Mighty Toy Cannon

Peter Gabriel Sings the Hits

2010-03-07T14:25:00.000-08:00

The other day NPR ran a story about Peter Gabriel's new album, Scratch My Back, on which he interprets songs from artists ranging from Arcade Fire to Randy Newman. That report gave the album high marks, saying it "ought to be the ultimate in inessential vanity projects — an album-length love letter to a star's impeccably curated record collection — but it flat-out isn't."

To be fair, I only listened to two tracks all the way through, and snippets of a handful more. I would have listened more, but I got bored. Gabriel has adopted a stripped-down approach that lets the lyrics stand out, but his lugubrious pace is dirgelike--and, yes, I know that lugubrious and dirgelike mean pretty much the same thing, but I just had to say it twice.

NPR thought Gabriel found new dimensions in Bon Iver's Flume, but I must have missed it. Perhaps, for me, it's a song that is so defined by Justin Vernon’s quirky falsetto that nobody else should even try. Tell me what you think:

The song that really put me off is Gabriel’s version of David Bowie’s Heroes. He’s stripped away the rhythmic drive that, to my ear, defines the song and makes it great. If you don’t fall asleep too quickly, you’ll hear a little Philip Glass-ian rhythm at the end of Gabriel's take, but it misses the point.

The first clip below is Gabriel’s version (with video in support of a Haiti relief effort). It’s followed by two versions by Mr. Bowie. The first of those is from a Bing Crosby Christmas special in 1977, of all things. I post it for the novelty value and because of Bowie's self-love demonstrated at about the 1:00 mark. The second clip is a live performance from (I’m guessing) the mid-1990s, when Bowie was at the pinnacle of coolness. Plus, he sings an alternate opening verse which is fun. I have not posted the concert version he signs in German.

A Little More McGarrigle

2010-01-20T17:13:00.000-08:00

In a tribute to Kate McGarrigle posted at Bloggorhea the other day, friend and colleague Mead Hunter embedded a video of Ms. McGarrigle performing her beautiful song “Talk to Me of Mendocino". That live performance with accompaniment from her talented children, Rufus and Martha Wainwright, led me to another version that was recorded as part of the BBC’s “Transatlantic Sessions” program--a show that brings noted musicians from both sides of the ocean together, with a particular focus on Scots-Irish musical influences. I’ve used videos from the sessions in past posts and recommend that you either get the DVDs or search YouTube for “Transatlantic Sessions” for more.

Here’s Kate McGarrigle singing "Talk to Me of Mendocino" with Karen Matheson, a Scottish singer known for her vocals with Capercaillie.

That led me to this version of “Farewell, Farewell”, which was written by Richard Thompson* and first appeared on Fairport Convention’s “Liege and Lief” album. I wore that album out by playing it hundreds of times in high school. I think it was originally my sister's album, but I may still have it squirreled away somewhere. This version of the song is beautifully rendered by Irish singer Mary Black, and it's hard to believe it wasn't written 300 years ago.

* Richard Thompson will be playing at the Aladdin Theatre on February 16th and 17th. He comes through Portland every few years, sometimes solo and other times with a band. We've had the privilege of seeing him a few times, including a memorable solo show under the summer sky at the Oregon Zoo. In another show at the Aladdin with band in two he let loose some fiery guitar solos.

Goodbye Kate McGarrigle

2010-01-19T09:13:00.000-08:00

The sad news came out this morning that Kate McGarrigle has died, succumbing to clear cell sarcoma, a form of cancer with which she was diagnosed in 2006. Kate and her sister Anna, wrote and performed as the McGarrigle Sisters, an accomplished folk duo emerging from Canada in the 1970s. Together, they are exemplars of the beauty of harmony sung by siblings. Kate may be better known to younger readers as the mother of Rufus and Martha Wainwright, children from her marriage to another great singer-songwriter, Loudon Wainwright III.

In her honor, here is Kate McGarrigle with her sister, son and a few notable colleagues, singing a sumptuous rendition of one of Stephen Foster’s most moving songs, “Hard Times Come Again No More.” You can play this one at my funeral.

UPDATE: Noah Adams at NPR has a new story on Kate McGarrigle, including a song link.

The Heavy

2010-01-17T23:27:00.001-08:00

Oh, hi there. Have you been waiting here long? I'm sorry, I just stepped out for a few months on an errand or two. Here we are just like old times. You're looking good. Can I get you something to drink? Maybe it's best if we pretend there hasn't been this gap in our relationship. Okay? Then let's get started.

My wife receives daily dispatches from NPR’s “Song of the Day” in her magical internets message box, and I appreciate her unerring knack for forwarding those that she knows I’m going to like. Tonight she sent me a selection from a UK band of which I was completely unaware: The Heavy. NPR's commentator called it “dirty basement soul” and described the song “Sixteen” as “what would happen if The Black Keys covered an unheard James Brown song and for some reason Tom Waits was there.” When what you really need is some good thumping bass, give this one a spin. The accompanying video is pretty cool too.

The post aptly compares “Sixteen” to Screamin’ Jay Hawkins’ “I Put a Spell on You”, saying “it takes it apart and reassembles it in a nominally different configuration. It sounds just like it, only more so.” I can certainly hear the influence of Mr. Hawkins influence. See what you think (after getting through 45 seconds of silliness):

Here is another video from The Heavy, with a tune titled , “That Kind of Man”. I can’t quite put my finger on it, but I’m hearing the riff from Rare Earth’s “I Just Want To Celebrate” combined with a falsetto from Marvin Gaye or Sly and the Family Stone.

Some New Motown Soul Sounds

2009-09-19T12:56:00.000-07:00

I just watched a video clip from Music Fest NW (MFNW) -- another big Portland festival which I’m too lame (or old) to actually do. The huge list of performers and venues is just too damned overwhelming, especially when combined with the prospect of big crowds. Anyway, at the end of said clip was a snippet of Mayer Hawthorne, a geeky-looking, young white guy from Ann Arbor, MI. I liked the tiny bit I saw on the video so headed over the YouTube to see what I could find.

Mayer Hawthorne reportedly started out as a hip-hop aficionado and DJ before developing a neo-soul sound straight out of Motown. He writes and performs songs that sound like they’re right out of the 1960’s. I like it. Here's a fun video of his song, "Maybe So, Maybe No."

And here is the official video for "Just Ain’t Gonna Work Out."

Also, the founder of Mayer Hawthorne's label, Stones Throw Records, goes by the moniker "Peanut Butter Wolf." You gotta like that.

Fingerpickin' the Guitar

2009-09-13T11:52:00.000-07:00

After four decades of playing the guitar, I think I've gotten pretty good at it. But then I listen the the really good players and am reminded that there is so much room to improve.

Yesterday morning, the Belmont Street Fair was kicked off with a set from Mary Flower, a fingerstyle guitar virtuoso who also plays a mean slide guitar and now resides in Portland. She teaches in Portland as well as through Skype, and has issued a few instructional DVDs. Here she is performing an original tune, "La Grippe."

After watching one of Mary Flower's lesson on ragtime guitar on YouTube, I wandered over to watch Chet Atkins play Black Mountain Rag using some form of open tuning:

After that, I have to end with the great Merle Travis playing "Cannonball Rag." Merle's playing has been a big influence on me (though I estimate I can only reach about 50% of his playing capacity, and that would be on a good day). If you're learning guitar, pay attention to the important part the thumb on the picking hand plays for all of theseplayers; the key to fingerstyle guitar is keeping a steady rhythm going on the bass strings. Also, check out how all three wrap their left thumbs over the top of the neck to fret bass notes. Merle Travis stands out by using his left thumb to fret several strings. Most standard guitar lessons don't teach the technique. Jimi Hendrix is another guitarist known for wrapping his thumb around the neck (though, in his case, it was the right thumb since he played left-handed).

I'll post more about Merle Travis in the future.

Celebrating Labor Day

2009-09-07T21:03:00.000-07:00

For many of us, the first Monday of September signifies the end of summer and the start of another school year. We forget that the day was established to honor the contributions of hard-working folks. In the aftermath of the notorious 1884 Pullman Strike, President Grover Cleveland hoped to encourage political rapprochement with Labor by pushing through legislation making Labor Day a national holiday. Another motivation for establishing Labor Day in September was to distance it from May Day, which had already become identified as “International Worker’s Day.” In the U.S., we turned May 1st into “Loyalty Day.” And if all of this is sounding as familiar to you as it is to me, it’s because I posted something about it back in May to accompany a video of Merle Haggard in honor of May Day.

To celebrating the people who put the "work" in "workmanlike," I selected a few of my favorite pro-labor tunes, starting with the man hisself, Mr. Pete Seeger (may he win a Nobel Prize someday) singing “Which Side are You On?”

Let's look at that one from another angle; this is Natalie Merchant’s haunting version, which starts off with Florence Reece who wrote the song in 1930.

Now, here's Woody Guthrie singing “All of You Fascists Are Bound to Lose.” That's Sonny Terry on harmonica and providing the accompanying whoops and hollers). I suppose it's not strictly a union song, but he does talk about folks organizing.

Then there's Billy Bragg with his interpretation of the Guthrie tune:

I'll close with The Strawbs singing “Part of the Union” in 1973. The Strawbs formed in England in 1964 as a bluegrass band known as the Strawberry Hill Boys. In their early days, they accompanied Sandy Denny who went on to become a member of Fairport Convention and Fotheringay.

