tag:vernnicholson.com,2005:/blogs/vern-s-verbal-vibe?p=3
vern's verbal vibe
2023-06-11T00:10:00-04:00
Vern Nicholson
false
tag:vernnicholson.com,2005:Post/7224588
2023-06-11T00:10:00-04:00
2023-10-16T10:51:34-04:00
Introducing ... Stupid Good Lookings
<p> </p><p><img src="//d10j3mvrs1suex.cloudfront.net/s:bzglfiles/u/259212/da977177685261f112e08cfae91f8198d70b96a9/original/sgl-debut-jun-17-2023.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_l justify_center border_" /></p><p> </p><p>So, I find myself in a new band, with some old friends (and relations), and our first show is coming up in a week's time. You've seen a few of us before, in Sour Landslide and The Benvereens, and now we've added the exquisite Duncan MacKinnon on pedal steel for a cool twist to our sound. This is now the third band I've been in with my brother and sister-in-law, and each time, the name had been picked before I came on board. But this time, I really do like the name, and so do most people we've shared it with. It's from a <i>Flintstones</i> episode.</p><p>The pedal steel adds a lovely dimension, and although a few songs have a country lilt, this is not an alt-country band. It's too early to say what it is, really; we've had three rehearsals to this point, with a fourth coming up next week, then the show. We're opening for Lazarettes at the Emmet Ray on <a class="no-pjax" href="/shows" target="_blank" data-link-type="page">June 17</a>, and here's the funny thing: Vince, Dee and Duncan (but not me) are in Lazarettes. So, three-quarters of us are opening for ourselves. It's all rather confusing and inbred, but it should add up to a fun evening of fine music. If you're in the Toronto area, come and join us for our debut.</p><p>Ladies and gentleman, introducing Stupid Good Lookings!</p>
Vern Nicholson
tag:vernnicholson.com,2005:Post/7111708
2022-11-28T00:28:00-05:00
2022-11-28T13:11:19-05:00
My Team, My Champions
<blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px;"><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px;"><p> </p></blockquote></blockquote>
<div class="separator" style="clear: both; text-align: center;"><a href="https://d3ham790trbkqy.cloudfront.net/wp-content/uploads/2019/05/Grey_Cup_2019-1600x902.jpg" style="margin-left: 1em; margin-right: 1em;"><img src="https://d3ham790trbkqy.cloudfront.net/wp-content/uploads/2019/05/Grey_Cup_2019-1600x902.jpg" class="size_orig justify_inline border_" height="230" width="327" /></a></div>
<p><br>Rather improbably, my Toronto Argonauts are the 2022 Grey Cup champions, squeaking out a 24-23 win over the two-time defending champs, the Winnipeg Blue Bombers. For some reason, Grey Cup games are often nail-biters with dramatic and at times jaw-dropping twists and turns, and this was no exception. I expect it'll go down as one of the all-time classics. I thought the Argos could keep it close, but I didn’t think they’d win. Winnipeg, with their CFL-best 15-3 record, were the clear favourites.</p>
<p>Oddly, in a nine-team league, this was the first Grey Cup matchup between Winnipeg and Toronto in 72 years. Their last meeting was a 13-0 Argonaut win in the infamous <a href="https://en.wikipedia.org/wiki/38th_Grey_Cup" target="_blank">Mud Bowl</a>. The 2022 edition was a seesaw affair for three quarters, but when the Bombers opened the fourth with a 102-yard punt-return touchdown to go up 23-14, I thought it was pretty much curtains for Toronto. But kicker Marc Liegghio missed the extra point, which would’ve made it 24-14, and as fate would have it, that one point was the Argos’ margin of victory. (More irony: Toronto lost 23-22 to Winnipeg early in the season on—you guessed it—a missed convert.)</p>
<p class="MsoNormal">So much happened in the game's last few minutes that it's still hard to digest. Starting QB McLeod Bethel-Thompson injured his thumb and couldn't continue. Rookie Chad Kelly replaced him and went 4-for-6, scampered for 20 yards on a critical 2nd-and-15, and ultimately engineered the winning drive. Linebacker Henoc Muamba snagged a key interception late, setting up what should have been the field goal that sealed the deal. Instead, Boris Bede's attempt was blocked by Winnipeg's Nick Hallett, and all the Bombers had to do was gain enough field position to kick the game-winning field goal themselves.</p>
<p class="MsoNormal">On that series, Argo defensive lineman Robbie Smith went from hero to goat to hero in a matter of seconds. He sacked Bomber QB Zach Collaros on second down and appeared to sack him again on third down. But his hand caught Collaros' face mask, and the ensuing penalty gave Winnipeg a fresh set of downs. With under a minute to go and the ball on the Toronto 40, Liegghio was set to kick the 47-yard field goal that would clinch the Blue Bomber victory, but someone's fingertips found the ball on its upward trajectory. That someone was Robbie Smith. Brandon Banks fell on the bouncing pigskin at the Argonaut 13, and with 45 seconds left, the Double Blue were able to run out the clock and escape with the win. How ridiculous, how completely implausible are the two blocked field goals in the last two minutes? Prior to that, there had only been two blocked field goals in the entire 2022 season.</p>
<p>Though the Argonauts weren't favoured to win this game, they had some serious mojo on their side. First, Winnipeg has never beaten Toronto in a Grey Cup, the history between the teams going back to the 1930s. Second, when the Argos get to the Grey Cup, even when they're underdogs, they win. That’s now seven straight: 1991, 1996, 1997, 2004, 2012, 2017 and 2022. And Winnipeg is now 0-7 all-time in Grey Cups versus Toronto.</p>
<p class="MsoNormal"><span style="font-family: inherit;">On a personal level, this Argonaut team has helped me get through what's been a tough year. Their victories have been mine. Each big win, be it the two against Hamilton, the first-place clincher in Montreal, the East Final and of course the Grey Cup, cheered me up immensely and in some cases lifted me out of weeks-long depressions. On one level, sure, football is just a game. But through it, my team, my champions, brought joy to people like me for whom joy has been so elusive.</span></p>
Vern Nicholson
tag:vernnicholson.com,2005:Post/7048220
2022-08-29T00:12:00-04:00
2022-08-29T00:34:46-04:00
Real Chords #9: George Harrison, "Dark Horse"
<p>I've always loved this underrated gem in George's catalogue, and today, guitar in hand, I finally figured it out. Ironically, because of the tempo, cramped hand position and ongoing issues with my ring finger, I can't play it fluently; but hopefully, using the chord sequence listed below, you can.</p>
<p>To start, this is yet another song where you really must use a capo to make it work. There's a riff on the "A7" chord which is otherwise unplayable in this key. So, without further ado, here are the real chords to George Harrison's "Dark Horse":</p>
<p>Capo 7</p>
<ul style="text-align: left;"> <li>Intro riff: (A7sus2 A7 A7sus2 A7 E7 E7addD E7) x2</li> <li>Verse: A7 E7 A7 E7 B E7 B E7</li> <li>Chorus: (Bb F C C G D) x3 Bb F C</li>
</ul>
<div>E7 is, low to high, 020100, and the "addD" is just what it says: 020130. It's still an E7 chord, but you're adding the high D for some colour. A7sus2 is simply an A7 with an open B string instead of the usual C#, so it's x02000. It's really a leading chord up to the A7, creating that sweet opening riff.</div>
<div> </div>
<div>There are a couple of other little licks in the tune as well. At the end of the chorus, after you've strummed on the C for a bar, alternate the high open E with a G, fretted with your pinky finger. And the last time the intro riff is played, you'll notice a lovely ascending E-F#-G# on the top string. The E of course is open, and you can fret the F# with your ring finger and the G# with your pinky. All assuming you can play fluently, which I unfortunately can't. But that's what I would do if I were able.</div>
Vern Nicholson
tag:vernnicholson.com,2005:Post/6990773
2022-06-10T00:03:00-04:00
2022-08-29T00:32:37-04:00
Real Chords #7 and 8: Bob Dylan, "Jokerman" and "Changing of the Guards"
<p>It's been a while since I've done a real chords post, so I'm due. And given the lengthy delay, I'm offering up a double dose with two of my favourite Bob Dylan songs, "Jokerman" and "Changing of the Guards."</p>
<p>I'll start with "Changing of the Guards," as it's quite easy once you figure out that a capo is in order. The song is in G#, not exactly a friendly key for the guitar. Simply slap your capo on the first fret and bingo: you're now in G, and the easy-strum chords fall neatly into place. Here, then, are the real chords for "Changing of the Guards":</p>
<p>Capo 1</p>
<div style="text-align: left;">
<ul style="text-align: left;"> <li>Vocal part (verses): G Em G D Em C D Em G D Em C D G</li> <li>Instrumental chorus: (G D C) x3, D G</li>
</ul>
<div>I should note that my preferred fingering for G is really a G5: from low to high, 3x0033. I find that for the type of music I play, folk-rock, this chord rings out more nicely than a standard G, which would be 320033.</div>
<div> </div>
</div>
<div style="text-align: left;">As for "Jokerman," this tune is in Bb<span face="Calibri, sans-serif" style="font-size: 11pt;">—</span>again, not a guitar-friendly key. Capoing at the third fret will put you in G and make the song much more playable. Here are your real chords for "Jokerman," one of Dylan's best '80s cuts:</div>
<div style="text-align: left;"> </div>
<div style="text-align: left;">Capo 3</div>
<div style="text-align: left;">
<ul style="text-align: left;"> <li>Verse: G Gmaj7* Am7 D G</li> <li>Pre-chorus: Am7 D G Gsus4 Am7 D G C</li> <li>Chorus: D C G G/F#** Em7*** C Bm7 C D G</li>
</ul>
<div>Notes on suggested fingerings: * = 3x0032, so it's a Gmaj7 with the third (B) missing. ** = 2x0033. This is really a quick, passing chord on your way from the G to the Em7. *** = 022033. Not the only way to play Em7, but in my opinion this fingering suits the chorus of "Jokerman" best.</div>
<div> </div>
<div>If you're a beginner who might be wondering how to play some of the other chords, a good resource is the <a contents="Chord Calculator" data-link-label="" data-link-type="url" href="https://jguitar.com/chord" target="_blank">Chord Calculator</a> at jguitar.com. Enjoy strumming along with His Bobness!</div>
</div>
Vern Nicholson
tag:vernnicholson.com,2005:Post/6919474
2022-03-10T22:51:00-05:00
2022-03-12T14:25:37-05:00
Unreal Estate
<p>So, I heard a bizarre item on the CBC newscast last night. The owner of a <a href="https://montreal.citynews.ca/2022/02/22/montreal-restaurant-joins-the-metaverse-the-famous-cosmos-goes-3d/" target="_blank">Montreal diner</a> just paid $15,000 to purchase a plot of "land" in a "place" called Decentraland, located in a "world" called the Metaverse. The plan is to "open" a virtual version of his restaurant, Cosmos.</p>
<p>As you might guess from the flurry of quotation marks above, I think the Metaverse, whatever the hell it is, must be the biggest scam going. Of course, it could take off among millennials, leaving denizens of yesterday's world like me in the dust. Maybe. For the record, Grandpa here also believes that "<a href="https://www.merriam-webster.com/dictionary/non-fungible%20token" target="_blank">non-fungible token</a>" is a synonym for "boy, did you just get swindled."</p>
<p>As baffled as I am, I can grasp the sociology behind it, I guess: the real world is such a disaster that starting all over and creating a virtual world is the way to go. Fair enough. But $15,000 for a virtual restaurant in a virtual world? Really?</p>
<p>"It's a great location, right by the university," the guy crowed on my nightly newcast. Right. That would be the University of Nowhere, which grants all manner of virtual degrees that aren't worth the virtual paper they aren't printed on. Great score, dude! Now, the $15,000 was apparently paid "using mana, the currency of Decentraland." Uh-huh. But it's still $15,000 real, Canadian dollars, and to me, for all you're getting you may as well have put that $15K through a shredder and tossed the remnants down the sewer. If he'd paid $15,000 in Monopoly money or something, I could kind of see it. Almost.</p>
<p>More from our friendly restaurateur: "You'd just be able to come in, see our store, see what we have going on there, see the workers that are working in Decentraland Cosmos. The customers that we'll have at the counter there, you're going to be able to talk to them. So you get that whole experience. But if you want the food component, you're going to have to be in a city where we have a ghost kitchen set up."</p>
<p>Leaving aside the absurdity of visiting a restaurant with no intention of wanting "the food component" ... a <i>ghost kitchen</i>? What the what? Our man explains: "Let's say for people in Toronto—and we have a ghost kitchen there—you can come into Decentraland, place your order with the waitresses. It will link to our ghost kitchens and you'll have the food delivered to you in that city." Oh, swell. So, there is (or could be) actual food involved. Neato. Presumably whatever space bubble you'd need affixed to your head so you can visit Decentraland isn't yet able to manifest real burgers.</p>
<p>I heard another news item last week about a Toronto woman who paid about the same amount for a Decentraland law "office," and it makes me wonder: who's the modern-day P.T. Barnum selling all this "land"? He/she is raking in the dough by duping a boatload of zany millennials.</p>
<p>Anyway, a final thought from the proud new owner of Decentraland Cosmos: "You know, time will tell. It's either going to be a great idea or it's going to be like owning a pet rock and I'll look pretty stupid down the line. But it's something you have to do as an entrepreneur."</p>
<p>No, it's not, my poor fellow, and my money is on the pet rock.</p>
Vern Nicholson
tag:vernnicholson.com,2005:Post/6816684
2021-11-20T20:21:00-05:00
2021-11-20T21:07:05-05:00
What Time Is It?
<div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-Fu8vHmhKo5I/YZmhhjurKhI/AAAAAAAAAaA/nBanTw4f_EYUkL-5LccvlaoCtnWPqJN4ACLcBGAsYHQ/s630/rainbow_question_marks_wall_clock.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img src="https://1.bp.blogspot.com/-Fu8vHmhKo5I/YZmhhjurKhI/AAAAAAAAAaA/nBanTw4f_EYUkL-5LccvlaoCtnWPqJN4ACLcBGAsYHQ/w132-h132/rainbow_question_marks_wall_clock.jpg" class="size_orig justify_left border_" height="132" width="132" /></a></div>
<p> </p>
<p> </p>
<p> </p>
<p>Well, in this house at least, it's VST (Vern Standard Time), all year round.</p>
<p>Let me explain. I don't change my clocks, ever, and haven't done so for several years now. I live in the Eastern time zone, so I'm on permanent daylight time (EDT, which is UTC -4 for you time zone geeks out there). The time change I ignore just took place on the first Sunday in November, when everyone around me moved their clocks back an hour. As for the time change in March, I'm already there, happy to have the rest of society rejoin me.</p>
<p>How do I accomplish this? I'm a closed-caption editor who's not paid by the hour, and even though my shifts are fairly consistent time-wise, I have a lot of leeway. It doesn't matter which specific hours I work, as long as I complete whatever is assigned to me that day. How many hours that takes and which hours I work are irrelevant. So, the major obstacle for most people—your employer adjusts their clocks and you've no choice but to fall in line—doesn't apply to me.</p>
<p>Another useful strategy involves tricking my computers. Their clocks automatically go back an hour on the first Sunday in November, so what do I do? Why, I manually move them forward an hour and change the time zone to AST (Atlantic Standard Time) until March. It's like moving to Halifax for the winter. My computer doesn't know the difference and recognizes both the time and time zone I've chosen as entirely valid.</p>
<p>With respect to appointments and day-to-day affairs, I've trained myself to add an hour. As an aid, I put the time in quotes when I enter it into my daybook (yes, I still use pen and paper, which I'm sure makes the process easier). So, if I see an appointment with Dr. Smith listed on Monday at "2:00," I know it's really at 3:00.</p>
<p>Why do I go to all this trouble? Simply put, I'm getting older and have several niggling health problems, sleep disorders included. Changing the time (and by extension, fiddling with your body clock) twice a year causes problems even for young, healthy people. For someone like me, it wreaks havoc. When I was a boy, the time change made a little more sense, as we were on EST for six months and EDT for the remaining six. But in recent years, the ratio has become approximately 35/65 EST to EDT, leaving some of us wondering why we should bother with EST at all.</p>
<p>And here in Ontario, at least, I'm not alone. In 2020, Ottawa West-Nepean MPP Jeremy Roberts tabled a private member's bill called <i>The Time Amendment Act</i>, and it passed with unanimous support. Once in force, it will do exactly what I'm doing: life will be lived in permanent VST. Er, I mean permanent EDT. The catch lies in that "once in force" bit, as the bill is contingent on both Québec and New York following suit. Understandable, of course, as Ontario alone adopting VST would cause economic chaos for us and our nearest neighbours. But momentum is shifting: in Québec, Premier François Legault has expressed openness to the idea, and numerous <a href="https://montrealgazette.com/opinion/columnists/josh-freed-the-tide-is-turning-toward-permanent-daylight-saving-time" target="_blank">pundits</a> advocate for a switch to permanent daylight time.</p>
<p>Now, some <a href="https://www.cbc.ca/news/canada/thunder-bay/ontario-daylight-saving-time-mistake-experts-1.5762772" target="_blank">chronobiology experts</a> insist that switching to permanent <i>standard</i> time is "the wiser and healthier choice." As a night owl, I disagree. I don't care how dark it is at 8:00 a.m. in the winter because I'm asleep then. I value my light in the evening, and in my cozy VST bubble it never gets dark earlier than 5:30 p.m. Regardless, it matters not whether we switch to permanent EST or permanent EDT; the bigger issue I think we all can agree on is that it's high time, if you'll pardon the pun, for a switch to permanent <i>something.</i></p>
<p>I hope to one day retire VST because it'll just be called EDT, every day of the year, by the good people of Ontario, Québec and New York.</p>
Vern Nicholson
tag:vernnicholson.com,2005:Post/6759316
2021-09-27T21:24:00-04:00
2021-09-28T00:19:29-04:00
The New and the Old, Times Two
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<div class="separator" style="clear: both; text-align: center;"><a href="https://vernnicholson.com/store" style="margin-left: 1em; margin-right: 1em;" target="_blank"><img src="https://1.bp.blogspot.com/-o281xABk2Y4/YVJmMaDOW7I/AAAAAAAAAVw/fTO2t7-80W09_WFCUD0LX0cbMhT3Dbz1QCLcBGAsYHQ/s320/FPAO%2BFront%2BCover.jpg" class="size_orig justify_inline border_" height="320" width="320" /></a></div>
<p>I've announced this elsewhere, so here's the news for you faithful blog readers: my new covers EP, <b><i>Favourites, Popular and Otherwise,</i></b> has now been released in mp3 format. Nine songs in all, guaranteed to warm your heart and soothe your soul, recorded right here at The Grinning Zone from December 2019 to July 2021. And the best news? <b>It's free to stream and download.</b> Be sure to check out the cover art and booklet, too. Just click on the cover above to access the whole package. And here's the old within the new: some of these songs go back a long way. In fact, the earliest dates from 1957! And for you oldies fans, no track is more recent than 1988. Fans of (mostly obscure) classic folk and rock will find plenty to dig into here.</p>
<p>I'm also pleased to announce three new shows from my old band, <a contents="Sour Landslide" data-link-label="visuals" data-link-type="page" href="/visuals" target="_blank"><b>Sour Landslide</b></a>. We've been asked to open for our friends <b><a href="https://lowestofthelow.com/december-concerts-at-lees-palace-and-the-legendary-horseshoe-tavern/" target="_blank">Lowest of the Low</a></b> at their three Lee's Palace shows on December 14, 15 and 16. A reunion? Why, yes, even though the three of us were together in a later band, The Benvereens. But Sour Landslide as such will be playing its first shows since June of 1998. That's a lengthy spell away, is it not?</p>
<p>Back in the day, we described our music as "speedy pop mayhem." At our advanced ages I'm not so sure about the speedy or the mayhem, but I can guarantee the pop. Rehearsals are just beginning, as we narrow down the list of songs and figure out whether we can still play that fast (and indeed, if we want to). As befits punks in their 20s, some of the tempos suggest we were playing as if our hair was on fire. A couple of tunes are so fast they make Husker Du's <em>Land Speed Record</em> sound like Perry Como.</p>
