospel-style back up vocals make it an appropriate conclusion for an album with influences that fall all over the textured, musical landscape. Like most men of mystery, Sandman's motivations and origins may be obscured, but his stories are well worth a listen." Rob Thomson
http://www.performermag.com/wcpReview.php3
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