Avett Brothers

2009-08-02T17:57:00.000-07:00

Today I’ve been working on a post about beards for that other blog, Culture Shock. It’s a big hairy story that keeps growing, despite my efforts to trim it. While struggling to untangle my thoughts and comb through the prose, I've been listening to NPR’s live-streaming and archived videos from the Newport Folk Festival held this weekend (the 50th anniversary of that remarkable event). I heard some stunning performances, starting with a reminder of just how great Gillian Welch and David Rawlings are. She writes eloquent songs that sound as if they've been around forever. He accompanies her on a guitar that puts out a tone that I'd recognize in about three notes. Together they sing perfect harmonies. Joan Baez performed too. Half-a-century after her first performance at Newport, her voice is still crystalline and pitch perfect.

This post isn't about the Newport Folk Festival though. Since I began by writing about beards, this post is about the Avett Brothers, who are bearded (as are so many of the young people these days) and who put in a great set at the Festival. I first heard about the Avetts from my sisters and niece who saw them perform at the Hardly Strictly Bluegrass Festival in San Francisco's Golden Gate Park a few years ago. They became instant fans, as did I after listening to their recordings.

Here’s the official video of the boys singing “Murder in the City”--a sweet song about family love, and a relatively quiet tune for them. I particularly like the opening lyrics:

If I get murdered in the city, don’t go revengin’ in my name.
One person dead from such is plenty, no need to go get locked away.

I like the exuberance of the Avett Brothers. They just put it all out there. No wimpy, delicate whispering in delicate falsetto--not that there’s anything wrong with that, I just like someone who can belt out a tune with power from time-to-time. If the two real brothers and the honorary brother can do it harmony, all the better. If one is banging on a banjo while stomping on a kick drum, that’s good too. Here's a rambunctious little number called "Talk on Indolence." [Warning: Beards get shaved off in this video].

This next one is from one of those horrible morning news shows, with newscasters who don't quite know what to make of it all. This show is called "North Carolina Now!" The music starts at about 2:10 if you can't bear to watch the interview. The segment ends with the banal question, "What message do you want your listeners to take away from your music?"

Happy 4th: Dave Alvin and The Blasters

2009-07-03T19:53:00.001-07:00

I was a big fan of the Blasters back in the early-1980s. Brothers Phil and Dave Alvin and the rest of the boys knew how to lay down a neo-rockabilly beat that was perfect for speeding down the highway. I remember one speeding ticket in Utah that was set to the tune of "Marie Marie." Phil sang most of the leads, but Dave was the better songwriter. (That's Phil’s grimacing face featured so strikingly on the cover of the band’s 1980 eponymous album).

After the Blasters faded from my playlist (never quite going away), I kept listening to Dave’s solo work. He still rocked, but his music had hint of country and blues as well. He even got a little folkie and acoustic with his album “Public Domain” (2000), on which he interpreted songs that are in … well the album title tells it.

Dave Alvin pairs a distinctive baritone voice with really sweet guitar playing. More than that, he writes songs that are great short stories. My son and I were fortunate to see him perform with his band, The Guilty Men, at a Zoo concert a few years ago. I had been teaching Chris to play the guitar and was glad to give him a chance to see a master player up close. The concert was held on a perfect summer evening much like tonight, and we found a spot close to the stage. That night, the band was one of the tightest units I’ve ever heard and Dave Alvin proved himself a masterful band leader. They played most of the classics from the Blasters songbook and many others from the “Ashgrove” album which had just been released.

That night at the zoo, they played this song, "The Fourth of July," which I dedicate to this independence day.

The next video is Dave Alvin singing “King of California.” I particularly like the way this one starts. Last year, I was playing and singing with a hobbyist band, “Bourbon Jockey.” We tried to keep it all loose, fun and not at all serious. We were serious about rehearsing once a week, but spent most of that time drinking wine and trying out new songs we were excited to play, rather than nailing down the list we already had. As the “front man,” it was my job to get us started off in the right key and playing the same song. My two compatriots were very forgiving. It’s nice to see that even Dave Alvin can start off in the wrong key sometimes.

Finally, this video of a live performance of “Out of Control” is long, but is a great example Dave Alvin’s guitar playing and storytelling. (The other guitar player is darned good too). I love the dynamics of the tune—the way the band lays back into the groove, then brings it all back up again. If you don’t listen to the whole thing, at least ff to 8:20 for a little musical surprise.

Moonwalking

2009-06-27T10:43:00.000-07:00

I can't remember what spurred me, but many months ago I went searching for video clips of "moonwalking"--the dance move that Michael Jackson famously popularized and is often credited with "inventing." I never got around to finishing my blog post on moonwalking, but the time seems right to do so now.

Michael Jackson was an amazing performer and creative genius, but he didn't invent the moonwalk. He was taught the move--called the "backslide"--by choreographer, Jeffrey Daniel, who reports that it took much practice for Jackson to get it just right. A fascinating NPR interview in which Mr. Daniel discusses Jackson's choreography and influences can be heard here. His recollection is that Jackson first saw the backslide when Daniel performed it at Disneyland with The Electric Boogaloos. Here's a video of Jeffrey Daniel bustin' some moves with Shalamar. The moonwalk comes in at about the 2:00 mark.

Levon Helm, the Band's remarkable drummer and singer (and my favorite member) wrote about gigging with Ronnie Hawkins and the Hawks in his early days, and mentioned that Hawkins had several dance moves including a moonwalk. The clip I found on YouTube has been removed for licensing reasons, but I managed to find this excerpt on MySpace. Ronnie Hawkins does a slow version of the moonwalk near the end. That's a young Levon Helm at the drumkit. I'll get around to a Levon Helm post one of these days.

Tap dancer Bill Bailey puts on an amazing performance in this 1955 clip, with a moonwalking exit at 2:05.

This video of Cab Calloway performing "Kickin’ the Gong Around" (1932) is great, great fun. At about 2:00 he throws in some dance steps, including something close to a moonwalk and a Michael Jackson spin.

Horses: A Thematic Post

2009-06-07T22:57:00.000-07:00

This afternoon, we went to the Rose Garden Arena to watch a horse show. You can read all about it on my other blog.

In honor of the ponies, I decided to dig up a few thematic songs I like, starting with an obvious choice: Lyle Lovett with “If I Had a Boat.” My favorite line: But Tonto he was smarter, one day said, "Kemosabe. Kiss my ass, I bought a boat and I’m going out to sea."

Here’s a tune called “Horses” by Bonnie “Prince” Billy (Will Oldham). There’s another version on YouTube from his Lost Blues album, but I like this one best:

For a little different feel, how about if we close with Patti Smith with her groundbreaking song, “Horses”? This 1976 performances was recorded for the "Old Grey Whistle Test"--a great music show from the BBC. (The Multnomah Library has a few compilations from the show on DVD).

Jeff Hanson (RIP)

2009-06-07T10:32:00.000-07:00

I just read on the Mercury’s Blogtown that singer-songwriter Jeff Hanson died in a home accident at the age of 31. Months ago, I started, but never finished, a post after hearing Hanson sing on OPB or NPR. It was to have been a bigger post about what seems to be a trend of male singer-songwriters singing in impossibly high voices. Hanson’s voice could easily be mistaken for a female contralto, with a precise crystalline quality that was unworldly and that did not seem to fit the body from which is emanated. Maybe I’ll get back to that post one day.

In the meantime, here’s a video of “This Time it Will” from his record label, Kill Rock Stars:

The Eels

2009-06-06T11:30:00.001-07:00

This morning, while walking the dog, I heard an interview with Mark Oliver Everett (aka “Mr. E” or “A Man Called E” or just “E”) of The Eels, on occasion of the release of the band's new album “Hombre Loco: 12 Songs of Desire.”

At the risk of discrediting all pretense of credibility, I will cop to not having followed the Eels until now. The NPR interview with Scott Simon is a good one, including discussion of a documentary Mr. E has been working on about his father, Hugh Everett, a physicist known for his novel theories about parallel universes. (From the biography page on the Eels website: "A quantum physicist who authored The Many Worlds Theory, Everett inspired countless science fiction books, movies and Star Trek episodes with the concept of parallel universes. As a young teenager he exchanged letters with Albert Einstein, debating whether it was something random or unifying that held the universe together.")

Here's The Eels in the studio with “Prizefighter,” a song with the rough, rootsy sound toward which I tend to gravitate.

“That Look You Give That Guy” is an almost perfect pop song--something that would normally send me running in another direction. This one works. (Note to the Dog Walkerer: Look for the sad-eyed hound at 1:15).

Tell Automatic Slim and Razor Totin' Jim: Koko Taylor is Dead

2009-06-04T15:31:00.000-07:00

A Friend of the Blog just sent me news that blues singer Koko Taylor passed to the other side of the river today at age 80. Here's a link to Ms. Taylor's obituary in Rolling Stone.

Many many weeks ago, I started searching for covers of "Wang Dang Doodle" -- a classic party song written by Willie Dixon for Howlin' Wolf. (According to the Wikipedia entry, Dixon said it was the song he hated the most). As usual, I got sidetracked from that project.

The vocals and the video on this version by Koko Taylor are badly out of sync--in fact, I suspect that someone spliced the recorded version with some unrelated film footage. Little Walter is on harmonica. At about 1:48, you'll see Brownie McGhee and Sonny Terry standing around in the studio for some reason. Despite the sketchy quality, you get the idea of what a great artist Ms. Taylor was.

Here’s an oddly compelling version of "Wang Dang Doodle" performed by PJ Harvey.

I'll get back to more posts from Koko Taylor, Howlin' Wolf and Willie Dixon soon.