<p>For a band that stayed resolutely obscure despite our best efforts, we were quite a productive lot, releasing four LPs and one EP in a nine-year span. Our repertoire consists of songs that maybe four people in the December audiences will know, and songs off the early albums that absolutely no one will know. Including, in some instances, us. As I've been getting reacquainted with the material, I found several songs where I have recorded proof that I played and sang those parts all those years ago, but zero memory of the song. It was like I was hearing them for the first time.</p>
<p>Anyway, to celebrate the occasion—and because I needed it or something like it to play bass live, which I've not done in years—I purchased a new pedal: the <b><a href="https://zoomcorp.com/en/us/multi-effects/multistomp-pedals/ms-60b/" target="_blank">Zoom MS-60B</a></b>, a multi-effects stomp-box for bass. It comes with 142 effects and its own learning curve, but I'm getting the hang of it. Last night I created several custom presets specifically for the Sour Landslide shows, and I think they'll work well. I'm miffed that the graphic EQ is missing what I consider critical frequencies for a gritty bass sound, between 800 Hz and 4.5 K. Oh, well; I'll sculpt my tone using the controls on the amp and my bass. Minor complaints aside, it's a rip-roaring little unit filled with high-quality effects. Great value for the price, too: the MS-60B sells for $160 Cdn., $175 if you throw in the AC adapter. And it's coming soon to a Palace near you.</p>
Vern Nicholson
tag:vernnicholson.com,2005:Post/6738254
2021-09-06T23:04:00-04:00
2021-09-07T00:20:19-04:00
Blue Jay Beginnings: the Jerry Garvin Jersey
<p>As the 2021 Toronto Blue Jays continue their quest for a playoff spot, I've been revisiting my roots with my hometown team. I've been a fan from the very beginning, and attended that first game in the snow on April 7, 1977. I was in Grade 10 at the time, and my friend Dan and I both got notes from our mothers allowing us to miss an afternoon of school.</p>
<p>I sat in Section 5, Row 5, Seat 27, and the ticket price was $3. To give you an idea of how lousy our seats were, I present the Exhibition Stadium seating chart:</p>
<div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-LT81phw2CqI/YTbDXwfiMPI/AAAAAAAAAU8/m8VvYUWRmAYAJPRSaJzgU9LnX_qnihUMACLcBGAsYHQ/s590/Exhibition%2BStadium%2B-%2BBlue%2BJays%2BSeating%2BChart.jpg" style="margin-left: 1em; margin-right: 1em;"><img src="https://1.bp.blogspot.com/-LT81phw2CqI/YTbDXwfiMPI/AAAAAAAAAU8/m8VvYUWRmAYAJPRSaJzgU9LnX_qnihUMACLcBGAsYHQ/s320/Exhibition%2BStadium%2B-%2BBlue%2BJays%2BSeating%2BChart.jpg" class="size_orig justify_inline border_" height="264" width="320" /></a></div>
<p>This chart must be from the early '80s sometime, as you can see the price has gone up. Regardless, these are wretched seats. We're just behind the right-field fence; not terrible in and of itself, but because of the stadium's oddball configuration, we're facing the left-field bleachers, not the diamond. And yes, those aluminum benches weren't exactly comfortable on a zero-degree day in early April.</p>
<p>As befits an expansion team, the 1977 Blue Jays were abysmal and would stay that way for the rest of the '70s. Our heroes were zeroes, but hey, they were <i>ours</i>. A star-crossed Texan named Doug Ault was the franchise's first poster boy, belting two homers in the Jays' 9-5 win over the Chicago White Sox on Opening Day. (He retired in 1980 with a career .236 average and 17 home runs.) Ault was joined by luminaries like Otto "The Swatto" Velez, Sam Ewing and Jeff Byrd, who went 2-13 in his only season in the majors. That '77 team finished 54-107, 45 1/2 games behind the first-place New York Yankees.</p>
<p>Now, for years, I've wanted a <a href="https://mlbcollectors.com/TORjerseys.php" target="_blank">powder blue</a> (road) jersey from 1977, with the name and number of a favourite also-ran. I settled on lefty pitcher <a href="https://en.wikipedia.org/wiki/Jerry_Garvin" target="_blank">Jerry Garvin</a>, a career Blue Jay (1977-82) who pitched fairly well in 1977, finishing 10-18 with a 4.19 ERA. Garvin won his first four starts in his rookie season and had a terrific pick-off move. I wanted to commemorate someone who wasn't famous—that part was easy; none of them were—but not completely obscure, either. Somebody who had modest success but wasn't a star, and spent his entire career with the Jays. I also wanted an original Blue Jay, selected in the 1976 expansion draft. Garvin fits the bill on all counts.</p>
<p>The best the Jays Shop (the official team store) could do was a home jersey, early '90s vintage, with player name and number. That wouldn't do. Alas, as I did my research I came to realize that the jersey I'm after never existed historically. Player names didn't appear on the jerseys until 1980. I didn't care. One of my zero-heroes was destined to live on in infamy, and Theodore Jared Garvin was my choice.</p>
<p>But where would I find such an obscure jersey? Obviously it'd have to be custom-made. I thought I had a lead with <a href="https://thedream.shop/" target="_blank">The Dream Shop</a>, a one-man operation in Pennsylvania who clearly does meticulous and exquisite work. Unfortunately he needed me to provide a blank jersey of the right vintage in my size, which wasn't feasible. I didn't want to hold out for the slim chance that such a rare bird would pop up on eBay. Even if it did, it would've involved more effort and expense than I was willing to put in.</p>
<p>Enter the fine folks at <a href="https://www.customthrowbackjerseys.com/toronto-blue-jays-1970s-majestic-cooperstown-away-jersey-customized-any-name-number-s/" target="_blank">Custom Throwback Jerseys</a>, who were able to deliver a jersey that's very close to the real thing. Here it is (the blurring is an artifact of me not knowing how to use my new phone's camera):</p>
<div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-14XYSrCQPcE/YTbSLdp-6RI/AAAAAAAAAVE/YEG4jU7MazMtAqOmkqSL895AiAvJKyeGwCLcBGAsYHQ/s3264/Jerry%2BGarvin%2BFront.jpg" style="margin-left: 1em; margin-right: 1em;"><img src="https://1.bp.blogspot.com/-14XYSrCQPcE/YTbSLdp-6RI/AAAAAAAAAVE/YEG4jU7MazMtAqOmkqSL895AiAvJKyeGwCLcBGAsYHQ/s320/Jerry%2BGarvin%2BFront.jpg" class="size_orig justify_inline border_" height="240" width="320" /></a></div>
<p> </p>
<div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-Xh8TWXTHeVs/YTbSRJPy46I/AAAAAAAAAVI/-iv25uL24HsB2OCxY1Dn8vBu8Ak_--DdgCLcBGAsYHQ/s3264/Jerry%2BGarvin%2BBack.jpg" style="margin-left: 1em; margin-right: 1em;"><img src="https://1.bp.blogspot.com/-Xh8TWXTHeVs/YTbSRJPy46I/AAAAAAAAAVI/-iv25uL24HsB2OCxY1Dn8vBu8Ak_--DdgCLcBGAsYHQ/s320/Jerry%2BGarvin%2BBack.jpg" class="size_orig justify_inline border_" height="240" width="320" /></a></div>
<p>I think you'll agree it's a great-looking uniform. The material is high-quality fabric (100% polyester, double-knit, says the website) and all the details are sewn on, not printed. Even though CTJ is located in Canada, they charge in US dollars, and if you're in Canada HST is charged, also in US dollars. Bit of a bummer, that, but for just over $250 Cdn., I own a very special relic from a bygone era of Blue Jays baseball. I'll wear it to a game for the first time next week, and the first Blue Jay nerd who spots it and knows who Jerry Garvin is gets a free bag of popcorn on me.</p>
Vern Nicholson
tag:vernnicholson.com,2005:Post/6725193
2021-08-23T22:10:00-04:00
2021-08-23T23:27:39-04:00
Gear Spotlight: Rickenbacker 360/12 MG
<p>On a blustery day in March, I finally did it—I trekked out to Burlington on GO Transit and procured my dream guitar. I present to you the Rickenbacker 360 electric 12-string guitar in a Mapleglo finish:</p>
<div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-Y_7kna4f8ME/YSQ6TInJ0oI/AAAAAAAAAUc/B-Uf_AfVyNslL68nohXOaZXyAvi6glqDACLcBGAsYHQ/s1500/Rickenbacker%2B360%2B12%2BMG.jpg" style="margin-left: 1em; margin-right: 1em;"><img src="https://1.bp.blogspot.com/-Y_7kna4f8ME/YSQ6TInJ0oI/AAAAAAAAAUc/B-Uf_AfVyNslL68nohXOaZXyAvi6glqDACLcBGAsYHQ/s320/Rickenbacker%2B360%2B12%2BMG.jpg" class="size_orig justify_inline border_" height="201" width="320" /></a></div>
<p>Rickenbacker makes its guitars to order, one at a time, at their factory in Santa Ana, California. If you're in Canada and you order through Rickenbacker's Canadian dealer, Long & McQuade, it takes up to a year for the instrument to arrive, and you can't try before you buy. The guitar comes in three colours: Jetglo (basic black), Fireglo (a sunburst red), and Mapleglo (the gorgeous woody beige you see here).</p>
<p>Sometimes, I suppose, people order a Rickenbacker and, for whatever reason, bail when it comes to making the purchase. These rare birds end up hanging on the racks at various Long & McQuade locations throughout Canada till someone snaps them up. For months, I'd been checking stock as I madly saved every dollar I could. I had my eye on the Mapleglo all along, as it's the variety played by two of my folk-rock heroes: Paul Kantner and Roger McGuinn.</p>
<p>By the time March rolled around, I'd saved up enough to justify financing the rest, and L&M had two 360/12s in stock in the whole country: a used Jetglo at their North York location and a brand-new Mapleglo in Burlington, a bedroom community about 60 kilometres from Toronto. I called Burlington long-distance to place a hold on the MG and hustled over there the same day.</p>
<p>Now, I'd also been looking at this (cheaper) <a href="https://www.long-mcquade.com/71790/Guitars/Electric-Guitars/Gretsch-Guitars/G5422G-12-Electromatic-Hollow-Body--Rosewood-Fingerboard---Walnut-Stain.htm" target="_blank">Gretsch 12-string</a>, which the Burlington store happened to have in stock as well. My heart was set on the Rick, of course, but I'd heard that its narrow neck could cause problems for those with big hands; in other words, the Gretsch might be easier for someone like me to play. So, it was fortuitous that I could try both out during the same trip, then decide.</p>
<p>I tried the Gretsch first. It was okay, though it felt a little clunky to play and I had to keep re-tuning. It had its own chime, but not <i>that</i> chime—the one you hear on those '60s classics that were all played on, you guessed it, Rickenbacker 360/12s. The bass pickup sounded a touch muddy as well, but all told, the G5422G-12 is certainly a decent guitar. If I were on a budget, I'd have considered it. However: then I plugged in the Rickenbacker, played the opening lick to The Byrds' version of "Mr. Tambourine Man" and promptly acquired a first-class ticket to jingle-jangle nirvana. Wow! The Rickenbacker felt great to play and was a lot easier to tune than the Gretsch, but most importantly, it had <i>that </i>chime.</p>
<p>I'm not a technical guitar person, so I can tell you very little about the 360/12's specs or even what kind of wood it's made of. Okay, I looked it up: maple body, maple neck, rosewood fingerboard. Perhaps all that means something to you. It has two pickups and a three-way toggle switch for bass, treble, or a combination of the two in the middle position. Each pickup has its own dedicated volume and tone controls. Then there's the mysterious fifth knob, which really isn't so mysterious once you experiment with it. It's a blend knob, used when your toggle switch is in the middle, that adjusts the ratio of treble pickup and bass pickup in the signal.</p>
<p>Rickenbacker's guitars come in two varieties: 330 and 360. Cosmetic differences aside—and there are a few—what differentiates the deluxe (360) from the standard (330) model is the addition of a separate stereo pickup. This allows you to route the signal through separate effects chains or amplifiers. Rickenbacker calls this Rick-O-Sound, and I have successfully used it on a recording. I had the toggle switch in the middle position and routed the treble pickup through my Vox amp on the AC-30 setting. The bass pickup went through the "Black Panel + Trem" preset on my Pocket Pod, and voila: one guitar, one take, two different sounds. Fabulous!<br><br>To me, the 360/12 is the crown jewel of guitars. I've wanted one for years, and as I've gotten to know it over the spring and summer, I'm loving it even more. I don't know how Rickenbacker does it, but there's something about the way they build their guitars that gives them ... <i>that</i> chime. One thing I know they do differently with their 12-string guitars is reverse the usual course of the strings, with the lower octave of each pair on top. Also, their clever design makes the headstock a lot more compact than that of other 12-strings, the Gretsch included. And yes, the neck is thinner and my stubby fingers occasionally block strings I don't intend to block, but I've not found it to be such a problem as to render the guitar unplayable. I need to be mindful of it, that's all.</p>
<p>Amazingly, the guitar has that same magical chime and ring even when I play it unplugged. I've been copping some of Paul Kantner's licks from Jefferson Airplane's Woodstock set, and when I play the opening bars of "Eskimo Blue Day," my guitar sounds exactly like Paul's. And in true Kantnerian tradition, the Rickenbacker 360/12 MG will be my go-to rhythm guitar on most of my recordings from this point on. As Roger McGuinn will attest, though, it's not merely a rhythm instrument; in the Byrds, McGuinn used it as more of a lead guitar, with David Crosby holding down the rhythm on a Gretsch six-string.</p>
<p>I suppose I'll finish up by talking price. Rickenbackers in general don't come cheap, and the 360/12 is the most expensive of all, coming in at a cool $3,225 Cdn. before taxes. By comparison, the Gretsch G5422G-12 retails for $1,280. To my mind, the Rickenbacker blows its competitors away in build quality and sound, and there truly is no substitute. If you want to check it out, here's its <a href="https://www.long-mcquade.com/20547/Guitars/Electric_Guitars/Rickenbacker/360_Series_Semi-Acoustic_12_String_Guitar_-_Mapleglo.htm" target="_blank">Long & McQuade</a> page ... but know that at the moment, there are no Rickenbacker 360/12s in stock anywhere in Canada. And here it is on <a href="http://www.rickenbacker.com/model.asp?model=360/12" target="_blank">Rickenbacker's website</a>, sans pricing info for the United States or the rest of the world. I guess you'd have to find a <a href="http://www.rickenbacker.com/distributors.asp" target="_blank">dealer</a> in your country, then go from there.</p>
<p style="text-align: left;"><i>"In the jingle-jangle morning, I'll come following you" </i>- Bob Dylan, "Mr. Tambourine Man"</p>
Vern Nicholson
tag:vernnicholson.com,2005:Post/6629912
2021-05-13T22:03:00-04:00
2021-05-14T00:29:24-04:00
Virtual Ballpark Experience
<p>As COVID restrictions, which I'm in full support of, continue in Ontario, one thing that I really miss is going to baseball games. To compensate, I've devised what I call the virtual ballpark experience. Here's what you need:</p>
<ul style="text-align: left;"> <li>an interest in baseball (obviously)</li> <li>subscription to <a href="https://www.mlb.com/live-stream-games/subscribe" target="_blank">MLB TV</a> or <a href="https://www.mlb.com/live-stream-games/subscribe/mlb-audio" target="_blank">MLB Audio</a> (the latter is dirt cheap: US $19.99 for one year)</li> <li>a device with which to watch a game</li> <li>ballpark-esque food of your choice</li> <li>(optional) a scorecard. <a href="https://content.lessonplanet.com/resources/thumbnails/323195/original/bwluav9tywdpy2symde0mdcwmi0xmzkxny15b2l5ntguanbn.jpg?1404315245" target="_blank">This</a> is the one I use; you might prefer something more or less elaborate</li> <li>three to four distraction-free hours</li>
</ul>
<p>If you have MLB TV, you can watch any game, live or archived, subject to blackout restrictions. Those of us on the cheaper plan can access home and away radio broadcasts of any game, including postseason, with no blackouts. Now, you'll note that earlier, I used the word "watch." How do you watch a game if you're limited to radio feeds? Simple. Every day in the regular season, the fine folks at MLB offer a free game of the day that radio listeners can access. And if you find the TV commentary too minimalist, which I often do when I'm scoring, you can overlay the radio feed. Of course, it helps if the free game of the day involves at least one team you care about, enough to cheer for or against them.</p>
<p>I've had some fun with the food aspect. I try to limit myself to food I can buy at my local ballpark, Rogers Centre. So, my dinner of choice is two mustard-drenched Yves veggie dogs, Smartfood Movie Night Butter popcorn (expertly mimics the dry stadium variety), a can of Coke and a bowl of Breyers chocolate ice cream. To really make it authentic, the Coke is served in the commemorative plastic cup ("White Sox, 2005 World Series champions") I got at U.S. Cellular Field in Chicago, where I saw Mark Buehrle's no-hitter in 2007. Over the years I've collected a fair number of those batting-helmet souvenir ice cream cups, and to honour my beloved cat (surely a Tiger fan), I serve the ice cream in a Detroit Tigers mini-helmet. I must admit, I do cheat a bit with the veggie dog toppings—grated old cheddar and diced tomatoes, neither of which are available at the ol' ball yard.</p>
<p>Once the food is ready, it's a matter of munching away, watching the game and filling out your scorecard. I can't think of a better way to spend a few hours. You're as "at" the ballpark as you can be, arguably more comfortable than the fans in the actual seats on a frigid April night at Fenway Park (a game I watched from home a few weeks ago). The only bummer is having to prep the food and do the dishes afterwards. Still, you can pause the game to cook, clean up, use the facilities, whatever, and not miss a single pitch. The MLB TV interface helpfully includes an in-progress box score and play summary, which makes scoring a breeze.</p>
<p>And you know, that old adage remains true: go to a baseball game and you never know what you'll see. The Seattle/Boston tilt I watched had the Mariners winning in extras, scoring 7 runs on 3 hits. The Seattle radio crew informed me that it's only the eighth time since 1901 that a team has scored seven or more runs on three or fewer hits (last time it happened was 1994). Also, I recently had the pleasure of scoring Joe Musgrove's historic <a href="https://www.espn.com/mlb/story/_/id/31225903/joe-musgrove-throws-first-no-hitter-san-diego-padres-history-texas-rangers" target="_blank">no-hitter</a>, the Padres' first (they went 52 years, 1 week or 8,205 games without one).</p>
<p>So, take yourself out to the ballgame! No need to leave your living room. You won't catch a foul ball or home run, but you can do the seventh-inning stretch if you'd like—a nice little wrinkle I'll try to remember for next time.</p>
Vern Nicholson
tag:vernnicholson.com,2005:Post/6567031
2021-03-06T17:46:00-05:00
2021-03-06T19:50:25-05:00
Restore Blue Jays Radio
<p>E-mail recently sent to Sportsnet, media conglomerate responsible for broadcasting all things Blue Jays:</p>
<p>---------------------------------------------------------------</p>
<p>Hello,<br><br><b>I'm writing to express my outrage at Sportsnet's decision to axe the Blue Jays radio broadcasts.</b> I've been a Jays fan since 1977, and my primary means of processing information is auditory. As such, I don't even own a TV. I fell in love with the game on the radio—first with Tom Cheek and Early Wynn, then the legendary tandem of Tom and Jerry. Both are sorely missed, but in recent years I've enjoyed the quality work of Ben Wagner and Mike Wilner.<br><br><b>For those of us who aren't visual or are visually impaired, radio isn't a frill or an add-on. We need a dedicated radio broadcast in order to follow the game. </b>Your stated reason for ditching the radio broadcasts (COVID-related travel concerns) simply doesn't pass muster. Ben and Mike did a phenomenal job in 2020 broadcasting off monitors from a Toronto studio. Don't kid yourselves. We, the fans, see this decision for what it is: a short-sighted cost-cutting measure.<br><br><b>Though you may not know or believe it, baseball is made for radio. </b>The slower pace of the sport allows the broadcaster to weave into their commentary stories, stats, and baseball history. A great radio voice paints a picture for the listener, enabling us to effectively "be" at the ballpark through the magic of sound and experience the timeless feel of this grand old game.<br><br>Alas, as the 2021 spring slate begins, I have no way of following my team. The radio booth lies empty for the first time since 1976. Many Jays games have no radio coverage at all, and those that do feature the opposing team's broadcast. Obviously, their focus is not on the Blue Jays, who are just "the other team" on the field. Lest you think this won't affect my fandom, know that <b>I'm seriously considering switching allegiances to one of the other 29 teams. Unlike you, they recognize the value for money that radio provides.</b><br><br>You also need to understand that I'm not a lone voice. I draw your attention to this petition, which has been signed by over 2,100 irate Blue Jay fans: <a href="https://www.change.org/su/p/rogers-media-keep-toronto-blue-jays-radio-broadcasts-alive/f">https://www.change.org/su/p/rogers-media-keep-toronto-blue-jays-radio-broadcasts-alive/f</a><br><br>I urge you to end this travesty and restore to the airwaves a dedicated Blue Jays radio broadcast.<b> Canada's only major-league team deserves better than bush-league media coverage.</b></p>
Vern Nicholson
tag:vernnicholson.com,2005:Post/6555184
2021-02-22T00:43:00-05:00
2021-02-22T13:46:05-05:00
Gear Spotlight: Vox Mini3 G2 Modelling Amp
<p>Peanut butter and jam. Snow and ice. Sand and surf. Certain things just naturally go together, don't they? Here's a more musical example: Vox amplifiers and Rickenbacker guitars, the epitome of mod cool in the '60s, '70s and beyond. While I save up to acquire the second component, a Rickenbacker 360 12-string, I recently acquired its mate. Introducing the <a href="https://voxamps.com/en-xa/product/mini3-g2/" target="_blank">Vox Mini3 G2</a> modelling amp:</p>
<div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-Ia6pm2iP4g4/YDM0frbW_lI/AAAAAAAAARE/mnIxuGM4dPQyM_oyMU6d0-RgjUcrEQ4QACLcBGAsYHQ/s432/md_lg_mini3g2_slant_black.jpg" style="margin-left: 1em; margin-right: 1em;"><img src="https://1.bp.blogspot.com/-Ia6pm2iP4g4/YDM0frbW_lI/AAAAAAAAARE/mnIxuGM4dPQyM_oyMU6d0-RgjUcrEQ4QACLcBGAsYHQ/s320/md_lg_mini3g2_slant_black.jpg" class="size_orig justify_inline border_" width="320" /></a></div>
<p>Coming in at a very reasonable $200, the Vox Mini3 G2 is ostensibly a practice or busking amp, but don't let those three watts of output fool you: it packs quite a punch. At a little over 10 inches wide, it fits snugly into the corner nook of my tiny apartment. Size requirements aside, the main reasons for my purchase were twofold: one, to have an amplifier, period (I've not had one since I've been living in apartments—20 years now); and two, having a genuine Vox to pair with the coming Rickenbacker.</p>
<p>And I'll tell you, for $200, Vox has been more than generous in terms of features. The Mini3 G2 models 11 amplifiers, has two dedicated effects sections and a separate mic input with trim and effects send should you wish to busk or play a small club date. For you buskers out there, yes, it can run on batteries. There's also a simple tuner and a headphone out for late-night practice or, more importantly, a direct in to your recording device.</p>
<p>Let's dive in first to the effects, which are really quite impressive for this price point. The main effects section consists of compressor, chorus, flanger and tremolo, all controlled by an easy-to-use pot that increases either the depth or speed, depending on the effect. You can only use one of the four at a given time, but hey, for $200, I'll take it. (Back in my day, even high-end amplifiers had at most two effects: tremolo and reverb.) The second bank of effects features analog delay, tape echo, spring reverb and room reverb. Again, you can use only one at a time. The pot controls the dry/wet balance this time, but you can adjust the speed of the delays via an adjacent "tap" button that also doubles as a tuner.</p>
<p>The amp models, and what I think they're modelling, are:</p>
<ul style="text-align: left;"> <li>BTQ Clean (Dumble Overdrive Special, clean channel)</li> <li>Black 2x12 (Fender Twin Reverb)</li> <li>Tweed 4x10 (Fender Bassman)</li> <li>AC15 (Vox AC15)</li> <li>AC30TB (Vox AC30, top boost)</li> <li>UK '70s (Marshall JTM45)</li> <li>UK '80s (Marshall JCM800)</li> <li>UK '90s (Marshall JCM900)</li> <li>Cali Metal (Mesa Boogie Dual Rectifier)</li> <li>US HiGain (Soldano SLO-100)</li> <li>Line (tube preamp; i.e., neutral clean sound with no modelling)</li>
</ul>
<p>Gain, tone and volume round out the controls, and what with the choice of amp models and two concurrent effects, this little dynamo produces a wide range of tones. I'm more the jangly, '60s/'70s singer-songwriter type, so the shred-o-rama models (UK '90s, Cali Metal, US HiGain) don't do much for me. Though I've found that even these can produce useful sounds if you turn down the gain.</p>
<p>The many models and effects are a bonus, but I was really after a Vox amp. And who better to model Vox than Vox, right? I put both Vox models through their paces with my Epiphone Les Paul, and they're fantastic: gritty, chimey, the sound of the swinging '60s. By switching between pickups on the guitar and adjusting gain and tone, a broad sonic palette is easily achieved with just the AC15 and AC30TB models. The UK '70s and Black 2x12 are terrific as well. The Tweed is very mid-range-y, perhaps excessively so, but might be useful in some applications.</p>
<p>Rather like buying the licence plate and bumper stickers before you get the car, along with the amp I bought a guitar strap, a stand and an extra set of strings. That way, when I finally pull the trigger on my coveted Rickenbacker 360/12, I can confidently and easily drive it straight off the lot, so to speak. More on that in the coming months ...</p>
Vern Nicholson
tag:vernnicholson.com,2005:Post/6516127
2021-01-07T21:05:00-05:00
2021-01-09T19:31:30-05:00
A Cautionary Tale: President Abbie Hoffman
<p>Imagine, if you will, an alternate reality where counterculture radical <a href="https://en.wikipedia.org/wiki/Abbie_Hoffman" target="_blank">Abbie Hoffman</a> was somehow elected president of the United States in 1972. Ridiculed as a lunatic by his opponents and considered a long shot even by ardent supporters, Hoffman lost the popular vote to incumbent Richard Nixon. But, due to a quirk in America's voting system, he squeaked through a narrow victory in the electoral college and, on January 20, 1973, assumed the presidency.</p>
<p>Predictably, sweeping and radical changes came swiftly to the US government. In March, Secretary of Defense Eldridge Cleaver was tasked with withdrawing all troops from Vietnam, followed by a complete dismantling of the military and all police forces. By July, Secretary of the Treasury Jerry Rubin had closed the New York Stock Exchange and eliminated the dollar as the basis of US currency, stating that money would henceforth be "free, because it's yours."</p>
<p>In 1974's infamous War on Sobriety, drug czars Grace Slick and Jerry Garcia oversaw the legalization of all drugs and the introduction of LSD into the country's water supply. 1975 saw Attorney General Allen Ginsberg grant clemency to all state and federal prisoners, in the process converting the country's empty prisons into ashrams and zendos. Ginsberg's other pet project was a month-long attempt to levitate the Pentagon via chanting.</p>
<p>By mid-1976 the United States was in tatters, and with Republican challenger Gerald Ford rising steadily in the polls, Hoffman published <i>Steal This Election,</i> a manifesto warning of the dire consequences of a Ford victory. In it, he insisted that Ford's candidacy was a CIA- and Mafia-backed plot, and indeed a threat to democracy itself. Ford's ascendancy in the polls, Hoffman argued, was nothing but a sure sign that the November election would be rigged. In the book's final chapter, Hoffman urged his supporters—hippies, yippies, anarchists and "lovers of freedom"—to take direct action should the November results be in Ford's favour.</p>
<p>Ford, of course, won the 1976 election handily, but Hoffman refused to concede. Scores of lawsuits alleging voter fraud were summarily tossed, even by such Hoffman-friendly judicial appointees as Bobby Seale and Bernadine Dohrn. As the president's conspiracy-themed rantings grew increasingly shrill and unhinged, Vice-President Huey Newton tried to talk him down from what had become his fixation: a violent revolution that would enshrine him in his rightful role as president ... for life.</p>
<p>One way or another, things had to come to a head. On January 6, 1977, two weeks before Ford's inauguration, thousands of self-styled "patriot freaks," fuelled by speed, cocaine and an early-morning rally with President Hoffman, stormed the US Capitol. Any remnants of a security force were swamped in minutes, as the rioters smashed windows and doors, desecrating the hallowed halls of Congress. "Start the steal!" they shouted as the melee unfolded. "The people's house belongs to the people!"</p>
<p>America, you have just endured four years of Abbie Hoffman's mirror image.</p>
Vern Nicholson
tag:vernnicholson.com,2005:Post/6472395
2020-11-07T15:52:00-05:00
2021-04-21T13:06:07-04:00
Reaction to the US Election
<p>After several nail-biting days, the US presidential election has finally been called in favour of Joe Biden. And though the current occupant can spew all the lawsuits and fury he wants, his case that the election was "rigged" has no merit. Zero. It's over, he's fired, and all that's left is for the authorities to drag him from the White House in handcuffs come inauguration day. (Yes, I'm convinced it'll come to that.)</p>
<p>CNN asked its viewers/readership how we felt about Biden's victory, and here's what I wrote:</p>
<p>"On this warm autumn day in downtown Toronto, I look out my front window and see that the house across the street has decorated its front railing in red, white and blue bunting. We're celebrating with you in our understated Canadian way. Your closest neighbours (yes, that's a 'u' in there; trust me, it belongs) are relieved and elated to welcome back the America we once knew: a beacon of freedom, decency and truth. We look forward to working alongside you to create a better, more equitable and sustainable future for all. May God bless, protect and guide Joe Biden, Kamala Harris, elected officials of all stripes, and the American people. Warmest congratulations to the new administration."</p>
<p>Listening to Biden's victory speech, I was struck by his conciliatory tone and how much he sounded like ... a traditional president-elect. How refreshing this is after four years of chaos, childish name-calling and "alternative facts." As CNN commentator Van Jones said in reaction to the speech, "Boring is the new thrilling. Predictable is the new exciting. And normal is the new extraordinary."</p>
Vern Nicholson
tag:vernnicholson.com,2005:Post/6432737
2020-09-13T18:09:00-04:00
2020-09-13T18:31:11-04:00
Cycling and Staycations
<p>Like many of you, I've been itching to travel but hesitant to do so, as safe conveyance remains an issue. That's especially true for those of us who rely on public and intercity transport to take us where we're going. Enter the venerable bicycle, which will take a non-athlete like me modest distances and get me some good exercise, too.</p>
<p>I bought a new bike recently, not out of indulgence but necessity. I seem to have reached old age a bit early, because back in May I fell off my old bike while trying to get on it. Lifting my leg that high has always been a challenge, but this was the final blow. Right then I realized I could no longer ride my bike safely and needed a new model with a lower crossbar. Ladies and gentlemen, I give you the Specialized Crossroads 2.0 Step-Through:</p>
<div class="separator" style="clear: both; text-align: center;"><a href="https://www.specialized.com/ca/en/crossroads-2-0---step-through/p/173832?color=274243-173832&searchText=92120-8202" style="margin-left: 1em; margin-right: 1em;" target="_blank"><img src="https://1.bp.blogspot.com/-do35-gQ6-io/X16K7gyCECI/AAAAAAAAAPY/ag6TK8L-4tMhZa-qeEhi2ihc3xJeDCwPQCLcBGAsYHQ/s320/Specialized%2BCrossroads%2B2-0.jpg" class="size_orig justify_inline border_" width="320" /></a></div>
<p>Now, back in the day, we used to call this a women's bike. As a certified male I'm grateful for the modern rebranding of "step-through," because whatever you want to call it, a bike like this is what I needed to keep cycling.</p>
<p>I'm very lucky to have procured mine, and here's why: even though it's a 2020 model, they're already impossible to find. The guy at my bike shop told me I snagged one of the last ones. See, back in the spring when the pandemic made public transport a dicey proposition, everyone took up cycling and mid-range bicycles like this flew off the shelves. From what I was told, it's hard to find any new bike these days for under $1500. In any case, the Specialized Crossroads 2.0 Step-Through has been out of stock on every bike-shop website under the sun since mid-June. There really aren't any left.</p>
<p>I won't bore you with bike-tech details, but here's what sold me on the Crossroads 2.0: (1) the lower crossbar, obviously; (2) 21 speeds, accessed by thumb-operated shifters; (3) mechanical disc brakes; (4) puncture-resistant Armadillo tires; (5) the reasonable price ($749). It's a beauty in appearance, handling and comfort—the perfect bike for recreational and fitness riding.</p>
<p>Now that the days are getting cooler, I'm starting to venture out a bit. Last weekend I had a picnic at Taylor Creek Park, which can be accessed from where I live almost entirely on bike paths. Yesterday's outing took me to The Beaches, again mostly on off-road trails. I'm aiming to bike out to Long Branch next weekend, and this I'm planning as a multi-modal trek, using GO's Lakeshore West train to shorten the ride back. In the coming weeks, weather permitting, I hope to make even more use of the GO train. With careful planning, I can take the train to far-flung places like Barrie and Burlington, tool around there on my bike and ride the rails back.</p>
<p>If you live in the Golden Horseshoe and are interested in active-transportation staycations, check out these helpful pages from <a href="https://www.gotransit.com/en/trip-planning/getting-to-go" target="_blank">GO Transit</a> and the <a href="https://waterfronttrail.org/trip-ideas/trail-to-go/" target="_blank">Great Lakes Waterfront Trail</a>. If you're not a cyclist, not a problem. You can skateboard, roller-blade, hike ... whatever suits your fancy. As for me, I aim to squeeze in as many bike trips as I can before autumn's chill sets in.</p>
Vern Nicholson
tag:vernnicholson.com,2005:Post/6409303
2020-08-14T00:55:00-04:00
2020-08-15T00:48:29-04:00
Woodstock at 51
<p>As you all know, about a year ago I spent a three and half frenetic days recording XPNStock, WXPN's real-time broadcast of the entire 1969 Woodstock Festival in honour of its 50th anniversary. I'd missed out on the <a href="https://en.wikipedia.org/wiki/Woodstock_%E2%80%93_Back_to_the_Garden:_The_Definitive_50th_Anniversary_Archive" target="_blank">38-CD box</a>, and this was my one and only chance to grab its treasures—for free, no less. I then spent the better part of August and September painstakingly evaluating almost 36 hours of recorded audio: editing, trimming, patching and polishing it up until it positively sparkled. Problem was, by the time I was finished I was so burnt out that I couldn't bring myself to actually <i>listen</i> to it.<br><br>That's what 51st anniversaries are for. I'm a bit early, but I did all of Day 1 today: cranked up the old computer speakers and (finally) got to kick back and enjoy the music. I'm still amazed at how good it sounds, and so grateful to have procured the lot for nothing but dedication and diligence. Takeaways: Richie Havens' opening set was, well, groovy. Sweetwater featured a unique sound and some great jamming, but must work on the harmonies, kids. Bonus points for the flat-out weirdest song performed at the festival, "My Crystal Spider." Bert Sommer was a top-rank songwriter, and it's a shame his career never took off. His is <i>the</i> great "lost" performance of the festival. Tim Hardin's performance, though wildly uneven, really had its moments. Ravi Shankar? Less talk, more rock. I loved what was played but grew impatient with the musicology class he threatened to turn his set into. Melanie is not my cup of tea at all, but even she had a couple of gems amongst the caterwauling. Arlo Guthrie's performance was by turns ragged, hilarious and inspired, and Joan Baez capped off the day in fine form.<br><br>WXPN is reprising XPNStock, but they're playing the sets over a full week, in prime time, in what looks to be a bit of a random order. Had I missed anything last time I'd tune in, but I'm pretty sure I got all there was to get. Now it's time to enjoy. Day 2 coming up ...</p>
Vern Nicholson
tag:vernnicholson.com,2005:Post/6378211
2020-07-07T00:32:00-04:00
2020-07-07T01:16:57-04:00
Mixing Like It's 1965
<div>So, I'm recording a cover of "Spanish Harlem Incident" by The Byrds. It's really a cover of a cover, as their version is a rearrangement of a Bob Dylan song. With some covers, I like to give the song a little twist or take it in a new direction. Others are so perfect as they are that my goal is to faithfully reproduce them. For me, "Spanish Harlem Incident" falls into the latter camp.</div>
<div> </div>
<div>Right off the top I was in a bit of trouble, as I don't own a <a href="https://www.long-mcquade.com/20547/Guitars/Electric_Guitars/Rickenbacker/360_Series_Semi-Acoustic_12_String_Guitar_-_Mapleglo.htm">Rickenbacker 360 electric 12-string</a>, which is what Roger McGuinn plays on this track. I put my Takamine acoustic 12 through a Line 6 Pod to create a facsimile, but it's really not the same. (Until I can summon the 3,645 Canadian pesos it takes to purchase my dream guitar, I'll have to live with the electrified acoustic.) Fortunately, I can replicate pretty much everything else. Michael Clarke, especially in his early years, was a very paint-by-numbers sort of drummer and so am I, so programming his parts was easy. For David Crosby's rhythm guitar, I simply had to think 1965. There were no guitar effects yet, and if you wanted a little crunch you just turned your amp up. Crosby, I think, played a Gretsch of some sort; I used an Epiphone Les Paul. I created a custom preset on my Bass Pod to simulate Chris Hillman's tone: very warm and just a bit fuzzy. Chris's bass of choice was a Guild Starfire, and my Epiphone Jack Casady proved to be a perfect substitute.</div>
<div> </div>
<div>So far, so good. But to <i>really</i> make it sound like 1965, I wanted to simulate the stereo panning they used, which by today's standards is nutty. McGuinn's guitar is alone, hard left. His vocal, along with Crosby's and Gene Clark's harmonies, is in the middle. Everything else is panned hard right: that would be the entire drum kit, bass, rhythm guitar and tambourine.</div>
<div> </div>
<div>Why would anyone record (and pan) in this way? Well, consider that four-track machines were barely available in 1965. My guess is that The Byrds and producer Terry Melcher recorded the <i>Mr. Tambourine Man</i> LP on a three-track at Columbia Studios, Hollywood, in early 1965. So, the session for this song may have gone down something like this. For the backing track, McGuinn's guitar was recorded on Track 1 with the rest of the band on Track 2, likely all in the same take. That left only one track, Track 3, for the vocals, which would have been sung simultaneously and mixed on the fly. (And in this case "mixing" probably meant, "David, you're too loud. Can you stand back about six feet? No. Make it four. That's good.")</div>
<div> </div>
<div>Panning in 1965 was also limited. You had your choice of three fixed positions: left, centre and right. Given all these recording and mixing limitations, the wacky panning scheme actually makes sense. You're stuck with all the instruments save McGuinn's guitar on one track not because you want it that way—there was simply no other way to record the whole band at once and give some prominence to the main instrument, the chiming 12-string.</div>
<div> </div>
<div>Back here in 2020, I live in a world of 24 tracks, my recording studio is about half the size of a pillow and I can record a whole album in my bedroom. Recording 1965-style doesn't come naturally. For this song, I laid down each piece of the drum kit separately, later overdubbing the tambourine, bass and rhythm guitar. Nevertheless, I'm sticking the lot on the right side like The Byrds did, in a spirit of homage and as a fun mixing challenge. And let me tell you: when you've got kick drum, snare, hi-hat, three cymbals, floor tom, bass guitar, rhythm guitar and tambourine all in your right ear, it's quite difficult to tell what's too loud, too quiet and just right. Try it and you'll gain an appreciation for how brilliant some of these '60s producers and engineers really were.</div>
Vern Nicholson
tag:vernnicholson.com,2005:Post/6369479
2020-06-28T18:32:00-04:00
2020-06-28T18:57:06-04:00
Finger Issues
<div>So, it's now been three months since I injured my left ring finger in a cycling accident. Getting proper medical attention in the midst of COVID-19 has been a challenge, but to date I've had one in-person doctor's appointment, an x-ray, an ultrasound and several phone appointments with my doctor. Diagnosis is progressing even if treatment isn't.</div>
<div> </div>
<div>I still don't have an exact diagnosis—the ultrasound revealed some swelling and inflammation of the tendon, and that's it—but we know what it isn't: there's no fracture, dislocation or break. The next step is an appointment with a plastic surgeon to discuss whether or not I should have surgery, and it may take a good while to schedule said appointment.</div>