Tony Joe White

2009-05-23T11:11:00.001-07:00

This morning, the song running through my head was Amy Winehouse’s “Rehab.” I don’t know what you think about Ms. Winehouse as an artist or a human being, and that song may have been over-played, but I still think it’s brilliant. But that’s not what this post is about.

Somewhere along the line and in my mind, “Rehab” made a segue into The Band’s “Rag Mama Rag.” Some melodic and/or rhythmic elements overlap on the two, so I was doing a mental mash-up. That’s not what this post is about either.

What this post is about is “Polk Salad Annie” and Tony Joe White. I meandered on YouTube from The Band and Amy Winehouse and ended up far from where I began – like getting lost in a swamp. And you know what you find in a swamp? Polk Salad.

Here’s Elvis singing “Polk Salad Annie” in full Vegas mode:

And just for the sheer fun of it (as if the preceding video wasn't plenty), here’s Tony Joe singing a duet of “Polk Salad” with Johnny Cash:

Tony Joe White’s biggest songwriting hits may have been “Polk Salad Annie” and “Rainy Night in Georgia.” He’s also written and produced for Tina Turner. For a country singer-songwriter, he’s can bring the funk. Here’s the incomparable Ms. Tina Turner singing Tony Joe’s “Steamy Windows.”

I’ll close with a more recent video of Tony Joe White doing a solo on “Who You Gonna Hoodoo Now?” His isn't the greatest singing voice, but that deep bass certainly has appeal.

Two Mother's Day Videos + Bonus Ono

2009-05-10T19:36:00.000-07:00

Don't read anything into these song selections. They are only what I found after doing a quick search for songs on the theme of mothers.

The first is a fun little tune from Scissor Sisters, "Take Your Mama Out," with the choice lyrics:

Gonna take your mama out all night
Yeah, we'll show her what it's all about
We'll get her jacked up on some cheap champagne
We'll let the good times all roll out

And for those readers who may not be feeling sentimental about dear old ma, here's John Lennon's tribute to his mother (and father).

The last one has nothing to do with mothers, but I'm sending this out to my friend Sharon because I know she'll appreciate seeing Yoko Ono knitting while blindfolded.

A Tribute to Shatner

2009-05-09T23:19:00.000-07:00

In honor of the release of the new Star Trek flick, and for all my geek friends, this is a tribute to William Shatner. A few years ago, Mr. Shatner teamed up with Ben Folds to put out an album of cover songs and originals, titled “Has Been.” While the album had all the over-the-top camp value we’ve come to love and expect from him, it also had some moments of brilliance and remarkable self-reflection. Most importantly, I think Mr. Shatner had a helluva good time poking fun at people, including himself.

Here’s the Shatner/Folds cover of Pulp’s “Common People,” which a brilliant mash-up artist combined with clips from the old Star Trek animated series.

On the same album, Mr. Shatner performed a work of slam poetry, “I Can’t Get Behind That.” Haven't we all felt like this at some point? The video is lip-synched by puppets (can puppets do that?), and ends a 2:56, so please ignore the final 45 seconds of silliness at the tail end.

Back to Pulp, how about this live version of "Common People"?

More Pentangle and the Lyke Wake Dirge

2009-05-03T10:15:00.000-07:00

Commenting on my recent Pentangle post, friend of the Blog, Mead Hunter, praised that group’s stirring version of the “Lyke Wake Dirge” – a traditional English song about the soul’s travels after death. The verse is also a cautionary tale: Be charitable and kind to others, or karma’s gonna getcha.

You will find a nice “translation” of the text by Jeff Duntemann here.

I also found this beautiful a capella version by The Young Tradition, a mid-1960s folk revival trio that sang unaccompanied. For some time, they reportedly shared a house with John Renbourne and Bert Jansch from Pentangle. I don't remember having heard them, so this was a nice discovery:

Happy Belated May Day!

2009-05-02T21:26:00.000-07:00

Yesterday was May Day (aka “International Workers Day”), but I was too busy working my ass off to celebrate the achievements of the labor movement.

Did you know that the U.S. version of Labor Day was created in 1887 and scheduled in September to disassociate it from the more radical, leftist versions traditionally held on the first of May? And that in 1958 President Eisenhower proclaimed May 1st as “Loyalty Day” and “Law Day?” Loyalty Day was launched in 1921 as “Americanization Day” with the intent of reaffirming national loyalty and recognizing “the heritage of American freedom.” Law Day is pretty much the same thing, with a little extra boosterism for the rule of law as the foundation for democratic freedom. Who knew? By the way, we don't torture.

In honor of the labor force (currently employed or not), here’s Merle Haggard singing his tribute to the working stiff:

Pentangle

2009-05-01T20:43:00.000-07:00

I’ve posted before about my affection for the British “folk/rock” movement from back in wayback time, when I was a laddie, ca. late 60s and 70s. I listened to them all: Fairport Convention, Incredible String Band, Pentangle. In the end (or "the final analysis" or "when all is said and done"), I think my favorite is Pentangle. Perhaps that’s a guitar player’s bias-- focusing on the brilliance of John Renbourne and Bert Jansch. But as I listen again now, I’m amazed at Danny Thompson’s virtuosity on the bass and Jacqui McShee’s crystalline voice, and the musicality of them as a group.

I like this first video because ... well because they are just so cool ...like the coolest little chamber ensemble ever. (The audience on the sidelines look like they're just high and groovin' on the vibe). I love seeing folks sing duets (think Gram Parsons and Emmylou Harris, or George Jones and Tammy Wynette) -- there's a connection that comes through the eye contact and the intimate listening that's required. I see it here between Bert Jansch and Jacqui McShee. The whole band feels like they are closely listening to each other. Look for the sweet instrumental break at 1:30 (John Renbourne on guitar). Did I mention that the drumming is simply perfect?

Next is one I remember well: "Wedding Dress." Again, they feel like a chamber ensemble. The drumming is not flashy, but absolutely perfect. And listen to what Danny Thompson’s doing with the bowed bass at 1:43. Beautiful!

I'll close with an instrumental piece from 1971, "In Time," in which Pentangle borders on cigarette enwreathed jazziness. Look for Danny Thompson’s bass break at 1:00 and then again at the close around 3:30.

If I'm sounding over-exhuberant here, it's because it's Friday night.

Ian Dury & The Blockheads

2009-04-28T20:41:00.000-07:00

Here’s a blast from the past (last 70’s). This song popped into my head the other night, and I discovered that my wife had not heard it before. Or perhaps I was doing an exceptionally bad job of singing “Hit Me with Your Rhythm Stick” by Ian Dury and the Blockheads. Whatever. It motivated me to search for videos of Mr. Dury. Warning: Double sax solo at 1:48!

This is great party music with smart lyrics. I once owned the band's second album “Do it Yourself,” the sleeve of which was based on samples from a wallpaper catalog, with over a dozen variations of the cover issued. (Designed by an artist named Barney Bubbles).

Here’s another big Ian Dury hit with a classic theme: “Sex and Drugs and Rock and Roll.” (Fun chorus starting at 2:30).

And here's "What a Waste" from 1978. Warning: Synthesizer solo at 1:30.

In case you couldn't catch the lyrics:

I could be the driver of an articulated lorry
I could be a poet, I wouldn't need to worry
I could be a teacher in a classroom full of scholars
I could be the sergeant in a squadron full of wallahs
What a waste
What a waste
What a waste
What a waste

CHORUS:
Because I chose to play the fool in a six-piece band,
First-night nerves every one-night stand.
I should be glad to be so inclined.
What a waste! What a waste!
But I don't mind.

I could be a lawyer with strategems and ruses
I could be a doctor with poultices and bruises
I could be a writer with a growing reputation
I could be the ticket man at Fulham Broadway Station
What a waste

CHORUS

I could be the catalyst that sparks the revolution
I could be an inmate in a long-term institution
I could dream to wide extremes, I could do or die
I could yawn and be withdrawn and watch the world go by
What a waste

Ian Dury died of liver cancer in March 2000. What a waste.

Connie Converse

2009-04-25T21:36:00.000-07:00

A few days ago, my wife e-mailed me a link to NPR’s “Song of the Day,” with a story about a woman named Connie Converse who wrote, sang and recorded poignant little folk songs in New York in the mid-1950s. Converse was a relative unknown who never put out a commercial recording. She left New York for Ann Arbor, where she worked at the University of Michigan for a dozen years. Then in 1974, she packed her belongings in her VW bug and drove away, never to be seen again.

This video features Ms. Converse singing her song, “One by One.”

The video was accompanied by evocative photos from the Luminous Playhouse Theater Company, the creation of artist Anne Garland. Here’s how Ms. Garland describes the Luminous Playhouse:

The stage for The Luminous Playhouse Theater Company is a five-story 1960s abstract modern dollhouse that fills several shelves in my work space. In its dreamy, glowing rooms I set up changing scenes with an eclectic assortment of figures and props that I’ve collected for this project. Everything’s intentionally mismatched in style and scale—some things are new, some I made myself, many are vintage with their own mysterious histories that add to their storytelling potential.

I’ve been experimenting in the Luminous Playhouse with color and staging and lighting, blur and depth of field, realism and artifice to create what I think of as visual narrative or theater—an evocative cinematic interior-scape. I love how the camera reveals a vivid and potently human world in these artificial constructed scenes. To me the characters’ expressionlessness and their static, stiff poses only enhance the drama. Their impassivity invites an utterly personal interpretation, allowing—even requiring—us to bring our own emotional narrative meanings to the tableaus.

You can listen to more songs on a MySpace page someone has set up for Ms. Converse. The songs there include one with this great rhyme:

Up that tree there’s sort of a squirrel thing
Sounds just like we did when we were quarrelling.

When I listen to Connie Converse, I hear something out of the folk era of the 50s and 60s, but I also hear contemporary female singer-songwriters. Without knowing anything about her, would I know she recorded 55 years ago, or would it be just as easy to believe that she recorded yesterday? If you told me she was working as a barista at Stumptown and performing at Mississippi Studio in the evening (probably with the Portland Cello Project accompanying), I might believe you.

Here's Portland's Laura Gibson:

Another Portlander, Laura Veirs:

And Joanna Newsome, who hails from Nevada City, California (where my parents now live):

Jimi and Shotgun

2009-04-19T22:05:00.000-07:00

I was looking for videos for the classic R&B tune, "Shotgun" when I ran across this early televised clip of Jimi Hendrix playing behind the duo, Buddy and Stacey. Jimi is over on stage right, next to the drums -- not the first guitar player you'll see. He isn't given much to do beyond the fundamental riff that defines "Shotgun," but if you listen very, very closely at the 1:30 mark, you'll hear him throw in a few extra notes that are all Jimi-- as if he couldn't be constrained any longer by the repetition. Also, check out the over the neck sweeping action he throws in at 1:48 as a little flash.

Buddy and Stacy were apparently a hot song and dance act that performed with notables such as Little Richard, Jr. Walker, Bobby Bland, B.B. King, and Gladys Knight. I also read that they performed with The Sir Douglas Quintet, of which I wrote months ago. They certainly had the dance moves. And how about those high-waisted pants?

That performance may have been the only gig Jimi played with Buddy and Stacy. After that, and before he became a superstar and guitar god, he played guitar for the Isley Brothers ca. 1964. The next clip is an instrumental version of an Isley Brothers tune, "Move Over and Let Me Dance." Though there's no accompanying video, I'm including it here because there is no mistaking the Hendrix sound and riffs. (It may be of limited interest by readers who are not guitar players).

I started this post thinking about "Shotgun," not Jimi, so let's get back to it. I first heard "Shotgun" on a 1968 album by a Northern California band called Clover. I still have a Clover LP and will digitize its tracks some day because it's not available anywhere. Today we might categorize Clover as "alt-country" -- they were using pedal steel guitar and playing a mix of country and R&B before Gram Parsons arrived on the scene. In a later incarnation, their front man was Huey Lewis, before he broke into the big time. After that, several members of the band moved to England where they became Elvis Costello's band on "My Aim is True." Believe it or not.

"Shotgun" makes for a great rhythm guitar lesson, with a couple of interlocking parts that makes it fun to play for two guitarists. I'll close with the best known version of the song performed by Jr. Walker and the Allstars. The quality is crappy, but it has go go dancers. Listen for the little rhythm guitar figure at about .33, after the line "Put on your red dress."

More Nick Lowe

2009-04-11T14:55:00.000-07:00

After listening to him on my headphones last night, I decided to add a follow-up to my Nick Lowe post from last November . I appreciate the clarity of Lowe's lyrics and the stories they tell. He avoids cryptic verse that requires a decoder ring or an English lit degree, yet he's writing poetry. I think it's fair to characterize his songwriting "old school," in the mold of a master like Hoagy Carmichael. Occasionally Lowe verges too closely toward clever or cute, such as this line from his song "All Men Lie":

Do you remember Rick Astley?
Had a big fat hit, it was just ghastly

But then there is this beauty of a tune, "Lately I've Let Things Slide," which is full of both humor and pathos. The video quality is poor, but listen to the words and the phrasing:

Lowe recorded this next tune in the mid-1980s. "I Knew the Bride (When She Used to Rock and Roll)" is nothing more than a fun rocker.

I suspect that "I Knew the Bride" was influenced by Chuck Berry's wedding song "C'est La Vie" (aka "You Never Can Tell). Here's a version of that Cajun-flavored tune sung by a young Emmylou Harris. That’s the master of the Telecaster, Albert Lee, picking the guitar (on her left), and Rodney Crowell singing harmony (on her right).

Lambchop

2009-04-05T15:05:00.000-07:00

On heavy listening rotation this week has been Lambchop, the Nashville TN band fronted by singer-songwriter Kurt Wagner. When Lambchop started out, it (I should probably say "he" since Lambchop = Wagner) was labeled “alt-country” -- probably thanks to the hometown more than anything. Others have called it “country soul” and one critic labeled the band as a “freak-chamber-country collective” (which seems off-the-mark so sorry I mentioned it). Some of Lambchop's later material even veers into what might be called "neo-lounge."

As a band, Lambchop has had a rotating lineup of musicians through the years, growing to as large as 20 members to create a “big band” sound behind what are otherwise quiet and subtle songs. When I first heard Wagner's deep, rumbly mumbly voice, it seemed oddly familiar. Then it came to me: Cat Stevens (Yusef Islam) from “Tea for the Tillerman” days (a favorite album when I was a teen). Someone called Wagner “one of the greatest of the bad singers,an unassuming master of phrasing," and said, "though you might barely discern a line in the vocal rumble, the way he occludes and reveals can be felt.” Oddball, quirky voices seem to be popular in indie music these days, though more often pitched up close to or in falsetto range.

I admit that I’ve not yet listened closely enough to crack the code to decipher most of Wagner’s lyrics. Wagner has said, "I use language in a reckless, abstracted splatter of phrase and meaning that somehow comes together through association with the music.” Fair enough -- it's National Poetry Month after all.

Lambchop has developed a sizeable, semi-cultlike following, so there are many lousy YouTube videos shot by camera phone out there. I did find a decent version of “Up with People” from the band’s “Nixon” album. I particularly like the rhythm guitar part that chops away like a metronome, reminding me of Steve Cropper from Booker T and the MGs (I'll have to get to them one of these days). The horn breaks are pretty sweet too.

Here’s Wagner performing a solo version of his song, “Slipped, Dissolved and Loosed” decked out in his signature seed cap and thick-rimmed glasses. (This was clearly filmed in a hotel room somewhere, and since I finally got around to watching "No Country for Old Men" on DVD last night, I kept expecting Javier Bardem to burst into the room with guns ablaze as I watched it).

Here's Wagner with a cover of Dylan’s “You’re a Big Girl Now,” which demonstrates nicely his interesting phrasing and quirky voice.

If you want more, NPR has posted a 28 minute video of Wagner from its “Tiny Desk Sessions.” OPB Radio also has audio from an in-studio session with Wagner.

A Tribute to Boom Boom

2009-04-04T12:58:00.000-07:00

I love the rockabilly, so was delighted to discover this neo-rockabilly tune, "Johnny Got a Boom Boom" by Dublin-born singer, Imelda May, backed by a hot band. I particularly like the slappy bass and the use of the traditional bodhran.

That inspired me to search for other tunes with either "Boom," "Boom Boom," or "Boom Boom Boom" in the title. Believe me when I tell you there are plenty -- often in conjunction with the word, "shake." This one is a classic from bluesmaster John Lee Hooker, a master of the driving rhythm and tapping toes.

I didn't want to post a variety of covers of the same "Boom Boom" song, but couldn't resist Springsteen's cover of the Hooker song. (There's also a nice version by the Animals ca. 1965, but I'll save that for a separate Animals/Eric Burdon post in the future). This is The Boss stripped down to his rock 'n roll heart in the mid-90s. The tune is about two minutes too long, but has a fun finish to it and Bruce rocks the telecaster.

Just for fun, let's hear from the fabulous pair of parodists from New Zealand, Flight of the Conchords, with "She's So Hot Boom."

I'll close with a tune from a Thai techno/hip-hop group, Buddha Bless, playing "Bump Boom Boom" from its album, "Gancore Club 2." I won't pretend to be a fan--I just tripped across them in my search for Boom Boom. I asked Google to translate listener comments about the band from a Thai website, then used a selection to compose this poem:

Cymbal sound with a slow tempo
then fire, then a mother dress.
Perfectly capturing the wistful song dog
[ball well] Birth.

Love song to the fight,
only you dance to music from the sea cock.
Rave music for the quick draw
to the top of the card.

Fire environments because they love
music, not the Sikh face.
Wistful lyric dog fight.

These factors are very beautiful music...
music for women who like this trip close.
To love music because it is good and
portals like flowers bloom.

Camille O'Sullivan sings Nick Cave

2009-03-28T15:36:00.000-07:00

I came upon this sultry, Irish-French (French-Irish?) chanteuse indirectly, while watching a video by another singer on the same label. What caught my ear were her covers of two stunningly beautiful Nick Cave songs. (My second post on this site was about Nick Cave, and I reviewed his September 2008 Portland concert over at Culture Shock).

Very much like Tom Waits, Nick Cave is a masterful lyricist and a charismatic performer with a voice and sound that is distinct in its rawness and lack of polish. When either of these artist's songs are interpreted--particularly by female singers--I invariably hear them afresh and gain an even deeper appreciation of the poetry.

I'll start with Ms. O'Sullivan's interpretation of "God is in the House."

I love her interpretation, but searched out Cave's own version and found this video, which I like even more:

Here's O'Sullivan singing Cave's beautiful classic, "The Ship Song."

Here's Nick Cave's own solo version:

Blind Pilot at SXSW

2009-03-28T13:36:00.000-07:00

I’ve been listening to music on a rainy spring day in Portland. Right now, I’m enjoying listening to a Blind Pilot concert recorded by NPR at SXSW. Darn pretty music – sweet harmonies, simple instrumentation (including a nice touch of trumpet), heartfelt, smart lyrics. Some of it is a little more pop than I normally like on my headphones, but it is lovely music to listen to on a grey day.