<div> </div>
<div>Medical considerations aside, how is my finger? Well, it's bent and swollen, but it looks worse than it feels. There's no pain, and I can type as if nothing happened. (This is very good indeed, because I type for a living.) I've found no discernible impact on any of my daily activities but one, and it's a big one: playing my stringed instruments. Again, there's no pain. The problem is limited mobility. Certain chords, like F#m and any minor barre chord in that position right up the neck, are impossible to play; others, I can play but it takes several seconds to change to and from them. Sort of a "This finger goes here, and that one goes there, and then this one goes over here" approach. Yes, Gsus4, I'm talking 'bout you.</div>
<div> </div>
<div>Fortunately, I can still record music and am doing so as we speak. I'm not the greatest guitarist to begin with, so I often stitch parts together on different tracks then bounce them to create a composite whole. The damaged finger only means there's more stitching than usual. I recently pieced together a pretty hot solo that sounds like a fluent guitarist who really knows what he's doing. It's all done with mirrors, and even more so than before. But that's okay. What matters is that the final product sounds good. I've yet to encounter anything I cannot play if I break it down into sufficiently small bits.</div>
<div> </div>
<div>It's performing I'm increasingly concerned about. As it stands, I can't play several songs in my repertoire, including some of my own. At least not without the "Hey, folks, wait for five seconds till I can find the next chord" thing. Capos and alternate fingerings may yet offer viable workarounds, but still, it's disheartening. On the bright side, I suppose this is as good a time as any to be unable to perform, as most venues remain shuttered.</div>
<div> </div>
<div>Anyway, until I chat with the surgeon I'm not sure what I'll do. Whatever this is, it doesn't seem to be improving on its own. But surgery brings its own concerns, not the least of which is how long I'll have to be the incredible one-handed typist.</div>
Vern Nicholson
tag:vernnicholson.com,2005:Post/6312969
2020-05-12T02:11:00-04:00
2020-05-12T02:24:43-04:00
Mastering and Deep Editing, or How to Bake a Cake Through Music
<p>In the course of mixing and mastering my latest creation, a cover of The Flamin' Groovies' "Shake Some Action," I realized anew that the Zoom R24's mastering presets are woeful, and only deep editing will salvage them. (See <a href="https://vernnicholson.com/blog/blog/adventures-in-home-recording" target="_blank">February's post</a> for a full critique.)<br><br>As I noted back in February, mastering a song is kind of like icing a cake. To further the analogy, you want to apply the right icing—e.g., chocolate icing on a chocolate cake, not strawberry-peach-mint—in the right amount, and whatever you do should enhance the cake's inherent good qualities, not fundamentally alter them. The R24's presets, without exception, fail on all three counts.<br><br>Of the unit's 20 presets, 18 are so abysmal as to be useless even as starting points for editing. Two are marginal. Continuing with the cake metaphor, the built-in presets give you way too much strawberry-peach-mint icing on what was supposed to be a chocolate cake <i>and</i> they'll change your cake into cornbread. You're left with a monstrosity that sounds nothing like your original mix.<br><br>I've tried editing the marginal presets (14 Clarify and 20 Maximizr, for the record). Unfortunately, I'm groping in the dark. The parameters are named such that it's impossible to set EQ and compression the way you would in a DAW. I can adjust things like "Mix High," "Sense Mid," "Xover Lo" and so on, but don't know what exactly it is I'm cutting or boosting. I have only my ears as a guide. Anyway, I've toned down Maximizr so it's not quite so crazy with the level boost and squashing, but still haven't achieved the desired result, which is a <i>subtle enhancement</i> of my mix.<br><br>Initial experiments with Clarify have been more promising. In its original form, Clarify sucks up your bass and low mids and adds a harsh, brittle high end, almost like a transistor radio. In other words—icky kiwi-fruit icing, too much of it, and it changes your chocolate cake into shepherd's pie. I've dialled down a few settings and subtly boosted others, and after A/B'ing my untreated mix with the modified preset, I think I'm close to what I've been after all along: a subtle enhancement. In other words, a dash of high-quality chocolate icing on a chocolate cake, bringing out le gâteau's chocolatey goodness.<br><br>If you own a Zoom R24 and want to try this out yourself, here's precisely what I did. My changed values are in bold, in brackets; if a value isn't listed, I left it as is.<br><br><b>Mastering Preset 14 Clarify - Vern's Modification</b><br><br><b>3Band Comp</b><br><br>Xover Lo: 200 Hz <b>(125 Hz)</b><br>Sense Mid: 5 <b>(8)</b><br>Sense Low: 4 <b>(9)</b><br>Mix Low: -2 <b>(1)</b><br><br><b>Normalizer</b><br><b> </b><br>Normalizer: 2 <b>(4)</b><br><br><b>3Band EQ</b><br><b> </b><br>Bass: -1 <b>(1)</b><br>Middle: 0 <b>(1)</b><br>Treble: 0 <b>(1)</b><br><br><b>Dimension/Reso</b><br><br>Type: None <b>(Dimension)</b><br>Rise1: Off <b>(6)</b><br>Rise2: Off <b>(6)</b><br><br><b>Total</b><br><b> </b><br>Patch Lvl: 25 <b>(20)</b><br>ZNR: 10 <b>(Off)</b><br><br>This edit was then saved as a new preset: 22 V Clear. Further tweaking might be necessary, but now I've got a mastering preset that broadly does what it's supposed to—add a level boost, a little brightness and some subtle compression to my mix. And my chocolate cake is still a chocolate cake!</p>
Vern Nicholson
tag:vernnicholson.com,2005:Post/6296607
2020-04-27T23:32:00-04:00
2020-04-28T00:08:22-04:00
Life Under Lockdown
<p>Just a quick update on how I'm coping with the current situation. Overall, I consider myself quite fortunate. As a card-carrying introvert, I'm well equipped to handle social isolation, physical distancing and so on. Like it or not, some version of this has been my reality for years anyway, so it's not been that dramatic an adjustment. I don't miss my full social calendar because I've never had one. I spent huge swaths of time alone before the pandemic, and very little has changed but for the fact that there are no social engagements to turn down.<br><br>As far as supporting myself goes, my freelance job, which I've not heretofore perceived as terribly stable, has been rock solid. I work in television broadcasting, and my industry has made the Ontario <a href="https://www.ontario.ca/page/list-essential-workplaces" target="_blank">essential workplaces</a> list, both the original and revised versions. Work has been steady and I've been able to transition quite well to working from home. I was concerned at the prospect of having to upgrade my home computer (i.e., buying a new one), but my only financial outlay was a mouse, full keyboard and wrist rest, which totalled under $40. Again, I'm grateful for my good fortune—which is blind luck, really, when I consider how many people with secure, full-time jobs are glumly sitting at home, hoping the <a href="https://www.canada.ca/en/services/benefits/ei/cerb-application.html" target="_blank">CERB</a> will cover their mortgage and car payments.<br><br>Of the adjustments I have had to make, some are rather humorous. I was overdue for a haircut and had booked an appointment just before the big shutdown in mid-March which, in a moment of prescience, my stylist cancelled. I'm not a fan of ponytails, and I abhor man buns. So, between repeated playings of CSNY's "<a href="https://www.youtube.com/watch?v=4Lk2KHajp4Y" target="_blank">Almost Cut My Hair</a>," I've fashioned a homemade headband out of an old bed sheet. I'll look like a true Woodstock warrior until my next haircut, which will be who knows when. (Hey, Paul Kantner and Jack Casady wore headbands at Woodstock: good enough for me.)<br><br>On a more serious note, I had a cycling accident in mid-March. Bad timing. No car was involved; I rode headlong into a curb I did not see and went flying, landing on my face. For a day or two I looked like the Elephant Man, but the cuts on my face healed in short order. More worrisome is the ring finger on my left hand. Five weeks on, it's swollen and slightly bent, though not at all painful. After numerous failed attempts to receive medical attention, I finally got an x-ray this afternoon and am waiting to discuss next steps with my doctor.<br><br>Despite this I've managed to devote some time to my old standby, home recording. What better time to lay down some tracks in your home studio, right? Thing is, my finger has made playing any of my stringed instruments difficult. I've devised a couple of alternate-fingering workarounds, and compensated by recording my guitar and bass parts in even more pieces than usual. The finger has slowed me down, but I'm progressing with the cover tunes I set out to record in December. Anyway, I'm now on to mixing the latest, and this one has a lot going on so it'll take a good while. I'm hoping my finger will be back to full strength by the time I'm ready to record the next cover.<br><br>What else? Well, we've all had to learn how to video-conference in five minutes or less. My Zoom H1 (handy digital recorder) also works as a USB mic, and it's a significant upgrade over my laptop's built-in model, a pinprick in the front console. I also have a decent USB webcam that provides high-quality visuals. The experiment continues, I guess, as long as COVID-19 keeps spreading. Me, I'm happy to live in a country whose guiding principle is "peace, order and good government." In my estimation our leaders, even those whose political stripes don't jibe with mine, have acted prudently and responsibly. Contrast our prime minister, premiers and mayors with that very stable genius to the south who openly ponders the benefits of shooting Lysol at his press briefings.</p>
Vern Nicholson
tag:vernnicholson.com,2005:Post/6249781
2020-03-14T22:57:00-04:00
2020-03-14T23:40:48-04:00
Baseball and Slow Travel
<p>You don't need me to tell you that we suddenly find ourselves living in extraordinary, unprecedented times due to the spread of COVID-19. I've certainly never experienced anything like this, and I've been around a while.<br><br>A few weeks back, I was basking in my usual spring ritual: listening to the first baseball games of spring training and eagerly awaiting the regular season, which was due to start on March 26. As of March 13, all spring training activity has ceased and MLB rather optimistically says that opening day will be "delayed." As far as I know, this is the first non-labour suspension of baseball since World War II.<br><br>For years now, I've been hoping to pull off a week-long visit to Florida for spring training. (I may be the only Canadian who's never been to Florida.) Thank God I didn't have the means to do it this year, or I'd be stuck in the Sunshine State with no games to see and a 14-day quarantine awaiting me upon return. I'm still quite excited about the trip, which has progressed well beyond dreaming into planning, but my enthusiasm is now tempered. Even if I can afford it, who knows if in a year's time anyone will be able to travel anywhere?<br><br>Nevertheless, let's envision a world where COVID-19 has done its business, moved on, and a modicum of normalcy has been reestablished. If I could take in spring training, what might that look like?<br><br>The Blue Jays train in Dunedin, a small city in the Tampa-St. Pete-Clearwater metro area. A flight from Toronto to Tampa would get me there in under three hours, and I'd be all set, right? Yes, but I dislike flying, the biggest reason for my disdain being that it's like teleportation. You don't get to see what's between here and there, and to me that's the whole point of travelling.<br><br>I don't drive, but I toyed with the idea of simulating the well-worn trek down I-75 popular with snowbirds on <a href="https://www.greyhound.com/" target="_blank">Greyhound</a>. Like the road-tripper brigade, I'd take it slow and stop along the way, roughly at the end of a day's drive. I even mapped out a six-day itinerary: Toronto-Detroit-Cincinnati-Chattanooga-Macon-Orlando-Tampa. And for variety, a different route back over five days: Tampa-Jacksonville-Raleigh-Baltimore-Albany-Toronto. All well and good but for one consideration—safety. Greyhound's bus depots are often in spotty if not outright scary parts of town, and I soon realized that my fantasy of walking several blocks, in the dark, to the nearest hotel could result in a mugging or worse. And even if I made it to said inner-city hotel, it might not be the kind of place where I'd want to bed down for a night.<br><br>Plan B, which didn't last long, is the no-bed-required option, a continuous 41-hour trip on three Greyhound buses, again getting there one way (Toronto-New York-Orlando-Tampa) and returning another (Tampa-Tallahassee-Cincinnati-Detroit). The way there wasn't too severe in terms of layovers, but on the return trip a five-hour layover in Cincinnati (9:00 p.m-2:00 a.m.) didn't exactly thrill me. In any case, I've done this before, 20 years ago, when I took the Greyhound to San Francisco and back. That trip was even longer, and when I straggled back home I vowed I'd never again sleep on a bus ... because I can't sleep on a bus.<br><br>I've now landed on Plan C: <a href="https://www.amtrak.com/home.html" target="_blank">Amtrak</a>, the USA's passenger rail system. This entails one compromise: I'd have to return the same way I came, and checking the <a href="https://en.wikipedia.org/wiki/Silver_Star_(Amtrak_train)" target="_blank">Silver Star</a> timetable, the same part of the country (NC, SC, GA) is in darkness both ways. Boo, hiss! Also, a continuous trip from Toronto isn't possible by rail; the schedules simply don't hook up. I'd have to take the <a href="https://en.wikipedia.org/wiki/Maple_Leaf_(train)" target="_blank">Maple Leaf</a> to New York, stay overnight, then board the Silver Star in the morning. On the plus side, I'd have only one sleep on the train which, though not a proper bed, is far better than the bus. And if I had the cash, I could splurge for a roomette.<br><br>As for getting around the Tampa area, public transit will do the trick, though I can see from researching schedules that <a href="https://www.psta.net/" target="_blank">PSTA</a> and <a href="http://www.gohart.org/" target="_blank">HART</a> aren't exactly the TTC. But with careful planning, one <i>can</i> make it from A to B. It's also dirt cheap. And lucky me, I'd have three teams' games to choose from in the metro area, with the Phillies training in Clearwater and the Yankees in Tampa proper.<br><br>The rather pokey way I like to get to and visit new places now has a name: <a href="https://www.sloww.co/what-is-slow-travel/" target="_blank">slow travel</a>. I'm not sure I subscribe to or follow all its tenets, but in both my preferred transportation modes and sightseeing predilections (offbeat, weird stuff), I qualify. Anyway, once COVID-19 has run its course and I've saved up sufficiently, I look forward to getting to know Amtrak, seeing a bit of Florida, and taking in some spring training baseball—something any serious fan really should do at least once in their lives.</p>
Vern Nicholson
tag:vernnicholson.com,2005:Post/6214698
2020-02-13T22:27:00-05:00
2020-02-15T14:10:58-05:00
Adventures in Home Recording
<p>Well, I've had a month and a half to get acquainted with the Zoom R24, and have two covers completed so far. Recording these has enabled me to appreciate the unit's features, come to terms with its quirks and learn a lot in the process. Once I've done about 12 or so covers, I'll post them as a free mp3 album and you can hear the results for yourselves.<br><br>First, the pleasant surprises:</p>
<ul> <li><span class="st">The R24 allows for unlimited virtual tracks (as many as your memory card can store).</span></li> <li>Its built-in mics are excellent and very convenient. I've recorded acoustic guitar and mandolin with them so far, and they sound better than my Apex 430 condenser (which admittedly isn't the <span class="st">crème de la crème of condenser microphones).</span>
</li> <li><span class="st">The R24 has separate outs and volume controls for headphones and studio monitors.</span></li> <li><span class="st">You can adjust the ratio of click track to song with the turn of a knob ... without having to dive into sub-menus.</span></li> <li><span class="st">Files (tracks, loops, entire songs) can be backed up to a USB key: no computer required!</span></li> <li><span class="st">The percussion loops included on the USB stick are high-quality samples that can easily be time-stretched to fit your project's tempo. Adjust the tempo, drop them in, and presto: it's like having your own <a href="https://en.wikipedia.org/wiki/Ray_Cooper" target="_blank">Ray Cooper</a> in your hip pocket. Very, very handy.</span></li> <li><span class="st">You can loop<i> </i>any piece of audio and drop it into your song at various points. If, like me, you find it hard enough to play a part in time once, well, you only have to nail it once. And it doesn't matter <i>where</i> in the song you do that: you record your part to the click and it can be dropped in anywhere. Now, in conventional rock music, consider how many instruments play repetitive parts, though they may vary between sections. So far I've looped backing vocals, guitars, bass, individual drums, even a tin whistle. I can't fingerpick to save my life, yet I created <i>two</i> fingerstyle acoustic guitar parts by looping one chord at a time.</span></li> <li><span class="st">My sampled Roland TD-11K drum kit sounds great, and by using a simple workaround I can set things up with, e.g., the snare on three adjacent pads for a better playing experience and more realistic feel. Judicious use of the quantize function helps keep my beats on the beat. Also, using the sampled kit instead of the built-in sounds allows for greater control and flexibility. Because each drum is on its own track, levels can be set independently and each piece of the kit can be panned, EQ'd and processed separately.</span></li> <li><span class="st">I've not exhaustively auditioned the unit's effects yet, but some of the patches are terrific, and every patch is editable. (Some aren't so terrific ... see below.) Most of the send reverbs are quite good, and the "clean" section has some tasty guitar effects. A few of the mic preamp effects do wonders for vocals and acoustic instruments.</span></li> <li>
<span class="st">The bounce function allows you to use a multitude of pre- and post-effects over the course of a song, and the unlimited virtual track feature means you can keep the dry tracks if you later decide to reprint the effects.</span><span class="st"> Bounce is also great for stitching together composite parts to form a whole, which I do a lot of.</span>
</li> <li><span class="st">Both hours/minutes/seconds/hundredths and bars/beats/ticks are shown on the display, unlike some units that force you to pick one or the other. And the "mark" function enables you to scroll to strategic points in the song, while the "stop/rewind" shortcut quickly gets you back to the start. Navigating through your tune is quick, easy and painless. </span></li> <li><span class="st">The manual is surprisingly readable and useful, though the layout is a bit weird. I ended up creating a customized how-to-do-what index to help me find things more efficiently.</span></li>
</ul>
<p><span class="st">Now, some sources of vexation:</span></p>
<ul> <li><span class="st">Editing, trimming and silencing audio on the R24 is difficult and in some cases, impossible. It's easier to trim silence at the start or end of a song than, say, a stutter in your guitar solo two minutes in. There may be a way of doing that, but it's by no means obvious. I've figured out how to erase, e.g., unwanted amp hum before the guitar enters by recording "nothing" in that spot using the auto-punch feature. It works, but it's awfully cumbersome.</span></li> <li>You can't normalize the level of your mix using the R24. Nor can you measure peak amplitude, see what the overall waveform looks like, and so on. A crude waveform view is available by using, for instance, File->Divide, but all told it's easier and more accurate to import the audio into Audacity and examine it there.</li> <li>Trying to assign the same sample to multiple pads results in an "Already Exist!" error message. I had to "fool" the R24 into placing the same sample onto adjacent pads by creating duplicates and triplicates. So, I now have SNARE.WAV, SNARE1.WAV, SNARE2.WAV in my sample library, all of which are the same sound. It's a doable workaround and indeed, a necessary one; without it, I couldn't really "play" the drums like a real drummer would. But it's a pain to have to go to such lengths.</li> <li>The built-in drum sounds aren't studio quality. A few were barely passable; the rest sounded like my first drum machine from 1982. If you're going for that retro crappola-drum-machine sound, great! There are only 10 (lousy) kits, not customizable, and you can't mix and match. Worse, the drums are assigned to a stereo pair of tracks, and you can only EQ, pan, level and process the entire kit, not individual drums. This again limits their utility.</li> <li>Many effects aren't usable in their current form. The "distortion" section in particular makes your guitar sound like it's turned up not to 11 but 111. If you're some speed-metal shred-head, the distortion effects are your wet dream, I suppose. But for the rest of us who want just a touch of fuzz on our guitars, they're woeful. Deep editing, which I've yet to do, may yet salvage some of them<span class="st"><span class="st">.</span></span>
</li> <li><span class="st"><span class="st">Some of the effects are gimmicky and fall into the who-would-ever-use-this category, like the vocal preset "Hangul" which the manual says "makes Japanese sound like Korean."</span></span></li> <li>
<span class="st"><span class="st">If you want to apply simple stomp-box effects</span></span><span class="st"><span class="st"><span class="st"><span class="st">—</span></span>delay, tremolo, phaser, wah-wah or compressor, for instance</span></span><span class="st"><span class="st"><span class="st"><span class="st">—they do exist, but you have to disentangle them from some patch that uses them in combination. </span></span>It's hard to find them in isolation. Some quite useful effects, like a Leslie speaker emulation, are missing entirely.</span></span>
</li> <li><span class="st"><span class="st">The mastering presets are disappointing. They're subtle as a sledgehammer, and 90% of them are useless. See, mastering is supposed to do two things: bring the level of your mix to a professional standard and and give it a glossy sheen by sparingly applying EQ and compression, kind of like the icing on a cake. The R24's presets alter the sound of your mix beyond recognition. I've achieved reasonable results by editing the "Maximzr" preset, which in its pure form adds 7,000 tonnes of compression, to saner levels, but even that has been massively frustrating. Sure, you can edit the parameters, but it's complete trial and error because you don't know what you're editing. Case in point: the aforementioned preset has parameters like "Sense Hi" which the manual says "adjusts high-range compressor sensitivity." Meaning what? Threshold? Ratio? Gain? We'll never know, and there's no way to adjust the compressor via these standard parameters. Similarly, that preset's three-band EQ lets me adjust bass, middle and treble. What specific frequencies I'd be adjusting and at what bandwidth, no idea.</span></span></li>
</ul>
<p><span class="st"><span class="st">My bottom line? With a modicum of additional equipment and a dash of savvy and patience, you can produce high-quality recordings with the Zoom R24. </span></span><span class="st"><span class="st">You'll be the judge when I unveil my "covers" album, but two songs in I'm quite happy with the results. And I haven't yet explored integrating the Zoom with a DAW, specifically the included Cubase LE. I'm about to transition to a new computer and am unsure which one I want to install it on, so I've held off on the download for now. Presumably this will further extend the unit's capabilities once I navigate Cubase's learning curve.</span></span></p>
Vern Nicholson
tag:vernnicholson.com,2005:Post/6175391
2020-01-27T01:20:00-05:00
2020-01-27T01:32:44-05:00
Woodstock: Loose End Tied
<p>Just a quick wrap-up (for now) on my Woodstock obsession. When we last rapped, man, our hero had compiled a nearly complete set of recordings from the Woodstock Festival, thanks to WPXN's radio broadcast over the 50th anniversary weekend, XPNstock.<br><br>As you'll recall, two songs were missing from the Jimi Hendrix set. They weren't broadcast by WXPN because they're not on the 38-CD box, and they're not on the box because the Hendrix Estate won't authorize their release. Enter the good folks at "non-label" (i.e., bootleggers) who've put out a <a href="https://www.discjapan.com/product/jimi-hendrix-the-complete-woodstock-1969-2cdnon-label/" target="_blank">double CD</a> of Hendrix's entire Woodstock set. I took the plunge and now have the missing songs: "Mastermind" and "Gypsy Woman/Aware of Love," both sung by rhythm guitarist Larry Lee. Though the official release's booklet dismisses them as "slow, haggard filler" they sound fine to these ears, and it's a treat to hear Hendrix as an accompanist.<br><br>The bootleg brought another pleasant surprise: in addition to the Larry Lee songs, it contains 20 minutes of material absent from <a href="https://en.wikipedia.org/wiki/Live_at_Woodstock_(Jimi_Hendrix_album)" target="_blank">Live at Woodstock</a> and the 38-CD box. Much of this consists of Lee solos that were inexplicably cut from the official version. Of course, it is a bootleg, so the sound is somewhat muddy and boxy. But if you tune your ears to it, so to speak, it's perfectly acceptable, and I'm grateful to now have every single note played by Hendrix and his band at Woodstock.<br><br>So, what am I still missing? What everyone else is, apparently: the one-and-a-half Sha Na Na songs that weren't recorded back in 1969. I wonder if audience tapes exist, or perhaps the fabled mono soundboard reel that was used as backup when things went awry. In any event, I'm sure that geeks greater than me are on the case, and if there's anything floating around out there it'll turn up someday. When it does, I'll be first in line.</p>
Vern Nicholson
tag:vernnicholson.com,2005:Post/6022730
2019-12-15T22:45:00-05:00
2019-12-15T23:13:26-05:00
Zooming Towards My Next Album
<p>Over the past two years, I've been saving my loonies and toonies to get my home studio up to scratch and start recording my next album. <i>Linden Tree near the Water</i> was recorded entirely in Audacity on a creaky Dell desktop running Windows XP. That desktop has since died, and my current computer lacks the firepower needed to run a DAW (digital audio workstation). So, I've gone old school and bought a standalone 24-track recorder. Ladies and gentlemen, I present the <a href="https://www.zoom-na.com/products/production-recording/multi-track-recorders/zoom-r24-recorder-interface-controller-sampler" target="_blank">Zoom R24</a>.<br> </p>
<div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-iuxFU0Q2cCw/XfbTHudE6dI/AAAAAAAAANo/t4galcCQ_hs_tibnLW_kbfaQM6jxPZamwCLcBGAsYHQ/s1600/Zoom%2BR24.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img src="https://1.bp.blogspot.com/-iuxFU0Q2cCw/XfbTHudE6dI/AAAAAAAAANo/t4galcCQ_hs_tibnLW_kbfaQM6jxPZamwCLcBGAsYHQ/s320/Zoom%2BR24.png" class="size_orig justify_inline border_" height="199" width="320" /></a></div>
<p>I say "standalone," but really, it's only so if you want it to be. The R24 is also a sampler, drum machine, DAW control surface (a Cubase LE download is included) and computer audio interface. It comes with built-in condenser mics, a metronome and a chromatic tuner. Oh, and it's a powerful effects processor to boot. And did I mention the included USB stick and its 1.5GB of drum loops? That's an incredible array of features packed into a unit that's maybe 15 inches across.</p>
<p>I'd been researching multi-track recorders for well over a year, and I chose the R24 for a few reasons: one, its staggering versatility; two, the number and variety of onboard effects (267, with room for 123 custom patches); and three, I've sampled the <a href="https://www.roland.com/ca/products/td-11k/" target="_blank">Roland TD-11K</a> drums I used for my last project and can play and record this kit on the R24. No other recorder will let me do that save for the <a href="https://www.zoom-na.com/products/production-recording/multi-track-recorders/zoom-r8-recorder-interface-controller-sampler" target="_blank">Zoom R8</a>, my unit's bare-bones cousin.</p>
<div style="text-align: left;">The R24's bundle of goodies is, frankly, a steal at $670 Cdn ($500 US). Now, think about that. Especially if, like me, you've been recording at home since the early '80s. My first <a href="https://en.wikipedia.org/wiki/Portastudio" target="_blank">Tascam 4-track</a> cost well over $800, I believe, and we're talking 1983 dollars. Its recording medium was cassette tape—cutting-edge at the time—and the "effects" section consisted of a few EQ knobs. These days, the quality of recordings you can produce on the cheap is astounding. If your budget is seriously limited, for instance, the R8 retails for $400 Cdn ($300 US) and shares essentially the same architecture as the R24.</div>
<div style="text-align: left;"> </div>
<div style="text-align: left;">I bought my unit a couple of weeks ago but am keeping it under wraps till Christmas Day. It's been a tough year, and I want to cap it off with the ultimate present to myself. In the meantime I've been doing my homework, watching <a href="https://www.youtube.com/watch?v=xTsUmGLOlHc" target="_blank">online tutorials</a>, reading the manual and generally getting a leg up before I begin in earnest.</div>
<div style="text-align: left;"> </div>
<div style="text-align: left;">The plan is to record 10 covers to start with. Covers are more fun, and I've chosen an eclectic bunch that should acquaint me with most of the R24's capabilities. And I figure that by the time I've recorded, mixed and mastered those, I'll (hopefully) have made all the mistakes it's possible to make and can apply that learning to my own material.</div>
Vern Nicholson
tag:vernnicholson.com,2005:Post/5986681
2019-11-30T22:47:00-05:00
2019-12-01T00:14:20-05:00
Muswell, 2003-2019
<div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-6PekrlZmmFc/XeM3yyo4iAI/AAAAAAAAANM/tH9o9ISesgscyUgEkwtVejHUl_rkvoNgQCEwYBhgL/s1600/1a.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img src="https://1.bp.blogspot.com/-6PekrlZmmFc/XeM3yyo4iAI/AAAAAAAAANM/tH9o9ISesgscyUgEkwtVejHUl_rkvoNgQCEwYBhgL/s1600/1a.jpg" class="size_orig justify_inline border_" /></a></div>
<p>As many of you know, my beloved cat Muswell had been ill with kidney disease for nearly a year, and sadly, he lost his battle on October 23. A memorial service was held on Thursday, November 28 at St. George's Chapel, St. James Cathedral, Toronto, and this is the eulogy I gave:<br><br><i>I'd like to start with a short poem by Christopher Smart that was sung by the Cathedral Choir on Trinity Sunday this year: "For I will consider my cat Jeoffry. For he is the servant of the living God, duly and daily serving him. For at the first glance of the glory of God in the East he worships in his way. For this is done by wreathing his body seven times round with elegant quickness. For he knows that God is his Saviour. For God has bless'd him in the variety of his movements. For there is nothing sweeter than his peace when at rest. For I am possessed of a cat, surpassing in beauty, from whom I take occasion to bless Almighty God."<br><br>Welcome, and thank you all for taking time out of your busy schedules to be here for Muswell and me, and a special thanks to Reverend Andrew and everyone at the cathedral for making this service happen. We're here to honour and celebrate the life of my beloved Muswell, an extraordinary cat and the best friend I've ever had.<br><br>In the winter of 2006, I adopted a cute little stray cat. Or more likely, he adopted me. Over the next 13 years, we grew closer through good times and bad, forming a bond that was deep, loving and profoundly healing for us both. He was my boy and I was his human. Muswell was like a dog in a cat's body. He'd follow me around everywhere. When I came home from work he'd greet me at the door, hop onto my desk and lick my face. At night, my furry friend would snuggle into bed with me. I only encountered the term "emotional support animal" recently, but Muswell fit that description perfectly. In short, he brought joy, warmth and comfort to my often challenging life.<br><br>As befits a companion like me, Muswell was a quirky boy. When I'd shower, he'd sit at the foot of the tub, meowing and scratching till I emerged safe and sound. Most cats hate getting wet, so I can only assume he wanted to spare his pop this dreadful fate. And when I'd towel off, he'd climb up beside me and stroke me with his paw—always on my left side, never my right. In Muswell's world, pop had a proper side and an improper side. Once he'd gotten situated on my proper side he'd groom himself, as if he were trying to show me the better way to cleanliness.<br><br>Muswell was a beautiful soul, inside and out. His orange coat was luxurious, and he had a little crown on his head and light orange stripes that cascaded down his back. The boy was skittish around anyone other than me, but the few lucky people who did interact with him all agree that he was gorgeous, gentle, affectionate and adorable.<br><br>It's been said that we grieve because we love, and it follows that the bigger the love, the bigger the grief. Muswell taught me so much about unconditional love, giving and receiving. I mourn so deeply because I've lost so much, because he selflessly gave so much. I used to joke with Muswell that I must be his pet human, because at times it was hard to tell who was taking care of whom.<br><br>In my grief, I remind myself that I'm experiencing a temporary separation from Muswell. I truly believe we will be reunited someday. So, where do pets go when they die? I'm no theologian, but what I'm about to present is one possibility that's been circulating since at least the 1980s. I can't tell you that I know this is real, but it sure sounds like the kind of place that a God of infinite love, mercy and compassion would create.<br><br>"Just this side of heaven is a place called <a href="https://www.petloss.com/rainbowbridge.htm" target="_blank">Rainbow Bridge</a>. When an animal dies that has been especially close to someone here, that pet goes to Rainbow Bridge. There are meadows and hills for all our special friends so they can run and play together. There is plenty of food, water and sunshine, and our friends are warm and comfortable. All the animals who had been ill and old are restored to health and vigour; those who were hurt or maimed are made whole and strong again, just as we remember them. The animals are happy and content, except for one small thing: they each miss someone very special to them who had to be left behind. They all run and play together, but the day comes when one suddenly stops and looks into the distance. His bright eyes are intent; his eager body quivers. Suddenly, he begins to run from the group, flying over the green grass, his legs carrying him faster and faster. You have been spotted, and when you and your special friend finally meet, you cling together in joyous reunion, never to be parted again. The happy kisses rain upon your face; your hands again caress the beloved head, and you look once more into the trusting eyes of your pet, gone so long from your life but never absent from your heart. Then you cross Rainbow Bridge, together."<br><br>Little buddy, you are forever loved and so profoundly missed. What a bright light you were. Your pop is blessed to have known you, and someday I'll see you at the Rainbow Bridge. Until then, eat, play and scamper, healthy and pain-free, and enjoy the company of your blessed animal friends. This is not goodbye, boy. This is till we meet again. </i><br><br>An audio recording of the full service is available on <a href="https://vernnicholson.com/muswell" target="_blank">Muswell's page</a>.</p>
Vern Nicholson
tag:vernnicholson.com,2005:Post/5917827
2019-10-07T00:15:00-04:00
2021-08-03T16:17:52-04:00
The (Nearly) Complete Woodstock
<p>This August marked the 50th anniversary of the iconic <a href="https://en.wikipedia.org/wiki/Woodstock" target="_blank">Woodstock Festival</a>, and though the proposed commemorative concert failed to materialize, Rhino Records put out a <a href="https://store.rhino.com/woodstock-50-back-to-the-garden-the-definitive-anniversary-archive-1.html" target="_blank">nearly complete chronicle</a> of the original this summer.<br><br>And I, noted Woodstock obsessive, couldn't afford it. And only 1,969 were made. And it sold out within weeks. And they're not making more. Ever. As stagehand Muskrat intoned on the original triple album, "Hmm. Bummer, bummer!" Want to weep along with me? Here's a glowing <a href="https://pitchfork.com/reviews/albums/various-artists-woodstock-back-to-the-garden-the-definitive-50th-anniversary-archive/" target="_blank">review</a> of that 38-CD set.<br><br>But! The good Lord intervened just in time. First, I discovered a geeky <a href="https://forums.stevehoffman.tv/threads/rhino-to-issue-massive-woodstock-1969-box-set-sold-out.837999/" target="_blank">forum</a> replete with fellow obsessives: some who'd bought the box, others who wished they had. And a few days before the anniversary, some kind soul posted this magic sentence: "<a class="externalLink" href="https://consequenceofsound.net/2019/08/full-woodstock-festival-recording-wxpn/amp/" rel="nofollow" target="_blank">Full Woodstock recording to air on WXPN at exact time of original festival."</a><br><br>Like many FM stations, <a href="https://xpn.org/" target="_blank">WXPN</a> streams live, 24/7—one of the advantages of living in 2019, not 1969. The advance notice gave me a few days to figure out how to connect my Zoom H1, laptop and speakers. I also did a test to make sure my Zoom would record without shutting off for eight hours, because some sets would be broadcast while I was asleep. I was in it to win it. And on Thursday, August 15, 2019 at 5:07 p.m. EDT, 50 years to the second, my three and a half days of recording began with Richie Havens' opener, "From the Prison."<br><br>Variously dubbed "Woodstock as It Happened: 50 Years On" and "XPNstock," the extravaganza preempted much of WXPN's regular programming; they broadcast 37 of the 38 discs. (Disc 38 contains no music, consisting of stage announcements and other ephemera that the producers couldn't place in chronological sequence.) And thanks to WXPN, Rhino Records and whoever else conspired to create this wondrous occurrence, I captured it all. Yes, it's a compressed radio stream, not quite the pristine audio found on the CDs, but for zero dollars, I'll take it. Happily.<br><br>Little did I know that my raw recordings would be but the start of my odyssey. At a bare minimum I had to clean up the start and end of each set, having hit "record" early and "stop" late to ensure I got everything. I also brightened the sound a touch with some judicious EQ while rolling off some murk on the bottom end. The stream went down only once, during Arlo Guthrie's "Wheel of Fortune" on Day 1. Thankfully, I was able to patch that song in from my copy of the 40th anniversary box set. There were also numerous instances of stream stutter to fix. No audio was missing, but occasional gaps of silence, lasting anywhere from a tenth of a second to three seconds, needed repair. I stitched these gaps together in Audacity, which took a lot of patience and diligent listening.<br><br>Being a good citizen—and wanting to maintain their licence—WXPN silenced any profanity found within the 37 discs. To create an accurate facsimile of the box set, I had to find ways of patching in the dirty words whenever possible. In two instances, this meant finding missing songs: both Country Joe McDonald (solo) and Country Joe & the Fish did the infamous "Fish Cheer," and neither was broadcast on WXPN. (For the uninitiated, the word they spell isn't "fish" but another four-letter word beginning with F.) In addition, I wanted to excise the many station IDs and promos from my recordings, some of which obliterated the first or final few notes of a song. Deleting the IDs/promos was easy, but again, I had to patch in the missing material from other sources. Finally, perhaps because it's such a ramshackle performance, WXPN didn't broadcast Tim Hardin's 16-minute "Snow White Lady." I patched that in from YouTube.<br><br>You'll recall that off the top, I said "nearly complete." So, what's missing from the 38-CD box and, by extension, XPNstock? Three and a half songs. Half of Sha Na Na's "Little Darlin'" and all of "Teenager in Love" were not recorded in 1969. Yep, after almost four sleepless days, Eddie Kramer and his onsite team finally screwed up and let the tape run out, and if there's any Woodstock act for which that's forgivable, Sha Na Na gets my vote.<br><br>The other two missing songs are from Jimi Hendrix's set. Sung by rhythm guitarist Larry Lee, the Hendrix estate refuses to sanction their release "for aesthetic reasons." Now, I'm not one to lead you into the dark underworld of unauthorized recordings, but if you google "larry lee gypsy woman soundcloud," you might stumble on the rarest Woodstock recording of all. And were you to figure out a way to record that audio, you too would be in possession of a song absent from the 38-CD box. (I'm still hunting for "Mastermind," the other Larry Lee song.)<br><br>Words cannot express how grateful I am to WXPN for taking three and a half days out of their regular schedule to give us the gift of XPNstock. Kudos are also, of course, due the box set's producers/engineers Andy Zax, Brian Kehew, Dave Schultz for their yeoman's restoration of the entire festival. The deep dives these boys took knew no bounds: for instance, they sifted through photographic evidence to ensure that their instrument placement in the stereo field was accurate. Much of the music performed at Woodstock was magnificent, and thanks to Messrs. Zax, Kehew and Schultz, it has never sounded better.<br><br>In <a href="https://thekey.xpn.org/2019/08/12/woodstock-andy-zax-dan-reed/" target="_blank">interviews</a>, Andy Zax revealed that some audio material was salvaged by technical marvels that have only recently come into existence. Ever heard of de-mixing? How about polyphonic tuning? Me neither, but the former was used to create a stereo mix of Ravi Shankar's performance from a gritty mono soundboard reel. The latter helped Zax and crew take Blood, Sweat & Tears' horns, which were out of tune <i>in different directions</i>, and "nudge the tonality of the horns to get them back into a sound range that the human ear would prefer to hear." In both cases, the results are miraculous. Or as Zax said, "To me, this is like magic science fiction stuff. It's like the Great Gazoo descended down, waved a magic wand, and suddenly here's this remarkable thing!"<br><br>Oh, and while he was at it, the Great Gazoo, or God if you prefer, gave us XPNstock, enabling me to construct a poor man's version of <i>Woodstock – Back to the Garden: The Definitive 50th Anniversary Archive.</i> I still wish I'd splurged for the box. But with copies now going for close to $3,500 US, that ship has sailed and in the end, I think I've ended up with something more worthwhile—tasty, cleaned-up recordings that I had a hand in creating. I like to think of my painstaking audio editing as a microcosm of the producers' stellar work.<br><br>Now that my work is done, I can sit back and enjoy Woodstock as a listening experience. I know I've babbled on a bit and not discussed the music much. Suffice it to say that the vast majority of these artists were at or near their peak in 1969, and most of this music is great. Some is truly staggering. I point to one stretch from late Saturday night into Sunday afternoon that's jaw-dropping when heard in sequence. Creedence Clearwater Revival, Janis Joplin, Sly & the Family Stone, The Who, Jefferson Airplane and Joe Cocker not only wowed those lucky attendees in 1969, but gave us some of the most iconic moments in rock history. I heartily recommend you seek out their full sets; all but The Who have been officially released (beyond the now-unavailable 38-CD set).</p>