Friends from college days, Israel Nebeker and Ryan Dobrowski are Blind Pilot. The pair hails from Portland where they are warmly embraced by the city’s avid bike culture on account of their conducting a West Coast tour completely and utterly by bicycle, hauling instruments and all their gear behind their road bikes, and playing in small towns. With the addition of a few more band mates they have graduated to a tour van. In May and June, they’ll be on tour with the Decemberists, in a tour bus I imagine.

Here's Blind Pilot's official video for "Go On Say It," which looks like it was filmed in Astoria.

Here they are in-studio at KINK radio, singing "Three Rounds and a Sound."

On NPR you can also listen to a SXSW concert by another Portland band that is making waves, Blitzen Trapper. I'll get back to them sometime.

Dan le Sac vs. Scroobius Pip

2009-03-21T16:30:00.000-07:00

This tune by the British duo known as Dan le Sac vs. Scroobius Pip just showed up on NPR's "Song of the Day" play list. Mr. Pip's words are too wise to not pass along for the edification of our readers. And since Mr. Pip's name is an intentional misspelling of the title and character in an Edward Lear poem, "The Scroobious Pip," this post is in honor of World Poetry Day, which is today.

SXSW 2009

2009-03-16T11:49:00.000-07:00

The annual SXSW music fest has started in Austin. One of of these years, Mighty Toy Cannon will be so renowned across the blogoverse that I'll get free tickets and airfare to attend. Yeah, right.

For now, I'm stuck listening to podcasts and streaming concerts and reading blog reports courtesy of the estimable Bob Boilen and colleagues at NPR and "All Songs Considered." Their SXSW coverage is quite remarkable and fun.

NPR is also offering a free sampler download featuring ten bands, including Portland's own Blitzen Trapper and Decemberists.

Six Days on the Road

2009-03-14T11:16:00.000-07:00

There's nothing I don't love about this song. The best truck drivin' song ever written (and there are a lot of great truck drivin' songs). I think the first version I ever heard was performed by Red Sovine, the Grand Master of the genre. Anybody playing country, alt-country, country rock, neo-country-rock, neo-alt-country-americana ... has to cover it. It's as fun to perform as it is to listen to.

The first video from Dave Dudley is my favorite of the bunch--perhaps because he's the songwriter. And he's playing a guitar that looks just like mine. The shiny shirt doesn't hurt either.

"Six Days on the Road" was a favorite of Gram Parsons and the Flying Burrito Brothers. The FBB were an opening act for the infamous Altamont concert in 1969, and a short excerpt of Gram Parsons singing "Six Days" appears on "Gimme Shelter," the Maysles Brothers documentary film about that event. I can't find a YouTube video of that performance, but here's one with the FBB, post-Parsons--Chris Hillman sings the lead. Sneaky Pete Kleinow's pedal steel simply kills.

I'll conclude with a version by a young Steve Earle. Guitar pickers will appreciate the little solo bit at 1:30 (I believe the fellow with the Telecaster is Mike McAdams). My only quibble with this version is that the rhythm section doesn't bounce quite as much as I think it should -- a little too plodding.

Johnny Cash and Guests

2009-03-08T22:20:00.001-07:00

On Facebook, I've recently been tagged to list 15 albums that changed my life. That's going to be a challenge because it is a distinctly different assignment than listing "15 Desert Island Albums" or "15 Best Albums of All Time" or "15 Albums Listened to in the Past Week." So, more thinking will be needed.

One album that came to mind is the eponymous John Mayall and the Bluesbreakers (featuring Eric Clapton). I think I became more of a fan of John Mayall than Clapton after that album (though I mean no disrespect to Clapton). That memory led me to YouTube, where I found this collaboration from the Johnny Cash Show ca. 1970, with Johnny playing "Matchbox" with Carl Perkins and a young Eric Clapton. Clapton also performed on that episode with Derek and the Dominos.

After that, I was tempted to chase down three paths: (1) More "Matchbox"; (2) More Clapton; (3) More Carl Perkins. Instead I decided to find a few other guests who appeared on Johnny's show. Here's Neil Young, with a nice introductory tribute frmo Johnny:

And here's Johnny Cash in a duet with Bob Dylan from one of the great songs from the "Nashville Skyline" album (which may end up on my Top 15 Influential Album list.

I wish to assure any readers that I will get into the 21st century one of these days.

My Little Red Book

2009-03-06T20:16:00.000-08:00

This evening, my grocery store was playing “My Little Red Book” as performed by the mid-60s Los Angeles band, Love (fronted by Arthur Lee). You may have heard it on the soundtrack to “High Fidelity” (a great book and movie). Sorry about the lack of synchronization in this video:

"My Little Red Book" was written by tunesmith Burt Bacharach and made a hit by Manfred Mann, helped by showing up on the soundtrack for the movie, "What's New Pussycat." Here's a version crooned by Elvis Costello, accompanied by Mr. Bacharach and requisite horns. I understand that Bacharach never approved of the Love version.

Finally, here's a version (without video) of which Mr. Bacharach would most certain disapprove -- performed by the White Stripes in 1998, when they were still relatively unknown and playing street fairs in Detroit:

Dead on This Day

2009-03-02T23:00:00.000-08:00

For reasons that aren’t that interesting, I tripped across a fascinating and beautifully designed website for an online magazine called Obit. Here’s an excerpt from its statement of purpose:

Death gives life its immediacy. Because we know it will end, we savor and value life all the more. Obit examines life through the lens of death. Whether it’s the loss of a person, a place, an object or an idea, life’s constant change presents an opportunity for examination, discussion and even celebration.By examining the transformations we face, we can understand how the past influences our time and our future. Obit aims to offer a forum for ideas and opinions about life, death, and transition that you will find nowhere else.

I may write more about this site over at my sister blog, Culture Shock, but there’s a reason I’m mentioning it here. The site includes a section called “Died on the Same Day” through which the user can select any day of the year to discover who shared that date of demise. The two folks listed for March 2, 2008 were Dusty Springfield (who died on March 2, 1999) and Serge Gainsbourg, who passed to the other side on this day in 1991.

"Dusty in Memphis" is a great album. Here's a video of her performing "I Only Want to Be With You."

I'm also a huge fan of Shelby Lynne's tribute album to Dusty. Here's her version of the same tune:

Now Serge's turn, with the song “Mr. William,” which I presume was performed as part of the French Garden Implement Exposition.

This tune, “All That You Are” isn’t Gainsbourg’s (it’s by Nat King Cole) and he doesn’t sing, but the video is pretty cool and I wish I was that guitar player:

UPDATE: Reader Mead Hunter brought my attention to a version of "I Only Want to Be With You" performed by the Bay City Rollers, the Scottish pop/rock heartthrobs straight out of the early 70's. You gotta love that opening bass line:

Snooks Eaglin

2009-02-21T13:54:00.000-08:00

New Orleans R&B guitar slinger and singer, Snooks Eaglin passed on last week at age 72. Eaglin's guitar playing was characterized by an idiosyncratic finger-picking style that combined rhythm and lead playing with an incredible, crisp snap unlike anything you've heard by anyone else. I’m a guitar player who also uses an odd combination of thumb and fingers to pick and strum, but I can’t quite figure out what Snooks is doing or how he does it. He was reputed to have a vast repertoire of songs at his disposal and a tendency to perform without a set list, forcing his band mates to keep on their toes.

Here's a video of Snooks playing "Lipstick Traces," a song written by Naomi Neville, which was the pseudonym often used by Allen Toussaint. "Lipstick Traces" was made a hit by Benny Spellman in 1962, later covered by the O’Jays. It's a great tune and a perfect demonstration of Eaglin's impeccable rhythm guitar work.

Here's the tune "Red Beans," which shows off a little more of Eaglin's lead guitar stylings.

Defending Vincent Black Lightning (1952)

2009-02-17T18:32:00.000-08:00

While perusing Carrie Brownstein’s NPR music blog, Monitor Mix, the other day, I spotted a post in which guest-blogger Sean Wilsey categorizes Richard Thompson’s “Vincent Black Lighting (1952)” as one of his “candidates for worst song ever to become a semi-classic.”

Mr. Wilsey was gushing over the band The Airborne Toxic Event and its song “Sometime Around Midnight,” describing it as “overblown and absurd, yet somehow irresistible.” He notes that its “strain of adolescent self-seriousness … is fun to listen to,” whereas “Thompson’s song makes me want to stop living.”

He goes on to illustrate the topic with a series of other over-the-top songs characterized by “self-centered romanticism.” He concludes the post writing, “This all seems like a genre to me. Not sure what to call it.”

Of course I was shocked and offended! How dare he! I always thought “Vincent Black Lighting (1952)” (let’s call it “VBL52”) was a brilliant tune--the perfect melding of traditional structure and style with a contemporary story.

When I was a teenager, I was a big fan of Richard Thompson--more accurately, of Fairport Convention, the pioneering British folk-rock band of which he was a founding member. I must have listened to their “Liege and Lief” album for hundreds of hours in high school. So, as a big fan of of the folk-rock movement, when I hear VBL52, I can’t help but hear a traditional folk song. Mr. Wilsey, if you’re wondering what to call that genre, how about “ballad?”

Because I'm a fan, I’m willing to overlook many of Richard Thompson’s weaknesses—there are certainly duds to be found in his prolific output. There are also many gems, and Thompson puts on an incredible live show. I’ve seen him in Portland twice – once playing solo acoustic (at the Zoo) and once at the Aladdin (playing electric with a band). Both configurations are great as he’s an inspiring guitar player in any format. He tours through Portland quite often, usually in venues that aren’t too big.