Vern Nicholson
tag:vernnicholson.com,2005:Post/5894178
2019-09-16T18:19:00-04:00
2019-11-30T23:53:45-05:00
Fundraiser: Keep Muswell Well
<p>As many of you know, my beloved cat Muswell was diagnosed with kidney disease last November. He was in rough shape then and was put on a regimen of pills, powders and injections. With loving care and extensive veterinary treatment, his condition has stabilized and he's maintaining an excellent quality of life. We have truly kept Muswell well. But this treatment is expensive, and that's why I'm fundraising for Muswell's care.<br> </p>
<div style="text-align: center;"><a href="https://1.bp.blogspot.com/-hJltXEUS1q0/XYAJVq_3udI/AAAAAAAAAMs/74PEiP1AUZYywoMfMC9zYJo8ULRaa9eWACLcBGAsYHQ/s1600/7.jpg" style="margin-left: 1em; margin-right: 1em;"><img src="https://1.bp.blogspot.com/-hJltXEUS1q0/XYAJVq_3udI/AAAAAAAAAMs/74PEiP1AUZYywoMfMC9zYJo8ULRaa9eWACLcBGAsYHQ/s320/7.jpg" class="size_orig justify_inline border_" height="318" width="320" /></a></div>
<p><br>Muswell is 15 years old, and he's an adorable, affectionate orange tabby. I've often said that he's a puppy in a cat's body. I have come to realize that he's more to me than a beloved pet. <b>Muswell is my emotional support animal.</b> He brings joy, warmth and comfort to my often challenging life. <b>I aim to keep him well, and you can help.</b> <b>Any amount makes a difference. </b>$5 buys a month of amlodipine, his blood pressure medication. For $10, you can give Muswell a month's supply of antacid and laxative. $20 pays for two weeks of mirtazapine, the appetite stimulant that ensures he keeps eating.<br><br><b>To learn more and give a gift of any amount to keep Muswell well, visit our campaign page: <a href="https://www.gofundme.com/f/keep-muswell-well">https://www.gofundme.com/f/keep-muswell-well</a></b>. GoFundMe is secure, easy to use and accepts credit and debit card donations. If you'd rather donate by PayPal, cash or cheque, let me know and we'll make arrangements. All donations will go directly to Muswell's vet and medical bills. You will give a precious animal the gift of health and provide much-needed comfort and peace of mind to his human companion. Thank you!</p>
Vern Nicholson
tag:vernnicholson.com,2005:Post/5846191
2019-08-02T23:21:00-04:00
2019-08-04T14:51:06-04:00
Rediscovering 1972
<p>"I listen to CHUM."<br><br>In the early '70s, my local Top 40 outlet had a contest whereby if you answered your phone in this way and they were the caller, you'd win $1,000. It struck me as ill-mannered to say anything other than "hello" when picking up the phone, and anyway, CHUM never called. But despite my reluctance to give them free advertising whenever the phone rang, I certainly spent 1972 listening to CHUM. So, for the final instalment in the music-of-my-youth trilogy, I present my Top 100 of 1972, the last great year of the Top 40 era. And as good as 1972 is, intimations of the decay to come were already festering. To be blunt, the goop was overtaking the gold, and things would only get worse from here.<br><br>Now, I'll be the first to admit that the charts of 1973—and to a lesser extent, '74 and '75—contain many great songs. However, the goop-to-gold ratio had definitively tipped in the wrong direction, and by 1976 my Top 40 party was over. "Soft rock," an oxymoron if ever there was one, now dominated the airwaves, making them unbearably saccharine. If I recall, the last 45 I ever bought was "Afternoon Delight" by the Starland Vocal Band and I recall giving it a spin and asking, "Why did I buy this?" Sadder still, the dynamite, socially conscious soul and funk of the early '70s had now devolved into disco, which managed to dumb down the groove <i>and</i> the words. I suppose by then I had moved on in other ways, too. Like any self-respecting teenager in the mid-'70s, I'd discovered album rock and FM radio. Which, from this distance—scouring my collection for the Foreigner albums I parted with long ago—was no better than the Top 40; just a different flavour of slick, soppy pablum. All these years later, to paraphrase Mr. Johnny Nash, I can see clearly now why punk had to happen. That, though, is another post for another day.<br><br>If you've read this far, you may have noticed several number-one songs missing from my Top 100 of 1970, '71 and '72. I have nothing against chart-toppers as such, but especially then it seemed that the dreck rose to the top far too often. Countless killer songs stalled at #2 because The Osmonds, Tony Orlando & Dawn, The Bee Gees, Bread and their ilk hogged the top spot. When CHUM played any of these (and boy, they did), I changed the station, and you won't find them within miles of my Top 100. Anyway, for what it's worth, this time out I've bunched together five of 1972's number-one songs on my Top 100 below to give you a sense of what CHUM considered the c<span class="st">rème de la crème</span>, non-Osmond genus.<br><br>The songs are in no particular order, other than what makes sense to me as a playlist. Several singles released in 1972 didn't chart until 1973 on CHUM, and some very late in that year, too. Regardless, they properly belong to 1972 and so are included here. In brackets is the date the song debuted on the CHUM chart, followed by its peak chart position. Chart-topping songs are in bold. A few worthy songs didn't make the CHUM chart, but I heard them somehow. They may have charted on other regional stations I listened to. As for the rest, they're worthy tunes I encountered later that deserved a better fate. Explore, discover and enjoy the very best of 1972!</p>
<ol> <li>Joy - Apollo 100 (1/15/72, #6)</li> <li>You Wear It Well - Rod Stewart (9/23/72, #11)</li> <li>Sweet Seasons - Carole King (1/29/72, #12)</li> <li>Doctor, My Eyes - Jackson Browne (4/8/72, #2)</li> <li>Treetrunk - The Doors (did not chart)</li> <li><b>Black and White - Three Dog Night (8/19/72, #1)</b></li> <li>I Believe in Music - Gallery (10/14/72, #12)</li> <li>Roundabout - Yes (3/18/72, #5)</li> <li>I Gotcha - Joe Tex (3/4/72, #7)</li> <li>You're Still a Young Man - Tower of Power (7/15/72, #17)</li> <li>I'm Still in Love with You - Al Green (8/5/72, #12)</li> <li>Hold Your Head Up - Argent (8/5/72, #6)</li> <li>Me and Julio down by the Schoolyard - Paul Simon (5/13/72, #19)</li> <li>Hello It's Me - Todd Rundgren (11/17/73, #7)</li> <li>Do It Again - Steely Dan (1/27/73, #7)</li> <li>Cousin Mary - Fludd (11/3/73, #19)</li> <li>Operator (That's Not the Way It Feels) - Jim Croce (12/2/72, #18)</li> <li>Old Man - Neil Young (5/6/72, #11)</li> <li>Ventura Highway - America (11/25/72, #5)</li> <li>Go All the Way - Raspberries (8/12/72, #9)</li> <li>How Do You Do - Mouth & MacNeal (6/3/72, #3)</li> <li>Saturday in the Park - Chicago (8/5/72, #2)</li> <li>Walk on the Wild Side - Lou Reed (4/14/73, #9)</li> <li><b>School's Out - Alice Cooper (7/29/72, #1)</b></li> <li>Smoke on the Water - Deep Purple (6/30/73, #5)</li> <li>Long John Silver - Jefferson Airplane (did not chart)</li> <li>We've Got to Get It on Again - The Addrisi Brothers (1/22/72, #5)</li> <li>Superstition - Stevie Wonder (12/30/72, #3)</li> <li><b>Oh Girl - The Chi-Lites (4/15/72, #1)</b></li> <li>Could It Be I'm Falling in Love - The Spinners (2/3/73, #8)</li> <li>Too Late to Turn Back Now - Cornelius Brothers & Sister Rose (6/10/72, #5)</li> <li>Listen to the Music - The Doobie Brothers (10/21/72, #6)</li> <li>Bad Side of the Moon - April Wine (7/8/72, #16)</li> <li>Beautiful Sunday - Daniel Boone (7/15/72, #2)</li> <li>Changes - David Bowie (did not chart)</li> <li>Conquistador - Procol Harum (6/3/72, #7)</li> <li>Clean Up Woman - Betty Wright (1/1/72, #4)</li> <li>Superfly - Curtis Mayfield (did not chart)</li> <li>Let's Stay Together - Al Green (1/1/72, #2)</li> <li>Backstabbers - The O'Jays (8/19/72, #4)</li> <li>The Cisco Kid - War (4/14/73, #4)</li> <li>I'll Take You There - The Staple Singers (4/29/72, #10)</li> <li>Take It Easy - The Eagles (6/10/72, #12)</li> <li>Dunrobin's Gone - Brave Belt (7/1/72, #23)</li> <li>Guns, Guns, Guns - The Guess Who (did not chart)</li> <li>The Family of Man - Three Dog Night (3/25/72, #2)</li> <li>Someday Never Comes - Creedence Clearwater Revival (5/13/72, #15)</li> <li>Long Cool Woman - The Hollies (6/24/72, #3)</li> <li>The Lion Sleeps Tonight - Robert John (1/22/72, #3)</li> <li><b>Summer Breeze - Seals & Crofts (10/28/72, #1)</b></li> <li><b>Precious and Few - Climax (1/15/72, #1)</b></li> <li>I'm Gonna Love You Too - Terry Jacks (12/16/72, #12)</li> <li>Masquerade - Edward Bear (6/3/72, #14)</li> <li>(Make Me Do) Anything You Want - A Foot in Coldwater (7/1/72, #21)</li> <li>Rock and Roll Song - Valdy (10/21/72, #21)</li> <li>Sun Goes By - Dr. Music (7/8/72, #17)</li> <li>Day by Day - Godspell (7/8/72, #8)</li> <li>Time in a Bottle - Jim Croce (12/15/73, #8)</li> <li>Goodbye to Love - Carpenters (8/5/72, #6)</li> <li><b>The First Time Ever I Saw Your Face - Roberta Flack (3/18/72, #1)</b></li> <li>Betcha by Golly Wow - The Stylistics (3/18/72, #6)</li> <li>Bang a Gong (Get It On) - T. Rex (2/5/72, #8)</li> <li>Get Up, Get Out, Move On - Fludd (4/8/72, #18)</li> <li>Rocket Man - Elton John (6/24/72, #7)</li> <li>Beautiful - Gordon Lightfoot (5/27/72, #17)</li> <li>Suavecito - Malo (3/18/72, #8)</li> <li>If You Don't Know Me by Now - Harold Melvin & The Blue Notes (11/18/72, #4)</li> <li>You Ought to Be with Me - Al Green (12/9/72, #20)</li> <li><b>Lean on Me - Bill Withers (6/17/72, #1)</b></li> <li><b>Why Can't We Live Together - Timmy Thomas (1/6/73, #1)</b></li> <li><b>Heart of Gold - Neil Young (2/12/72, #1)</b></li> <li><b><b>Alone Again (Naturally) - Gilbert O'Sullivan (6/24/72, #1)</b></b></li> <li><b><b><b>I Can See Clearly Now - Johnny Nash (10/14/72, #1)</b> </b> </b></li> <li>Sylvia's Mother - Dr. Hook & the Medicine Show (4/15/72, #2)</li> <li>Brandy (You're a Fine Girl) - Looking Glass (6/10/72, #3)</li> <li>I Saw the Light - Todd Rundgren (5/6/72, #18)</li> <li>Baby Blue - Badfinger (4/1/72, #12)</li> <li>Drowning in the Sea of Love - Joe Simon (1/8/72, #17)</li> <li>Get on the Good Foot - James Brown (did not chart)</li> <li>Troglodyte (Cave Man) - The Jimmy Castor Bunch (5/27/72, #3)</li> <li>Runnin' Away - Sly & the Family Stone (2/19/72, #19)</li> <li>Take the Blindness - Joey Gregorash (11/11/72, #17)</li> <li>One More Chance - Ocean (9/16/72, #15)</li> <li>Cotton Jenny - Anne Murray (2/12/72, #18)</li> <li>Daytime Nighttime - Keith Hampshire (11/18/72, #6)</li> <li>Runnin' Back to Saskatoon - The Guess Who (9/23/72, #5)</li> <li>City of New Orleans - Arlo Guthrie (10/14/72, #6)</li> <li>Use Me - Bill Withers (9/23/72, #9)</li> <li>Everybody Plays the Fool - The Main Ingredient (8/26/72, #6)</li> <li>Tumbling Dice - The Rolling Stones (4/22/72, #11)</li> <li>You Could Have Been a Lady - April Wine (3/11/72, #6)</li> <li>Mother and Child Reunion - Paul Simon (2/12/72, #4)</li> <li>America - Yes (did not chart)</li> <li>Isn't Life Strange - The Moody Blues (4/29/72, #17)</li> <li>Never Been to Spain - Three Dog Night (1/1/72, #4)</li> <li>Look What You Done for Me - Al Green (4/29/72, #19)</li> <li>Freddie's Dead - Curtis Mayfield (11/11/72, #17)</li> <li><b>Papa Was a Rollin' Stone - The Temptations (11/25/72, #1)</b></li> <li>Vincent - Don McLean (4/22/72, #5)</li> <li><b>Amazing Grace - The Royal Scots Dragoon Guards (5/20/72, #1)</b></li>
</ol>
Vern Nicholson
tag:vernnicholson.com,2005:Post/5809812
2019-07-01T00:28:00-04:00
2019-07-01T01:48:15-04:00
Rediscovering 1971
<p>In my previous post on 1970, I mentioned that the transistor radio I received at Christmas was nothing short of a revelation. By 1971, the artists were my prophets and local Top 40 outlet CHUM and its charts, my bible. Perhaps because 1971 was my first full year of tuning in and turning on, I run out of superlatives to describe this extraordinary year in the annals of popular music.<br><br>And yeah, I know: <i>everyone</i> believes the music of their youth is the greatest music ever made. Fair enough, but dip into the hundred awesome songs below and tell me I'm wrong. If you're still unconvinced, David Hepworth's <i><a href="https://www.amazon.ca/1971-Never-Moment-Rocks-Golden/dp/0593074866" target="_blank">Never a Dull Moment: 1971—Rock's Golden Year</a> </i>might sway you. I mean, come on: what other year in rock history has its own book? Now, Hepworth's 1971 is, on the surface, not much like mine. He's a Brit, and as a 21-year-old then, his album-oriented listening overlapped little with that of a nine-year-old Canadian kid grooving to Top 40 radio. Still, we agree that in his words, "1971 saw an unrepeatable surge of musical creativity, technological innovation, naked ambition and outrageous good fortune that combined to produce music that still crackles with relevance today." Right on, brother.<br><br>In a more esoteric way, you know a year is special when three distinct songs named "Superstar" hit the charts within seven months. Of course, I couldn't resist placing them back-to-back-to-back on my Top 100, for they showcase the diversity and raw creativity that exemplifies 1971. And locally at least, the introduction of Canadian content regulations (CanCon) that January was to influence the CHUM charts in 1971 and beyond. Canadian radio now had to play at least 30% homegrown music, and as a result a few fabulous obscurities charted, if just barely. (Example: "<a href="https://www.youtube.com/watch?v=vqYj5VOFesk" target="_blank">You're Gonna Miss Me</a>" by Toronto band Wishbone, which should have been a bigger hit and not just in Canada.) In tribute, I've sprinkled my Top 100 with a few CanCon clumps.<br><br>As is customary for the early '70s, 1971's charts are graced with some spectacular one-hit wonders. Say hello/goodbye to Ashton, Gardner & Dyke, King Floyd, The Beginning of the End, Wadsworth Mansion, The 8th Day, The Glass Bottle and Daddy Dewdrop. And as someone who heard King Floyd long before Pink Floyd, I should note that at this point I still hadn't heard The Beatles. Fortunately, the music that came in their immediate wake was so stunning that had I known about them, I'd not have missed them much. Nor would I have fretted over hearing Richie Havens' "Here Comes the Sun" (April 1971, #8 on CHUM) well before encountering the original on <i>Abbey Road</i>. Regardless, the individual Beatles arguably peaked as solo artists this year as well, and you'll find all four in their very own John, Paul, George and Ringo section of my Top 100 of 1971.<br><br>The songs are in no particular order, other than what makes sense to me as a playlist. A few songs released in 1971 didn't chart until early 1972 on CHUM. Regardless, they properly belong to 1971 and so are included here. For similar reasons, "Your Song," released in late 1970, has been bumped into 1971. In brackets is the date the song debuted on the CHUM chart, followed by its peak chart position. Chart-topping songs are in bold. A few worthy songs didn't make the CHUM chart, but I heard them somehow. Some were double-A sides; others probably charted on regional Top 40 stations I listened to. Come explore, discover and enjoy the sweet sounds of rock's golden year, 1971!</p>
<ol> <li>Sweet Hitch-Hiker - Creedence Clearwater Revival (7/17/71, #8)</li> <li><b>Joy to the World - Three Dog Night (4/3/71, #1)</b></li> <li><b>Brown Sugar - The Rolling Stones (5/1/71, #1)</b></li> <li>You're Gonna Miss Me - Wishbone (6/5/71, #22)</li> <li>Broken - The Guess Who (did not chart)</li> <li>Woodstock - Matthews' Southern Comfort (3/20/71, #4)</li> <li>Draggin' the Line - Tommy James (6/19/71, #2)</li> <li>Theme from <i>Shaft</i> - Isaac Hayes (10/2/71, #2)</li> <li>For All We Know - Carpenters (2/27/71, #7)</li> <li>Sunshine - Jonathan Edwards (11/20/71, #2)</li> <li>Ain't No Sunshine - Bill Withers (7/31/71, #6)</li> <li>Here Comes the Sun - Richie Havens (4/21/71, #8)</li> <li>Morning Has Broken - Cat Stevens (4/22/72, #2)</li> <li><b>Don't Pull Your Love - Hamilton, Joe Frank & Reynolds (6/12/71, #1)</b></li> <li>Groove Me - King Floyd (1/2/71, #5)</li> <li>Want Ads - Honey Cone (5/1/71, #4)</li> <li>Rock Steady - Aretha Franklin (11/6/71, #4)</li> <li>Funky Nassau (Pt. 1) - The Beginning of the End (5/15/71, #8)</li> <li>Get It On - Chase (7/3/71, #16)</li> <li>Resurrection Shuffle - Ashton, Gardner & Dyke (7/10/71, #7)</li> <li>Everybody's Everything - Santana (10/30/71, #10)</li> <li>It's Too Late - Carole King (5/22/71, #5)</li> <li>Anticipation - Carly Simon (12/18/71, #7)</li> <li>You've Got a Friend - James Taylor (6/26/71, #2)</li> <li>Signs - Five Man Electrical Band (5/29/71, #3)</li> <li>I'd Love to Change the World - Ten Years After (10/9/71, #4)</li> <li>Sweet Mary - Wadsworth Mansion (1/9/71, #2)</li> <li>Hey Big Brother - Rare Earth (12/11/71, #8)</li> <li>(For God's Sake) Give More Power to the People - The Chi-Lites (5/29/71, #12)</li> <li>Imagine - John Lennon (9/11/71, #3)</li> <li><b>Uncle Albert/Admiral Halsey - Paul & Linda McCartney (7/17/71, #1)</b></li> <li>What Is Life - George Harrison (2/27/71, #5)</li> <li>It Don't Come Easy - Ringo Starr (5/8/71, #5)</li> <li>Albert Flasher - The Guess Who (4/24/71, #5)</li> <li>An Old Fashioned Love Song - Three Dog Night (10/30/71, #5)</li> <li>Me and You and a Dog Named Boo - Lobo (4/24/71, #7)</li> <li>What's Going On - Marvin Gaye (3/13/71, #10)</li> <li>Respect Yourself - The Staple Singers (11/20/71, #12)</li> <li>Turned 21 - Fludd (11/27/71, #16)</li> <li>Lovin' You Ain't Easy - Pagliaro (11/6/71, #9)</li> <li>Ain't It a Sad Thing - R. Dean Taylor (1/30/71, #21)</li> <li>Carry Me - The Stampeders (3/6/71, #10)</li> <li>Amos Moses - Jerry Reed (1/23/71, #5)</li> <li>It's a Cryin' Shame - Gayle McCormick (11/13/71, #22)</li> <li>Stay with Me - Faces (12/25/71, #7)</li> <li>One Fine Morning - Lighthouse (9/4/71, #13)</li> <li>Family Affair - Sly & the Family Stone (11/13/71, #8)</li> <li>If You Really Love Me - Stevie Wonder (9/4/71, #4)</li> <li>She's Not Just Another Woman - The 8th Day (6/19/71, #14)</li> <li>Treat Her Like a Lady - Cornelius Brothers & Sister Rose (4/24/71, #13)</li> <li><b>She's a Lady - Tom Jones (2/13/71, #1)</b></li> <li>Love Her Madly - The Doors (4/17/71, #7)</li> <li>Two Divided by Love - The Grass Roots (10/2/71, #3)</li> <li>The Story in Your Eyes - The Moody Blues (8/28/71, #14)</li> <li>Day After Day - Badfinger (12/4/71, #3)</li> <li>So Far Away - Carole King (9/4/71, #12)</li> <li>Fly Across the Sea - Edward Bear (12/25/71, #22)</li> <li>Carey - Joni Mitchell (did not chart)</li> <li>Fast Train - April Wine (6/12/71, #23)</li> <li>Rain Dance - The Guess Who (8/7/71, #3)</li> <li><b>Indian Reservation - Raiders (5/29/71, #1)</b></li> <li>Do You Know What I Mean - Lee Michaels (8/21/71, #7)</li> <li>Superstar - Carpenters (9/4/71, #3)</li> <li><b>Superstar - Murray Head (5/8/71, #1)</b></li> <li>Superstar - The Temptations (12/4/71, #13)</li> <li>Mr. Bojangles - Nitty Gritty Dirt Band (1/23/71, #10)</li> <li>One Toke over the Line - Brewer & Shipley (2/27/71, #11)</li> <li>Moonshadow - Cat Stevens (8/7/71, #23)</li> <li>Chick-A-Boom (Don't Ya Jes' Love It) - Daddy Dewdrop (4/3/71, #3)</li> <li>Trapped by a Thing Called Love - Denise LaSalle (10/9/71, #21)</li> <li><b>Have You Seen Her - The Chi-Lites (11/13/71, #1)</b></li> <li>Proud Mary - Ike & Tina Turner (2/27/71, #3)</li> <li>If You Could Read My Mind - Gordon Lightfoot (1/2/71, #6)</li> <li>Jodie - Joey Gregorash (4/10/71, #11)</li> <li>Absolutely Right - Five Man Electrical Band (10/9/71, #6)</li> <li>Oh What a Feeling - Crowbar (3/27/71, #14)</li> <li>I Ain't Got Time Anymore - The Glass Bottle (8/14/71, #17)</li> <li><b>Maggie May - Rod Stewart (8/21/71, #1)</b></li> <li>I Just Want to Celebrate - Rare Earth (8/7/71, #13)</li> <li><b>Sweet City Woman - The Stampeders (7/10/71, #1)</b></li> <li>The Night They Drove Old Dixie Down - Joan Baez (8/21/71, #2)</li> <li>Wild Night - Van Morrison (10/30/71, #17)</li> <li>Your Song - Elton John (12/26/70, #4)</li> <li>Sour Suite - The Guess Who (10/30/71, #7)</li> <li>Liar - Three Dog Night (7/10/71, #4)</li> <li>Peace Train - Cat Stevens (10/9/71, #7)</li> <li>Tired of Being Alone - Al Green (10/2/71, #8)</li> <li>Won't Get Fooled Again - The Who (8/21/71, #6)</li> <li>Lucky Man - Emerson, Lake & Palmer (5/8/71, #7)</li> <li><b>American Pie - Don McLean (11/27/71, #1)</b></li> <li>I Feel the Earth Move - Carole King (did not chart)</li> <li>Heavy Makes You Happy - The Staple Singers (3/6/71, #19)</li> <li>You Are Everything - The Stylistics (12/25/71, #4)</li> <li>Just My Imagination (Running Away with Me) - The Temptations (2/20/71, #13)</li> <li>Smiling Faces Sometimes - The Undisputed Truth (7/31/71, #4)</li> <li>Slippin' into Darkness - War (4/15/72, #4)</li> <li><b>Riders on the Storm - The Doors (7/24/71, #1)</b></li> <li><b>Put Your Hand in the Hand - Ocean (1/23/71, #1)</b></li> <li>One More Mountain to Climb - Dr. Music (did not chart)</li> <li>Wedding Song (There Is Love) - Paul Stookey (9/18/71, #7)</li>