Here’s Richard Thompson singing VBL52, which he first released on his “Rumor and Sigh” album in 1991:

Going back in time, and demonstrating some traditional folk roots, here’s Fairport Convention with “Sir Patrick Spens” from about 1970.

Just for the fun of it, here’s Thompson doing a cover of the Britney Spears hit, “Oops I did it again” (included on his “1,000 Years of Popular Music” album).

If you want more "VBL52," here's a cover by the band, Reckless Kelly. YouTube also has a bluegrassy version by the Del McCoury Band.

Note on the photo on top: The crazy guy on the motorcycle is Rollie Free riding a Vincent Black Lighting as he breaks the land speed record for motorcycles, hitting 150 mph on the Bonneville Salt Flats. Apparently, Free adopted the prone position to minimize wind resistance and would wear protective gear under normal circumstances. On this attempt, his leathers were ripped and torn from earlier runs so he made the last attempt wearing a Speedo, a shower cap and a pair of borrowed sneakers.

pat mAcdonald

2009-02-15T22:02:00.000-08:00

In 1987, Timbuk3 appeared on Saturday Night Live. They played two songs and I was hooked.

Timbuk3 didn’t play their Top 20 mega-hit, “Future’s So Bright, I Gotta Wear Shades” on SNL that night, but it was being heard just about everywhere else--on the radio, on compilation albums, on movie soundtracks. The song had a brilliant hook and clever lyrics and quickly became (it seemed) an anthem for frat boys and future hedge fund managers who were incapable of perceiving the ironic commentary lurking under its veneer of optimism. For a song about the threat of nuclear annihilation, it's quite upbeat.

I got a job waiting for my graduation
Fifty thou' a year will buy a lot of beer
Things are going great and they’re only getting better
I'm doing all right, getting good grades
The future's so bright, I gotta wear shades

Timbuk3 was a duo--a married couple, Pat MacDonald and Barbara Kooyman. Both sang and played guitar with backup and drum tracks played on a boombox—a trick developed while playing on the streets of Madison WI, and then Austin TX. Pat was the principal songwriter, but Barbara K. contributed some well-written lyrics as well.

The band's biggest album,"Greetings from Timbuk3," was full of musical hooks and catchy word play and textual rhythms, as well as the right touch of political overtones and social commentary. "Life is Hard" is one of my favorites from that album, with lyrics that are worth paying attention to and that have been lodged in my brain for the past twenty or so years: "You can't get to heaven on roller skates. You can't catch a taxicab to Timbuku." (I apologize for the poor video quality).

Timbuk3 put out six or seven studio albums, eventually growing to be a four piece band. They never regained the chart success of "Future's So Bright." The story is that Bausch and Lomb tried to secure the rights to the hit tune to promote Ray Ban sunglasses. Clairol allegedly offered big bucks for another song, "Haircuts and Attitudes" (excerpt of lyrics below). Pat MacDonald turned down all of the offers, standing on principle and artistic integrity. McDonalds (the fast food folks) purportedly offered a million dollars for the rights "Future's So Bright," but MacDonald (the songwriter) wasn't interested in that either.

Timbuk3 eventually broke up, destined to be a one-hit wonder. Pat and Barbara K. divorced in 1996 and MacDonald released a few critically acclaimed solo albums with limited sales. Somewhere along the line, he started writing his name as pat mAcdonald -- apparently because he got tired of journalists dropping the "a". He kept writing prolifically, including tunes for, or in collaboration with such improbable people as Cher, Aerosmith, Keith Urban and others. Somewhere along the line, mAcdonald recorded a collection of Depeche Mode covers, "Strange Love: PM does DM."

You can get more info on Wikipedia or by visiting mAcdonald's website. What I wanted to show was mAcdonald's more recent stripped down, raw and very compelling work. I'm particularly taken by the tunes on his album "In the Red Room." These are simply mAcdonald alone with his guitar and a homemade stompbox to amplify the rhythmic beat of his foot. Think about what The Black Keys do with just guitar and drums, then take away the drums. mAcdonald described the project this way:

"The Red Room is a corner bar in Sturgeon Bay, Wisconsin. Harley Junior was kind enough to open it on a Sunday and give us the run of the place, so we moved aside the pool table, set up a P.A. and invited a few friends to drop by later that night. Everything on this disk was played and recorded that day, February 1st, 2004, between 6 pm and 2 am closing time - just me, my guitar, my foot and harmonica, live with no overdubs ... The production cost was about $200, including 3 rooms at the Holiday Motel and a $50 bar tab."

What I like is the low register, the drone-quality and the John Lee Hooker-esque driving rhythm--it's about as stripped down as you can get. The "Red Room" album also has one of my favorite interpretations of the Johnny Cash tune, "Ring of Fire" (which I unfortunately can't find on YouTube). Here's another tune, this time with mAcdonald playing slide on a cigarbox guitar.

I'll close with a verse from the Timbuk3 tune, "Haircuts and Attitudes."

Razor cut, laser cut, chopped and channeled
Curled up, slicked back, hanging in the eyes
Parted left, parted right, straight down the middle
Scientists say your hair never lies.
I've done lots of research, it may be just hype,
But the latest findings cause me to tremble
Categorize us into three basic types
According to which of the Three Stooges you most closely resemble.

Erin McKeown

2009-02-07T20:21:00.000-08:00

As is my habit, I picked up a few unfamiliar CDs on my last visit to the Public Library. One was “Sing Sinners” by Erin McKeown. Having no foreknowledge, I listened without expectations. While the library categorized it as "folk," the album turned out to be a collection of jazz standards by an exceptionally talented singer and guitar player.

My first video is of McKeown’s cover of a Fats Waller tune about pot-smoking, “If You a Viper.” No endorsement of this behavior is to be implied by my having posted the song--it's just one of my favorite tunes to have played and sung with my now-defunct band, Bourbon Jockey (though we did it about eight times faster). I like McKeown's laconic version, especially the fun, fun drumming by Allison Miller and the bass solo by Todd Sickafoose (starting at about the 3:00 mark). I like my live music loose and full of humor.

I’m also a sucker for live performances of incongruous cover songs. Sometimes the results are kitschy fun--other times, a new interpretation of a pop song reveals that it is rooted in really good songsmithing. This next video, with McKeown’s cover of Beyonce’s ubiquitous song “Single Ladies (Put a Ring on It),” does both. It's a lot of fun and is sung to a very appreciative audience (McKeown has a devoted fan base among girls who like girls).

I'll close this post with one of McKeown's own songs, "If You Want to be a Lady," and with a caveat: I've only heard her album of standards and what I've fished off of YouTube, so my selections may not accurately reflect her work. I just like them.

John Martyn RIP

2009-02-07T09:19:00.001-08:00

I’ve not kept up with current events lately, so just learned that folk/jazz singer-songwriter John Martyn died last week at age 60. The NYT obit is here. My post about Martyn back in October can be found here.

In memory, here’s a video of John Martyn performing his perfectly lovely tune, May You Never, with lyrics suitable for an Irish wake. (You may know Eric Clapton's cover of this song on his Slow Hand album).

May you never lay your head down, without a hand to hold.
May you never make your bed out in the cold.
May you never lose your temper in a barroom fight
May you never lose your woman overnight.

Sonny & Brownie

2009-01-31T09:43:00.001-08:00

In a comment on my last post, friend of Mighty Toy Cannon, Bob Hicks from Art Scatter, tells of his encounter with bluesmen Sonny Terry and Brownie McGhee. That great story prompted me to dig up a few videos of the pair.

The first is Sonny and Brownie on Pete Seeger’s “Rainbow Quest” playing the classic blues tune, “Key to the Highway.”

I discovered Sonny and Brownie from an album pulled from a record store remainder bin when I was sixteen. I ended up buying four or five more albums and spent many hours listening to Sonny’s harmonica blowing and signature whooping, and Brownie’s guitar and voice. When I listen to them now, I realize what a deep influence Brownie had on my own guitar playing. I think I also learned a little about playing the harmonica just by listening to Sonny (though there’s no way I can get close to his distinctive sound).

Again from "Rainbow Quest," this video superbly demonstrates Sonny Terry's whoopin' and falsetto hollerin' and great rhythmic blowing.

Two more tunes, "Red River Blues" and "Crow Jane." (One of these days, I'll come back with a post with Skip James singing "Crow Jane.")

Trivia: Sonny Terry appeared on Broadway in the original cast of "Finian's Rainbow." Brownie McGhee also appeared on Broadway in Tennessee Williams' play "Cat on a Hot Tin Roof" in the mid-50's.

More Trivia: Not to end on a sour note, but I've heard tell that despite their great musical partnership, Sonny and Brownie actually hated each other's guts. I read somewhere (in a Muddy Waters biography, perhaps) that over the course of an entire European blues tour, the pair did not exchange a single word off stage. The two eventually broke up the partnership.

Nobel Prize for Pete Seeger?

2009-01-26T22:18:00.000-08:00

One of the more touching scenes from recent Inaugural events was the concert at the Lincoln Memorial. For members of the Mighty Toy Cannon household, the highlight was the appearance of a hale and hearty Pete Seeger, singing "This Land is Your Land," including Woody Guthrie's more leftist verses.

The man deserves a Nobel Peace Prize. In fact, there is a movement and a website dedicated to getting Mr. Seeger that nomination. You can read more about that and about Seeger in this Huffington Post article. I also recommend the 2007 documentary, "Pete Seeger: The Power of Song" if you get a chance.

My father-in-law is a delightfully warm, gregarious and caring man of whom I am quite fond--even though he is a dyed-in-the-wool Republican. The irony is that he's also a huge Pete Seeger fan from way back. His love of belting out folk tunes with family and friends must overshadow all dissonance with Seeger's politics. His children and grandchildren have turned out to be liberals--some flaming more than others--perhaps due to having listened to "Union Maid" too many times.

YouTube has a treasure trove of videos from Pete Seeger's public TV show "Rainbow Quest," which was aired regionally (I'm presuming upstate New York) in the mid-60s. You can find at least a dozen videos from the show including guests such as Sonny Terry and Brownie McGee; Richard and Mimi Farina; Jean Ritchie; Elizabeth Cotton; Mississippi John Hurt ... oh man, I'm going to have to get busy posting some of these!

This is one of my favorite videos. It starts with Pete introducing his guests, Johnny Cash and June Carter. Johnny then sings the "I am a Pilgrim" by the great Merle Travis. (Which reminds me to dig up some Merle clips for a later post). Johnny seems remarkably twitchy throughout this episode of "Rainbow Quest." I assume he's either high or itching to get so--keep an eye on his Beatle-boot clad feet.

Nick Lowe

2008-11-29T09:51:00.000-08:00

All I have to say is that Nick Lowe is an amazing songwriter. His biggest hit (and source of endless royalty checks) is “(What’s So Funny ‘bout) Peace, Love and Understanding,” which Elvis Costello recorded. Lowe’s tunes are full of hooks, but his wordsmithing is what grabs me. Here are three selections spanning a few decades of work, starting with this performance of “So it Goes” with his band Rockpile in 1978.

And another one from the same era: Crackin’ Up.

This last is from Lowe’s 2007 album “At My Age.” You just have to love the cadence and syncopation as he delivers his lyrics, perfectly squeezed into the space available.

Richmond Fontaine

2008-11-08T21:56:00.000-08:00

While I walked the dog tonight, I was listening to the album “Thirteen Cities” from Richmond Fontaine, the Portland band fronted by singer-songwriter Willy Vlautin. Vlautin’s tunes stand out as exquisitely written short stories reminiscent of Raymond Carver. In an interview about the album published in the online journal, Uncut, Vlautin described the album as a “record of drifters,” saying “I initially wanted it to be a record about the West, its decline, and the way I see it. But it turned into a record about drifting, both literally and guys just drifting from themselves, guys falling apart or, you know, redeeming themselves".

The following tune, “$87 and a Guilty Conscience,” is a particularly evocative one:

Vlautin is also an author of two novels: “Motel Life” (2006) and “ Northline” (2008). I look forward to reading them, though why do I suspect that they are quiet dark?

Sister Rosetta Tharpe Rockin' the House

2008-11-06T20:19:00.000-08:00

Over at Culture Shock, the other site at which I post commentary on life and culture in Portland, I recently ran a series of music videos tied to an election theme. That series included a clip of Sister Rosetta Tharpe singing the gospel classic, “Trouble in Mind.”

That clip and the next were filmed in 1964, when Sister Rosetta Tharpe traveled to the U.K. with other blues and gospel artists as part of the "American Folk, Blues, and Gospel Caravan" -- a tour that included Muddy Waters, Otis Spann, and the duo Sonny Terry and Brownie McGhee. "Didn't It Rain," actually preceded "Trouble in Mind" in the concert. I particularly like her moves at 3:26.

Here's a song, "Up Above My Head," featuring Sister Rosetta in what I expected to be a straight-ahead gospel tune given all the choir robes in the background. But, there's that white Gibson SG, and a sizzling solo at 1:25 (watch for the little windmill move at about 1:46).

Sister Rosetta learned her craft singing gospel in church, and was a star in that genre her entire career. But, she bridged the sacred and the profane from time to time, courting some controversy with those who thought that secular music as the devil's playground. Here's a very young Sister Rosetta (age 26) singing "Four or Five Times" with the Lucky Millinder Orchestra.

UPDATE: The risk of using videos other people have posted on YouTube, is that the links occasionally go dead. The clip with Sister Rosetta and Lucky Millinder's band is no longer available.

Instead, here's a clip of Ruth Brown ("Miss Rhythm"), who also sang for Lucky Millinder for a short time. This is "Tears Keep Tumbling Down."

Treat Her Right

2008-10-25T12:09:00.000-07:00

When I started this, it was to post a clip of Bob Dylan playing the R&B tune, "Treat Her Right" during a rehearsal for an appearance on the Letterman show. (I'll get to that in a bit). As I dove into the topic, I realized that I did not know who wrote the song, or who first made it a hit. The answer: Roy Head and Gene Kurtz wrote it, and it was a mid-60's hit performed by Roy Head and the Traits. Kurtz is a Texas musician who has played with dozens of rock luminaries including, perhaps most notably, Edgar Winter. He still plays bass in honky-tonker Dale Watson's band. Here's a clip in which Roy Head busts some great dance moves, worthy of James Brown or Jackie Wilson:

What makes "Treat Her Right" a great tune is the R&B riff that anchors it and makes it move. Virtuouso lead guitar solos may be flashy and get all the attention, but I admire rhythm guitar players who can hold down a solid riff. Here's the Dylan clip doing that (he starts singing at about 1:00).

I like this clip, no matter that it's a cover tune played a bit sloppily, because it shows Dylan in pure garage band mode. These guys are doing what people in bands do all the time: Goofing around on a familiar riff while warming up. I would not be surprised to learn that Dylan and the band had never played the tune together before (indeed, if they had played together at all).

For another example of a great Dylan tune that totally locks into a groove, check out this clip of "Maggies Farm" from the infamous 1965 Newport Folk Festival with the late Mike Bloomfield on guitar. The man clearly loves a riff groove. (As a guitarist, I'm always fascinated to watch Dylan strum a guitar because his right arm is like a metronome).

Back to "Treat Her Right:" Perhaps you remember hearing the tune on the soundtrack of "The Commitments." I rank that movie at or near the top of all-time great rock and roll stories on film. The original book by the Irish author, Roddy Doyle is a delightful read. Does the guitar player who kicks things off look familiar? It’s a young Glen Hansard from the Irish band The Frames and The Swell Season (with Markéta Irglová), who you may recall winning the Academy Award for Best Original Song for the movie "Once." There’s another good film on the theme of music making.

One more version, then I'll go: Tom Jones -- a singer who some may discount as a lounge-singer caricature, yet you can't deny he has a powerful voice. This clip is just plain fun.

Doug Sahm, the Sir Douglas Quintet & the Texas Tornados

2008-10-18T19:56:00.000-07:00

Texas may have given us the Worst President Ever, but has also produced legendary musicians through the years. I discovered Doug Sahm only a few years ago, after picking up a CD compilation at the library (thank you Multnomah County Library). I became an immediate fan, drawn to a voice with R&B soul and power straight out of a San Antonio, Texas roadhouse. I've had a hard time putting this post together because there is a paucity of representative videos of Doug Sahm. I've found a few which I like, but I'm not satisfied that they do the man justice.

Sahm started out at a very young age playing country music, reportedly appearing on stage with Hank Williams at age 11. He moved into blues and R&B in the 50s, and in the latter part of his career played a part in defining Tex-Mex music with the Texas Tornados, a "supergroup" in which he was joined by Freddie Fender, Flaco Jimenez and Augie Meyer.

In the mid-60s, Sahm tried to ride the wave of the British Invasion by dressing as a mod and performing as “The Sir Douglas Quintet.” The band's biggest challenge in pulling off this trick is the fact that two of its five members were Mexican. Bob Dylan became a fan and a friend, and is quoted as having said, "Look, for me right now there are three groups: Butterfield, The Byrds and the Sir Douglas Quintet."

Here’s a TV performance of one of the Sir Douglas Quintet’s hits, "She's About a Mover" (three of their tunes reached the Top 10). This clip is from the show “Hullabaloo” (that’s Trini Lopez making the intro). Ignore the cartoon set, the pageboy haircuts and the human props. It’s a catchy tune, Sahm’s voice is in fine form and I love that big old Gibson jazz guitar he's playing:

Sahm jettisoned the pageboy haircut, left Texas for San Francisco and Marin County, and went full-on hippie-cowboy. (The Rolling Stone cover from 1968 captures the image). I’m a big fan of Gram Parsons, but Sahm did the rock/country fusion first and was, in my opinion, a superior singer, musician and band leader. (To be fair, Gram Parson compensated with his charisma and earnestness that made it all work beautifully). In this clip of “Nuevo Laredo,” the emergence of Sahm's Tex-Mex sound is clearly demonstrated:

In 1990, Doug Sahm reconnected with old friends to form the Texas Tornados, a Tejano band described as a "Tex-Mex Supergroup." (Okay, I'll admit to being a closet Freddy Fender fan). They put out a few albums, won a Grammy (for "Best Mexican/American Performance"), and performed at Clinton's first inauguration. Here they are on Austin City Limits doing, "Hey Baby Que Paso?" It's not a great showcase of Doug Sahm's singing since Augie Meyer is singing the lead (that's Doug on the organ), but will have to do.

Here’s Sahm with a reincarnated Sir Douglas Quintet, playing a Kinks song that I find incredibly infectious. Trivia: That's Doug's son Shawn with the guitar and the sleeveless cowboy shirt.

When Doug Sahm died in 1999 at the age of 58, the Austin Chronicle printed an edition packed with articles and stories from admirers, friends and fellow musicians. Last April, the Austin's City Council approved the naming the highest point of the new park near Lady Bird Lake "Doug Sahm Hill."