</ol>
Vern Nicholson
tag:vernnicholson.com,2005:Post/5791277
2019-06-14T00:57:00-04:00
2019-06-15T03:05:41-04:00
Rediscovering 1970
<p>On Christmas Day, 1970, I received a Westinghouse transistor radio as a gift from my grandparents. I was nine years old, and little did they know what they were about to unleash. I inserted the supplied AA batteries, turned it on and tuned in 1050 CHUM, Toronto's Top 40 powerhouse. I discovered rock 'n' roll, and my life would never be the same.<br><br>What I heard that afternoon was probably something like this <a href="http://rockradioscrapbook.ca/chum-wilson-dec23-70.mp3" target="_blank">J. Michael Wilson</a> aircheck from December 23. And if perchance CHUM was playing something drippy like The Partridge Family, four alternatives were on offer: 790 CHIC (Brampton), 1150 CKOC (Hamilton), 1280 CHAM (Hamilton) and 1430 CKFH (Toronto).<br><br>Fast forward 49 years and with the help of the <a href="http://chumtribute.com/" target="_blank">CHUM Tribute</a> site, I'm rediscovering the music of my youth, creating my personal Top 100 for 1970, 1971 and 1972. I consider these the prime years. From 1973 onward, the music grew increasingly saccharine. Then came disco. Regardless, I just downloaded every CHUM chart from January 3, 1970 till they stopped publishing them in mid-1975. I consider them pure gold: touchstones of my youth that I never expected to see again. I've been scouring the charts, especially their lower reaches, for obscurities I missed when I first assembled my playlists for the big three years, and I found some gems that fleshed out my Top 100.<br><br>So ... what can I say about 1970? I feel rather unqualified to discuss the year as a whole because I only signed up in the last week. I'm in the strange position of having heard The Beatles' debut solo singles before I'd heard of The Beatles. I remember thinking, sometime in 1973 maybe, "You mean John, Paul, George and Ringo were all in the same band once? Wow. I should check them out." And that, of course, sent me on another wonderful journey. Certainly, the breakup of The Beatles is the single biggest musical story of the year, followed by the deaths of Jimi Hendrix and Janis Joplin. But 1970 is, as you'll discover below, so much more than that. Here you'll find pile-driving rockers, bubblegum classics, killer pop songs and the first stirrings of soul mutating into funk, not to mention a few oddball novelties. This was a time when white and black musics sat side by side on the charts in their many guises: soul, funk, rock, gospel, pop, folk, country and more. Music wasn't segregated and segmented as it is now. From fuzzed-out guitars to funky grooves to lush orchestral passages, 1970 has it all.<br><br>My Top 100 is in no particular order, other than what makes sense to me as a playlist. The nine songs that kick it off are among the first I ever heard, which is why I've given them prominence. A few songs released in 1970 didn't chart until early or even mid-1971 on CHUM. Regardless, they properly belong to 1970 and so are included here. In brackets is the date the song debuted on the CHUM chart, followed by its peak chart position. Chart-topping songs are in bold. You'll note that a few songs in my Top 100 didn't chart at all. Some may have charted on the other Top 40 stations mentioned above; as for the rest, they're worthy tunes I encountered later that deserved a better fate.<br><br>But enough rambling—here's my Top 100 of 1970. Explore, discover, and enjoy the great sounds of a terrific year!</p>
<ol> <li>Games - Redeye (12/12/70, #10)</li> <li><b>Love the One You're With - Stephen Stills (12/19/70, #1)</b></li> <li><b>My Sweet Lord - George Harrison (11/28/70, #1)</b></li> <li>Born to Wander - Rare Earth (1/9/71, #8)</li> <li>I'm Eighteen - Alice Cooper (3/27/71, #6)</li> <li>Express Yourself - Charles Wright and the Watts 103rd Street Rhythm Band (9/26/70, #15)</li> <li>Stoney End - Barbra Streisand (12/12/70, #6)</li> <li>Hey Tonight - Creedence Clearwater Revival (did not chart)</li> <li>We Gotta Get You a Woman - Runt (12/19/70, #7)</li> <li>Evil Ways - Santana (2/7/70, #5)</li> <li>Are You Ready - Pacific Gas & Electric (5/30/70, #24)</li> <li>Celebrate - Three Dog Night (3/7/70, #16)</li> <li>Get Up (I Feel Like Being a) Sex Machine - James Brown (did not chart)</li> <li>Love Grows (Where My Rosemary Goes) - Edison Lighthouse (2/21/70, #3)</li> <li>Make Me Smile - Chicago (4/18/70, #5)</li> <li>Bus Rider - The Guess Who (did not chart)</li> <li>Spirit in the Sky - Norman Greenbaum (2/28/70, #4)</li> <li>The Witch's Promise - Jethro Tull (did not chart)</li> <li>Do What You Wanna Do - Five Flights Up (10/10/70, #22)</li> <li>Turn Back the Hands of Time - Tyrone Davis (4/4/70, #11)</li> <li>Tears of a Clown - Smokey Robinson & the Miracles (10/24/70, #3)</li> <li>Blue Money - Van Morrison (2/27/71, #16)</li> <li><b>Who'll Stop the Rain - Creedence Clearwater Revival (1/31/70, #1)</b></li> <li>Ohio - Crosby, Stills, Nash & Young (7/25/70, #6)</li> <li>Hitchin' a Ride - Vanity Fare (5/2/70, #4)</li> <li><b>As the Years Go By - Mashmakan (7/4/70, #1)</b></li> <li>We've Only Just Begun - Carpenters (9/26/70, #2)</li> <li>Black Magic Woman - Santana (11/14/70, #2)</li> <li>Cecilia - Simon & Garfunkel (4/25/70, #2)</li> <li>Big Yellow Taxi - Joni Mitchell (6/27/70, #3)</li> <li>In the Summertime - Mungo Jerry (7/18/70, #4)</li> <li>ABC - The Jackson 5 (3/21/70, #3)</li> <li>Somebody's Been Sleeping - 100 Proof Aged in Soul (11/14/70, #12)</li> <li>Give Me Just a Little More Time - The Chairmen of the Board (1/24/70, #5)</li> <li>Signed, Sealed, Delivered I'm Yours - Stevie Wonder (7/11/70, #14)</li> <li>Mr. Monday - The Original Caste (4/25/70, #3)</li> <li>No Time - The Guess Who (1/3/70, #9)</li> <li>One Man Band - Three Dog Night (1/2/71, #20)</li> <li><b>Travelin' Band - Creedence Clearwater Revival (1/31/70, #1)</b></li> <li>Who Needs Ya - Steppenwolf (1/16/71, #17)</li> <li>Mexico - Jefferson Airplane (did not chart)</li> <li>You, Me and Mexico - Edward Bear (3/14/70, #3)</li> <li>Temptation Eyes - The Grass Roots (2/20/71, #7)</li> <li>My Baby Loves Lovin' - White Plains (4/11/70, #2)</li> <li><b>25 or 6 to 4 - Chicago (8/8/70, #1)</b></li> <li>The Letter - Joe Cocker (5/2/70, #2)</li> <li>Tighter, Tighter - Alive and Kicking (6/20/70, #6)</li> <li>Corrina, Corrina - King Biscuit Boy & Crowbar (9/12/70, #23)</li> <li>Band Bandit - Tundra (did not chart)</li> <li>Yellow River - Christie (7/25/70, #5)</li> <li>Wild World - Cat Stevens (did not chart)</li> <li>All Right Now - Free (9/12/70, #2)</li> <li>You're the One - Little Sister (4/11/70, #12)</li> <li><b>Thank You (Falettinme Be Mice Elf Agin) - Sly & the Family Stone (1/24/70, #1)</b></li> <li><b>The Long and Winding Road - The Beatles (5/23/70, #1)</b></li> <li><b>No Sugar Tonight - The Guess Who (3/21/70, #1)</b></li> <li>Reflections of My Life - The Marmalade (3/14/70, #7)</li> <li>Question - The Moody Blues (5/9/70, #7)</li> <li>Come Saturday Morning - The Sandpipers (5/2/70, #16)</li> <li>Come Running - Van Morrison (4/4/70, #8)</li> <li><b>Up Around the Bend - Creedence Clearwater Revival (5/2/70, #1)</b></li> <li>Fire and Rain - James Taylor (10/3/70, #6)</li> <li>Love on a Two-Way Street - The Moments (5/16/70, #3)</li> <li>Ball of Confusion - The Temptations (5/30/70, #7)</li> <li><b>I'll Be There - The Jackson 5 (9/26/70, #1)</b></li> <li>O-o-h Child - The Five Stairsteps (6/28/70, #9)</li> <li>Mama Told Me (Not to Come) - Three Dog Night (5/30/70, #2)</li> <li><b>American Woman - The Guess Who (3/21/70, #1)</b></li> <li>Vehicle - The Ides of March (3/28/70, #2)</li> <li>Lucretia MacEvil - Blood, Sweat & Tears (10/24/70, #11)</li> <li>Up the Ladder to the Roof - The Supremes (3/14/70, #13)</li> <li>Go Back - Crabby Appleton (8/15/70, #10)</li> <li>Lola - The Kinks (10/3/70, #2)</li> <li>Ride Captain Ride - Blues Image (5/9/70, #8)</li> <li>Teach Your Children - Crosby, Stills, Nash & Young (6/13/70, #5)</li> <li>Oye Como Va - Santana (3/13/71, #19)</li> <li>No Matter What - Badfinger (11/21/70, #3)</li> <li>Indiana Wants Me - R. Dean Taylor (7/25/70, #4)</li> <li>Joanne - Michael Nesmith and the First National Band (8/15/70, #6)</li> <li>I Hear You Knocking - Dave Edmunds (1/16/71, #3)</li> <li><b>Instant Karma! - John Lennon (2/28/70, #1)</b></li> <li>Me and Bobby McGee - Janis Joplin (2/20/71, #9)</li> <li>Immigrant Song - Led Zeppelin (12/5/70, #2)</li> <li><b>(They Long to Be) Close to You - Carpenters (6/28/70, #1)</b></li> <li>Hand Me Down World - The Guess Who (7/11/70, #3)</li> <li>Out in the Country - Three Dog Night (9/12/70, #11)</li> <li>Spill the Wine - Eric Burdon & War (7/4/70, #4)</li> <li>Neanderthal Man - Hotlegs (9/5/70, #18)</li> <li>Hey Lawdy Mama - Steppenwolf (did not chart)</li> <li><b>Venus - The Shocking Blue (1/3/70, #1)</b></li> <li>If I Were Your Woman - Gladys Knight & the Pips (12/26/70, #6)</li> <li>5-10-15-20 (25-30 Years of Love) - The Presidents (11/28/70, #7)</li> <li>Colour My World - Chicago (7/7/71, #3)</li> <li><b>One Tin Soldier - The Original Caste (1/3/70, #1)</b></li> <li><b>War - Edwin Starr (7/18/70, #1)</b></li> <li>Have You Ever Seen the Rain - Creedence Clearwater Revival (2/20/71, #16)</li> <li>Domino - Van Morrison (11/21/70, #4)</li> <li><b>Bridge over Troubled Water - Simon & Garfunkel (2/7/70, #1)</b></li> <li>Share the Land - The Guess Who (10/17/70, #3)</li> <li><b>Let It Be - The Beatles (3/21/70, #1)</b></li>
</ol>
Vern Nicholson
tag:vernnicholson.com,2005:Post/5761991
2019-05-20T22:01:00-04:00
2019-06-02T14:34:57-04:00
Go Forth with New Strength
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<p>You know, you can go years without giving a thought to your high school. I certainly did until Tuesday, May 7, when the lead item on the morning news was a six-alarm fire at York Memorial Collegiate Institute, a day after its 90th anniversary. For most Torontonians it's a tragedy, but one from which they might feel rather detached: some old high school in the west end caught fire. Sad, but oh, well, right? Well, it's a punch in the gut when it's <i>your</i> old school—even when we're talking almost 40 years ago.<br><br>Ironically, just days before I'd joined a Facebook group for YMCI alumni. We had a reunion scheduled for May 25 at the school, and I'd been waffling about going. There's now no school at which to hold a reunion. Yes, the building is still standing, but the roof is gone. The centre of the structure, including its magnificent auditorium replete with stained glass windows, is completely blown out. You can see right through it if you stand at the front doors. (Alternate, unofficial gatherings have been arranged for May 25, including a day-long open stage at the Cadillac Lounge. That's where you'll find me.)<br><br>I was surprised at how deeply the fire affected me. My memories of the place, and my high school years in general, are neutral. High school wasn't the best time of my life nor the worst. Yet there I was last Saturday, school sweater on, heading up to Keele and Eglinton on the TTC because I had to see it. As an "active investigation" in fire marshal parlance, the area is fenced off so it was hard to get too close. Around back, I noticed a woman standing at the fence. She turned to me and I said, "Mrs. Henery?"<br><br>Now, Mrs. Henery has been retired for 25 years. She taught geography and math, I believe. I never had her as a teacher, but it's amazing how 40 years melted away in that flash of recognition. And there we stood, each fumbling to express an unspeakable sadness. I spent five years of my life there; she, perhaps 20 years of her working life. "You were in Miss Manson's class, weren't you?" she said. "Yes. Grade 11 history." "Well, I'm still in touch with her. I'll say hi to her for you. What was your name again?"<br><br>I never thought in a million years I'd write a song about my old high school, but I had to ... just to process the sudden onslaught of strong, unexpected emotions. Simple as that. And soon after I began I realized it wasn't really about me, though it's filtered through my particular lens. It's about York Memo and all of us who studied and worked there, through the many decades. The school motto—something my teenage self would likely have snickered at—was a perfect focal point for what I needed to express. It also gave me the song's title. And with that, I humbly present my demo of "<a href="https://soundcloud.com/verntunes/go-forth-with-new-strength-demo" target="_blank">Go Forth with New Strength</a>," for Mustangs everywhere:</p>
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<div style="text-align: center;">Red-and-gold fire trucks, a six-alarm blaze<br>My best friend Dan had his name on that wall<br>Murals and stained glass they just couldn't save<br>Flames tore through what once was the hall<br>They did all they could do<br>Now it's come down to me and you to bring it all back<br><br>Go forth with new strength and the love that remains<br>Battle-scarred and fire-charred, let's save the grand old dame<br>Go forth with new strength, Memo strong, Mustang proud<br>And shed a tear or two 'cause you're allowed<br><br>Met Mrs. Henery down by the back fence<br>Came all this way to salute her old school<br>Ashes, brick and cinder, it's so hard to make sense<br>We stood agape as only the helpless can do<br>"Say hi to Miss Manson"<br>And I'd pay you a king's ransom to bring it all back<br><br>Come on, you red and gold<br>Weave all the tales you've told<br>And all the lives you mould<br>Into a common goal<br>We want a new rebuild<br>Let's see that dream fulfilled now<br><br>Go forth with new strength and the love that remains<br>Battle-scarred and fire-charred, God bless the grand old dame<br>Go forth with new strength, Memo strong, Mustang proud<br>And shed a tear or two 'cause you're allowed<br>And shed a tear or two 'cause you're allowed<br>Don't forget to mourn, 'cause you know you're allowed<br><br>© 2019 Vern Nicholson (SOCAN)<br> </div>
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Vern Nicholson
tag:vernnicholson.com,2005:Post/5728871
2019-04-22T21:27:00-04:00
2019-04-22T23:10:12-04:00
Real Chords #6: Teenage Fanclub, "Shock and Awe"
<p>I've always loved this band, and I suspect most power-pop aficionados would agree that they don't get much better than <a href="https://www.teenagefanclub.com/" target="_blank">Teenage Fanclub</a>, once famously called "the best band in the world" by Kurt Cobain. Over the course of their first four albums the proto-grunge impulses melted away, leaving only the luscious, catchy tunes we power-poppers know and love.<br><br>In recent times, their records have consisted of four songs each from talented songwriters Norman Blake, Raymond McGinley and Gerard Love, with each bringing unique melodic gifts to the proceedings. Sadly, Love has left the band and for me, their carrying on without him is like Paul, George and Ringo continuing as The Beatles without John. It's that big a loss. Yes, Blake's and McGinley's songs are usually good and occasionally great. But in my estimation, since <i>Grand Prix</i> Gerard Love's contributions have been uniformly stellar, the highlights of nearly every Teenage Fanclub album from that point on.<br><br>"Shock and Awe" is from 2010's <i>Shadows,</i> an album that for Gerry marked a minor slump—only two of his songs made my "greatest hits" playlist instead of the customary three or four. As always, it floors me what he's able to do with just a few chords and an achingly beautiful melody. Online transcriptions for this were in the ballpark, but yet again, the infamous fear-of-capo led the transcribers astray. I'll say it once more: most rock musicians, especially those I look up to, are songwriters first and virtuosos second, if at all. This means they're in search of the <i>easiest</i> and most natural way to play what they've written. So yes, you could attempt this <a href="https://www.guitartabsexplorer.com/teenage-fanclub-Tabs/shock-and-awe-crd.php" target="_blank">without a capo</a> and end up with F, Am/F and Gm9 in the verse and a gnarly A# in the choruses. (We'll overlook the fact that the Gm9 is really Gm7 and Am/F, a truly hideous chord, should really be a C/E. Oh, and in the key of F, the fourth is called Bb, not A#.) Capoing at the third fret not only makes the song easier to play but lends itself to some tasty rhythm licks, unavailable in the open position unless you're Andrés Segovia.<br><br>Here, then, are the real chords to "Shock and Awe," written by the magnificent and greatly missed Gerard Love:<br><br><b>Capo 3</b></p>
<ul> <li>Intro and verse: D A Asus4 A Em7* Em E7sus4 Em</li> <li>Chorus: F#m G Em G D</li>
</ul>
<p>* Fingering, low to high: 022033. There are other ways to play Em7, but this fingering enables you to play the rhythm guitar lick exactly as Teenage Fanclub does.<br><br><i>Notes: </i>The intro/verse chords given here are the advanced version, containing all the rhythm licks that they do. If you want to simplify, you can easily get by with D A Em7. The instrumental bit in the middle is a variation on the intro/verse chords. I haven't worked it out because as a solo performer, I'll be ditching that part and heading straight to the intro. For what it's worth, during that bit they seem to hang out on the Em7 for long stretches. The G in the chorus sounds better to me with no third in it, which really makes it a G5: fingering 3x033. I play G like this 95% of the time anyway, but it's a matter of personal preference.<br><br>In closing, let me point you to a great resource that's helped me figure out the names of the wacky chords I play. JGuitar's <a href="https://jguitar.com/chordname" target="_blank">chord namer</a> lets you punch in the fingering you're using, then tells you what the chord is called. The reverse—where you know the chord's name but have no idea how to finger it—is their <a href="https://jguitar.com/chord" target="_blank">chord calculator</a>, which threatens to give you "every mathematically possible fingering" for the chord you specify. Of course, you know to try the easiest ones first, right? Or as they warn, "Be careful when adjusting the advanced options as they may result in chords that are very difficult to play." And we folk/rock rhythm guitarists want none of <i>those,</i> thanks very much.</p>
Vern Nicholson
tag:vernnicholson.com,2005:Post/5668360
2019-03-04T11:00:00-05:00
2020-07-25T12:43:17-04:00
Play Ball!