I’ll close with a non-music clip--a brief cameo appearance Sahm made in the Kris Kristofferson flick “Cisco Pike” (1972). Another bit of trivia: That video was uploaded to YouTube by Doug’s son, Shandon Sahm, who was a member of the Meat Puppets.

John Martyn ... and others

2008-10-12T12:58:00.000-07:00

New York Times pop music critic Jon Pareles recently reviewed a performance at Joe's Pub (NYC) by Scottish singer-songwriter, John Martyn (accompanied by the incomparable bassist, Danny Thompson). The review sent me in search of John Martyn videos which, in turn, sent me on Mister Toad's Wild Ride of YouTube Tangents. In the span of about 45 minutes I'd covered the waterfront: Skip James, UB40, Steve Earle, Nick Drake, José González, Joy Division, Richard Thompson, White Stripes, Son House, Howlin' Wolf, David Johansen, The New York Dolls, Iron & Wine, Leon Russell... I'm sure I could draw a schematic showing the connections and paths--my thematic searchs went from "blues" to "countertenors" to "performers with beards."

But let's get back to John Martyn who was one of the pioneers of English/Celtic folk-rock from the 60s and 70s. As a teenager, I loved all that stuff: Pentangle, Fairport Convention, Incredible String Band, Bert Jansch... Here's how Pareles describes him:

Mr. Martyn’s style, which has lately been revived by the college-radio favorite José González, mingles the modes of traditional Celtic songs, jazz chords, rural-blues fingerpicking, the otherworldly singing of Billie Holliday and the bluesman Skip James, a fondness for electronics like the Echoplex and, from the 1970s on, a touch of reggae. In his music, steady, precise, tightly wound yet eccentric guitar vamps — with chords and single notes ricocheting from off-beats — support waywardly improvisational vocals that are crooned with honeyed introspection or burred with a rasp.

I’d forgotten about Martyn until last year, when I was searching YouTube for covers of “Johnny Too Bad,” a reggae hit by The Slickers. I don't particularly like Martyn's cover of the tune, so will post it down below, along with a version by Steve Earle. But I did find this song, "He Got All the Whiskey," which I dug from the moment he counted it in with some well-paced grunts.

I presumed it was a traditional tune, but I've seen that title credited to Cajun songwriter Bobby Charles (who wrote "Walkin' to New Orleans" for Fats Domino), and I found it listed as a track on a Bo Diddley album, though I haven't yet found another recording. This clip was recorded as part of the "Transatlantic Sessions," a project that threw U.K. and American artists together in the studio and had them sing songs from both sides of the ocean. There are many great clips from the series to be found on YouTube. This video has Jerry Douglas on Dobro (actually a Weisenborn slide guitar), along with Danny Thompson playing stunningly beautiful upright bass. (Danny regularly accompanies the great Richard Thompson, no relation). The woman singer (and hippy dancer) is Eddi Reader, another Scottish singer-songwriter.

Here's a clip of a younger John Martyn with a solo version of the Skip James tune,"Devil Got My Woman" (sometimes called "I'd Rather be the Devil"). This video is from a great BBC music show "The Old Grey Whistle Test," and it's a fine illustration of Martyn's use of early looping technology (the Echoplex), as well as his "otherworldly" voice. I'm guessing he was one of the earliest artists using electronics this way. In a future post, I may track down more contemporary uses of looping.

Now here's Skip James doing the original version of "Devil Got My Woman." James' distinctive falsetto set me off in search of other male artists singing in that high register--a style that seems to have become prevalent in contemporary in indie rock and singer-songwriter genres. Last night, OPB radio played an in-studio performance by Minnesotan Jeff Hanson, who sounds like a countertenor out of a baroque choir, taking his voice not only to an absurdly high pitch but with a distinctly feminine timbre. Again, a topic for a future post. Let's hear from Skip James.

Pareles notes John Martyn's influence on contemporary singer-songwriter, José González, which I think is a fair comparison:

González is an Argentinian who grew up in Sweden and sounds like he's singing in folk clubs in the British Isles in the 1960's. I hear Bert Jansch more than John Martyn, but they're both Scotsmen. Okay, here's Bert Jansch, playing "Blackwaterside" which inspired Jimmy Page's "Black Mountain Side," for which every reasonable person agrees he should have received credit. I must have listened to the album this was on a thousand times in my younger days.

Jose González does a version of "Love Will Tear us Apart," which is how I got to Joy Division in my ramblings. We'll save that for another day. I also want to post more Skip James, including his tune "I'm So Glad" which I remember fondly in Cream version sung by Jack Bruce. That tangent also took me to Son House, which took me to David Johansen (ex-New York Dolls) who is a killer bluesman at heart, which took be to Howlin' Wolf ...

I was going to close this post by embedding John Martyn's cover of "Johnny Too Bad," but there's something not quite right about it to my ears -- it's overproduced, has lost the reggae beat and Martyn's singing is too mannered. I like John Martyn too much to leave you with that. Instead, here's a far superior version by Steve Earle with the V-Roys (from 1996):

Everything is Broken ... Oh Mercy

2008-09-29T08:40:00.000-07:00

This is going to be a quick post 'cause I gotta get to work. Turned on the news this morning and the lines from Dylan's song "Everything is Broken" popped into my head. This from his 1989 album "Oh Mercy," which I think is one of his best. Besides the tunes themselves, producer Daniel Lanois found a new fresh sound for Dylan--one that I can still hear in his latest recordings. If you've read Dylan's quirky memoir, it was this album that he was recording when he describes working in New Orleans.

"Everything is Broken" starts of with the kind of great riff I love--a little surfy in this live cut. In my next post, I'll pull up a few more examples of most excellent riffage.

And apropos to the theme of the previous song, here's another from that album, "Political World." I'd rather be posting a live performance, but couldn't find one quickly, so here's the commercial video version.

Nick Cave

2008-09-27T16:54:00.001-07:00

Last week, I was stunned (Is that the right word? Yes!) by a live concert by Nick Cave and the Bad Seeds at the Crystal Ballroom (see my original post at Culture Shock). I'm a bit chagrined to admit that I only found Nick Cave and his various band permutations within the past year or two. But, I quickly became a fan of his amalgam of intelligent songwriting and charismatic showmanship.

This first clip, "Henry Lee," features a duet with PJ Harvey from his 1996 album "Murder Ballads." It's sexy, macabre and funny all at once:

To illustrate how my mind works: I'm now tempted to jump from the foregoing duet to one featuring Nick Cave and the infamous (and toothless) Shane MacGowan covering Louis Armstrong's "What a Wonderful World." Is that the path I really want to take? I'm not sure how to read this one, and am afraid that it obscures what great artists they both are. Are they sincere, or is it all tongue-in-cheek? Okay, let's watch, but promise to come back when it's over.

In some future post, we may take a video tour of Shane MacGowan and the Pogues. For now, let's look at Nick Cave with one of his latest band incarnations, Grinderman. This is a clip of "Honey Bee" from an appearance on David Letterman. Although this tune wasn't on the Portland set list, it captures the crazy energy and showmanship of that live show. The Rasputin-like character is co-conspirator, Warren Ellis, who is a hoot to watch in concert as he bangs away on violins, beat boxes and that mandocaster (electric mandolin) he wields in this piece.

There's so much more, but I promised to limit each post to no more than three clips, and I wasted one on the Shane MacGowan duet! A fellow I once worked for had a saying, "You should never substitute rules for judgment." So, I judge that you ought to see my favorite Cave tune, "Red Right Hand" from 1994. He played this one live last week and it was quite different. Besides the creepy, sinister lyrics, I completely dig the slinky bass line, the booming bass drum, the chime and the simple organ solo in the middle.

If you're wondering what this is all about, go here to read the Mighty Toy Cannon Manifesto describing my intentions for this site.

Mighty Toy Cannon Manifesto

2008-09-14T17:45:00.000-07:00

When I was invited to add my observations on art and life in Portland Oregon at Culture Shock, I started paying closer attention to the bazillion other bloggers creating this age of information overload. I've read posts from erudite analysts, witty banterers, and egomanical diarists. While many are creating new content, most are recycling flotsam discovered on their own expeditionary journeys. That's okay by me. With so much information floating about, it helps to have curators sorting and sharing. (A few of my favorites are linked on my blog list to the right).

With that in mind, this blog will be akin to your friend with the big record collection. You know, the one who can stay up all night spinning tunes, with each song triggering a recollection of another in an attention-deficit-disorder frenzy of free association.

What I post won't be from my own collection, but what I find on YouTube or similar video warehouses. Like most, I thought YouTube was all skateboarding dogs, things being blown up, and adolescent ravings. I quickly discovered that it is also a rich source of music, both new and vintage. As a musician and glutton for music, YouTube has served me as an able research tool. I'm often surprised at what I discover. And, I'm the kind of sharing person who is wont to say, "Hey, look at this cool thing I just found!"

I'm not a music writer, nor do my insights into music go very deep. Don't expect Greil Marcus here. This will be a tour of my eclectic musical tastes and influences. I'll try to make each post fit within a thematic framework, and include just a few comments to explain what I've posted and why. I'll try to limit the number of videos I embed in each post to no more than three. And I'll try to add a few new posts every week.

Perhaps nobody will ever drop in to visit, or stay very long when they do. Some of my links may go dead if a video is removed from the original source. I encourage you to comment, but won't expect that you will. If this site is only my private repository of free associations and discoveries, so be it.

Why the sobriquet "Mighty Toy Cannon?" I explained the name's origins in my first post at Culture Shock.