<p>Well, not here, not yet. But soon enough: opening day is March 28. Anyway, down in Florida and Arizona, all 30 MLB teams <i>are</i> playing ball in what's rather oddly called spring training. I say that because the first game took place on February 21. That's winter on any calendar, no? Regardless, I relish the arrival of spring training every year because it signifies the beginning of the end of winter.<br><br>Now, up here in Toronto, we've had more snow than we know what to do with, it's bitterly cold, and winter can hang around till mid-April. That's why I said <i>beginning</i> of the end. But the mere fact that baseball, that quintessential summertime sport, is being played somewhere means Old Man Blizzard and his good buddies Ice Storm and Wind Chill are on their way out. Good riddance, I say.<br><br>Baseball and radio go together like peanut butter and jam, and every year at this time I celebrate the return of my favourite broadcast teams: Jon Miller and Duane Kuiper (Giants); Dan Dickerson and Jim Price (Tigers); Ed Farmer and Darrin Jackson (White Sox). As for the hometown Blue Jays crew, I miss Tom Cheek and Jerry Howarth, but Ben Wagner and Mike Wilner do a decent job and their chemistry is good.<br><br>One pet peeve, and this is not confined to Blue Jay broadcasts, is the incessant use of player-specific adjectives. Examples:</p>
<ul> <li>"Three outs, all on fly balls. Now, that's an un-Marcus-Stroman-like inning."</li> <li>"He just flailed at it. What an un-Miguel-Cabrera-like swing that was!"</li> <li>"He's already issued five walks, which is so un-Sam-Gaviglio-like."</li>
</ul>
<p>I've never understood this. Why invent new words when you've got old ones that work fine? It's as though they feel they must conjure up fresh adjectives for each player, because of course un-Marcus-Stroman-like is <i>completely different</i> than un-Sam-Gaviglio-like.<br><br>Newsflash, boys: there's an elegant, simple word that encompasses un-Marcus-Stroman-like, un-Miguel-Cabrera-like, un-Sam-Gaviglio-like and un-Insert-Player-Here-like. That word is "uncharacteristic<i>."</i> If it seems unwieldy, try "unusual." And you can even use "unlike" sans player name in the middle, like so: "He's already issued five walks, which is so unlike Sam Gaviglio."<br><br>I'm happy to report that things are looking up, though. Why, on a broadcast last week Wilner said of some pitcher, "He's just not himself today." Yeah! Beautiful. See? Pithiness is next to godliness.<br><br>But whatever your quirks, all you broadcasters out there, I thank you profusely for bringing the old ball game to us season after season, 162 games a year. Baseball is the sound of summer, even in these <strike>un-baseball-like</strike> frigid temperatures.</p>
Vern Nicholson
tag:vernnicholson.com,2005:Post/5649383
2019-02-15T01:38:00-05:00
2019-03-02T13:57:21-05:00
Autumn Micro-Tour 2018
<p>In the fall of 2018 I embarked on my second micro-tour, a venture cut short by my cat's illness—from which, I'm happy to say, he's largely and miraculously recovered. Nonetheless, I played enough shows to produce a few audio highlights, which I've posted on my <strong><a href="https://vernnicholson.com/music" target="_blank">music</a></strong><b><i> </i></b>page. Before we get into the meat of it, I give you the stats:</p>
<ul> <li>Duration: 6 weeks, plus the final show a month later</li> <li>Shows played: 9</li> <li>Unique venues: 7</li> <li>Songs played: 30 (15 originals, 15 covers)</li> <li>Songs repeated: 1</li> <li>Songs debuted: 5</li>
</ul>
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<div style="text-align: center;"><span style="font-size: x-small;">Micro-touring at Free Times Caf<span class="st">é, November 17, 2018. Photo by Brian Gladstone.</span></span></div>
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<p><b>"This Magnificent Dare" (Stop 2—Don Heights Coffeehouse, Toronto ON, October 13, 2018)</b><br><br>It took over an hour to get here by transit, and due to my late arrival I was lucky to grab a spot (10th). I'd hoped to go on first, as always, but a few performers were far more eager—the sign-up sheet had a 0 and -1 as write-ins. Anyway, that 10th spot, which was really 12th, came after the feature's opening half-hour slot, so it was a long wait. Said feature (an accordion/sax duo) played impeccably, but I'm afraid I was born far too late to appreciate what sounded like a pared-down Lawrence Welk. I did, though, enjoy the host's singalong version of The Beatles' "All Together Now." Still schmaltz, I guess, but at least of my era.<br><br>I brought the dulcimer along to accompany myself on "This Magnificent Dare," which I've also performed on guitar. I really wanted to play the dulcimer at an open stage before the outdoor humidity dropped too low. Flubbed part of a verse but recovered quite well. It's taken a while, but over the years I've learned to shrug off the mistakes and carry on.<br><br><b>"Let Love Strum You"/"On the Bus" (Stop 3—The Tilted Dog, Toronto ON, October 18, 2018)</b><br><br>I didn't feel like playing tonight, but TTD is walking distance from home and I promised the host I'd show up, so no excuses. This, by the way, is almost always the right decision. In 30 years of live performances, I can count on one hand the shows I wish I hadn't played.<br><br>The cover I cannot shake—and will never attempt, as I can't stand it—appeared in the midst of an otherwise pleasant set by a mid-twenties singer/songwriter. Yes, folks, it's Ben E. King's "Stand by Me," one more time. On the plus side, the crowd was treated to two Dylan covers tonight. A charming old hippie played a truncated "Desolation Row" with wildly varying tempo, while a nylon-string guitarist did a nice job on "Tangled up in Blue."<br><br>As for me, well, is one of your old band's originals not penned by you a cover? I say yes. That band was <a href="http://wilfullyobscure.blogspot.com/2016/10/sour-landslide-friends-of-dracula-1994.html" target="_blank">Sour Landslide</a>, and way back in the 1990s I accompanied my brother's killer tunes on bass and harmony vocals. I've always wanted to try one of, um, their songs, and this one seemed the quickest way in ... after I changed the key. See, I often joke that my voice didn't change till I turned 50. Not only were my high harmonies on the 1994 recording unreachable; I couldn't even sing Vince's lead vocal in the original key! So, my version is lower and slower, as befits an aging indie musician. I also did a little tinkering to make it my own. I managed to up the tempo a bit for my original this evening, "Let Love Strum You," the chorus of which was shamelessly lifted from a radio commercial.<br><br><b>"Groping to Victory"/"Skyway" (Stop 4—Hirut, Toronto ON, October 21, 2018)</b><br><br>This small, intimate open mic, hosted by the friendly, funny and talented Nicola Vaughan, is a little far-flung but right on the subway line (Woodbine, for you Torontonians). Unfortunately I have other commitments in the Sunday 3-6 time slot, so can rarely make it out. I feel a few pangs of guilt because this open stage needs support that I can't really give, but I enjoy coming when I can.<br><br>After Nicola regaled us with a few obscure Monkees songs, up came a parade of talented folk, blues and jazz players ... and me. Sometimes I envy the technically proficient, but I try not to compare. They do what they do, I do what I do, and it's all good. How dull these open stages would be if we all sounded the same, right? Now, I was quite taken by the jazzer's gear: an Ibanez electric with F-holes and a Bigsby vibrato, a tasty digital delay and a looper pedal. I was dying to hear him give the Bigsby a workout, but he barely touched it. Why, if I had a Bigsby, I'd be <a href="http://www.johncipollina.com/quicksilver.htm" target="_blank">John Cipollina</a>! (That's my delusion and I'm sticking to it.)<br><br>Delusions of guitar-hero grandeur aside, "Groping to Victory" went down well this afternoon, as did Paul Westerberg's delicate "Skyway," long a favourite of mine.<br><br><b>"Have I Been Expecting You"/"A Glimpse of Heaven" (Stop 5—Legends Sports Lounge, Toronto ON, November 1, 2018)</b><br><br>Tonight was supposed to be an out-of-town jaunt to Markham, but 25 mm of rain put a damper on those plans, you could say. I settled instead on this place, a block or so from Pape Station. Acoustics were a bit dodgy, as you hear on the recording, but I'd say overall this was my best show of the tour. As often happens at open stages, I was playing to two distinct (and small) audiences: fellow musicians waiting to play, attentive listeners all, and oblivious regulars chatting away, the latter faithfully captured by my Zoom H1.<br><br>I navigated my way through "Expecting," my somewhat tricky new song, then launched into this Strawbs cover that I do every now and then. For posterity I've preserved my exchange with a fellow musician at the end, who not only knew the tune but first heard it the same way I did, on an eight-track "best of" purchased at Woolco, circa 1981. Man, no one <i>ever</i> recognizes my obscure covers. I'm slipping.<br><br><b>"Mon Vrai Destin" (Stop 6—The Birch Bistro & Lounge, Bowmanville ON, November 8, 2018)</b><br><br>I took the 4:30 express train (no stops till Pickering), which was jammed. First time I've had to stand on a GO train. Even travelling express to Oshawa, it took the better part of two hours to reach Bowmanville. After a nice dinner at the local Mr. Sub, I head to the venue, early for once, and sign up to play first so I can get home at a reasonable hour. Unfortunately, the place started to fill up after I'd finished playing. So it goes.<br><br>The Birch has a pleasant, warm, almost-elegant ambience—far from the rough-and-tumble bars I associate with small towns. I'm allotted five songs, which is quite generous, and the stage sound is pretty good once the host turns down the guitar amp midway through my first number. I play reasonably well, though not at my blinding best. Halfway through "I Don't Want to Spoil the Party," my new Beatles cover, I realize I should sing it an octave higher or change the key. Too late. This one, a Peter, Paul & Mary chanson, comes off much better.<br><br>Speaking of obscure covers, Sam, the young guy who follows me, tells the crowd that he traffics in them. I practically wet my pants when he announces "Broken," but no, it's not The Guess Who B-side from 1971. This is another "Broken," by ... Jared Somebody? Beats me. Then he says, "Here's a Catfish and the Bottlemen tune." Right. Uh, so, you know any <a href="https://www.flickr.com/photos/pagedooley/4662744343" target="_blank">Juff Gleento</a>? Rufus and the Juts? The Ked?<br><br><b>"Liza Radley" (Stop 8—Dr. B's Acoustic Medicine Show, Free Times Caf</b><b><span class="st">é</span>, Toronto ON, November 17, 2018)</b><br><br>Boy, that 1:00 start time is tough for me. I arrive late and sign up 13th, which is fitting. This has not been a good day. My front bicycle tire went flat around St. George, and I had to walk the bike from there. As I sip on the obligatory decaf coffee—at the Free Times you<i> </i>must order at least one drink, "no exceptions" as the sign says—I'm preoccupied not with my set but how I'll get home. It's possible to lug a guitar on the Carlton streetcar. Transporting a bicycle is more awkward, but I've done it. A guitar <i>and</i> a bike? No way.<br><br>Maybe I'll take the guitar home first, then come back for the bike. Or maybe not. That's four fares and besides, I'd like to get the bike in to my local shop before it closes. The other option? A 45-minute walk home, and the shop will be closed by the time I get there anyway. Unless I luck out with an empty streetcar that stays empty? Keep dreaming, pal. Not likely on a Saturday afternoon on College Street.<br><br>It's a good crowd, mostly performers, and Dr. B's is one of the city's higher-profile open stages. Hey, no pressure on a day that I'm feeling lousy. A grizzled poet named <a href="https://newmarket.snapd.com/events/view/205535" target="_blank">Dark Cloud</a> takes the stage. I'm momentarily distracted from my dark cloud by his natty suit, walrus moustache, pork pie hat and ... seven-string guitar? I chat with him afterwards and yes, it's the G that's doubled with an octave string. He says it's a Martin, made specially for Roger McGuinn, king of the 12-string guitar. Roger must have tired of tuning the other five strings.<br><br>By now, I'm resigned to walking home. Wish I'd stayed in bed. When my turn comes, the host is genial, the sound fantastic—as the recording proves—and I play reasonably well. My stage patter is minimal, and I wisely decide not to whine about my flat tire. Inflicting a bad mood on innocent bar patrons is never a good idea.<br><br>What goes around comes around, I suppose, and this story has a happy ending. I unlock my bicycle and am maybe one minute into my long, dreary trek when I gaze up at a storefront and see the sign: <a href="https://www.ucycle.com/articles/urbane-cyclist-worker-co-op-toronto-bike-shop-pg227.htm" target="_blank">Urbane Cyclist</a>. A bike shop!<br><br><b>"We Howl" (Stop 9—The Tilted Dog</b><b>, Toronto ON, December 20, 2018)</b><br><br>This was the gig I didn't expect to play, as a few days after the Free Times gig I cancelled the rest of the tour due to Muswell's worsening condition. About a month later, he'd made such a stunning recovery that I was able to make this, the scheduled final date. Kudos are due my veterinarian, clinic staff and the various medicines my cat has been on since late November, to be sure; but I'd also like to offer my thanks and gratitude to God for answering my <a href="https://daybydaypetsupport.com/prayers-for-sick-pets/" target="_blank">prayers</a>. I'm not a preacher, so I'll leave you with the words of <a href="https://www.biblegateway.com/passage/?search=James+5%3A16&version=NRSVACE" target="_blank">James 5:16</a>, should you feel so inclined. But I will say that in my experience prayer really works, often when nothing else does.<br><br>As seems to have been my custom this tour, I arrive just after everyone else has signed up. I'll be on seventh, which is a long way down the line because everyone gets four songs. It's a small crowd gathered here this Thursday evening, mostly performers. Host <a href="https://www.robertlabellmusic.com/" target="_blank">Robert Labell</a> kindly dedicates "Embryonic Journey" to me, and continuing the Jorma Kaukonen theme, finishes his set with a couple of songs off the first <a href="https://en.wikipedia.org/wiki/Hot_Tuna_(album)" target="_blank">Hot Tuna</a> album. I really must offer to accompany him on bass sometime. Way back when, I learned how to play by copping licks off that record, among others, and I'd love to revisit it and get back into playing bass. I miss it.<br><br>Among my four numbers this evening is "We Howl," one of my older songs and probably the first thing I wrote that I actually liked. Some songwriters are innately gifted; the rest of us have to write a slew of bad songs before we start writing good ones. This was my first good one, and I'd never played it live till tonight.<br><br>And there you have it: my latest adventures in micro-touring. Look for my next micro-tour this spring, which will be upon us all soon enough.</p>
Vern Nicholson
tag:vernnicholson.com,2005:Post/5605047
2019-01-21T00:14:00-05:00
2019-01-21T01:52:34-05:00
Another Imaginary Box Set
<p>This time we set our sights on the quiet Beatle, <a href="https://en.wikipedia.org/wiki/George_Harrison" target="_blank">George Harrison</a>, an artist who's for the most part been ill-served by compilations. Isn't it a pity, too, as of the Fab Four, George's solo career is arguably the most consistent.<br><br>Of those compilations, the first, <i>The Best of George Harrison</i> (1976), was assembled by former label Capitol without his approval. The song selection, as far as it goes, is excellent; but only half the record (roughly 24 minutes' worth) covers George's solo career to that point. The entire first side consists of Harrison-penned Beatles material. Great stuff, of course, but misplaced on what is nominally a solo artist's greatest hits album.<br><br>We'd have to wait until 1989 for the second collection, <i>Best of Dark Horse 1976–1989.</i><b> </b>As the title suggests, this isn't a comprehensive career overview; it covers only George's work on his Dark Horse label. George was involved in this one, and it shows: in the quality of material chosen, the fact that all period albums are represented, and the two new songs specifically recorded for this project. That said, I'd quibble with a few of his choices, and have duly replaced the questionable songs with better ones on my homemade compilation.<br><br>Which brings us to <i>Let It Roll</i> (2009), touted as George's first true career-spanning compilation. According to the album's Wikipedia entry, "the track list was selected by George's widow Olivia with some assistance from close friends and family." Finally, the man has been given his proper due, right? Wrong. Sure, <i>Let It Roll</i> spans Harrison's entire career, but with gaping holes—three consecutive mid-'70s releases (<i>Dark Horse, Extra Texture</i> and <i>Thirty Three & 1/3</i>) aren't represented at all. Neither is 1982's <i>Gone Troppo </i>or the 1992 <i>Live in Japan</i> album. As a result, key singles are missing, like "Bangla Desh," "Dark Horse," "You" and "Crackerbox Palace." Worse, the compilers have managed to sneak The Beatles in again, through the back door this time (the three tracks from <i>The Concert for Bangladesh</i> are all Beatles songs).<br><br>So, this brings us to the compilation-that-should-be, namely mine. (I'm telling you, some record label really ought to hire me.) It's not that hard. Take all the artist's albums, cherry-pick the best three songs from each, add the odd soundtrack contribution and non-album single and put it all in chronological order. Oh, and toss in a couple of Beatles numbers when you have no other choice (<i>Live in Japan</i>). And here you have it: a truly representative, career-spanning compilation that easily fits on three CDs.</p>
<p><strong>Disc 1 (69:44): Apple Years—1970-1975</strong></p>
<ol> <li>My Sweet Lord</li> <li>Isn't It a Pity</li> <li>What Is Life</li> <li>Bangla Desh</li> <li>Wah-Wah (live)</li> <li>Awaiting on You All (live)</li> <li>Beware of Darkness (live)</li> <li>Give Me Love (Give Me Peace on Earth)</li> <li>Don't Let Me Wait Too Long</li> <li>Living in the Material World</li> <li>Dark Horse</li> <li>So Sad</li> <li>Far East Man</li> <li>You</li> <li>This Guitar (Can't Keep from Crying)</li> <li>Tired of Midnight Blue</li>
</ol>
<p><strong>Disc 2 (61:35): Middle Years—1976-1987</strong></p>
<ol> <li>This Song</li> <li>Crackerbox Palace</li> <li>Beautiful Girl</li> <li>Blow Away</li> <li>Love Comes to Everyone</li> <li>Here Comes the Moon</li> <li>All Those Years Ago</li> <li>Writing's on the Wall</li> <li>Life Itself</li> <li>That's the Way It Goes</li> <li>Mystical One</li> <li>Circles</li> <li>I Don't Want to Do It</li> <li>Got My Mind Set on You</li> <li>This Is Love</li> <li>When We Was Fab</li>
</ol>
<p><strong>Disc 3 (43:20): Final Years—1988-2002</strong></p>
<ol> <li>Heading for the Light</li> <li>Cheer Down</li> <li>Poor Little Girl</li> <li>Cockamamie Business</li> <li>I Want to Tell You (live)</li> <li>Here Comes the Sun (live)</li> <li>Devil's Radio (live)</li> <li>Any Road</li> <li>Rising Sun</li> <li>Stuck Inside a Cloud</li>
</ol>
<p>If you'd like to try on this box set ("playlist," as the kids would say) for yourselves, all the material is available on YouTube and probably various streaming services, too. Enjoy the soulful, melodic sounds of George Harrison.<br> </p>
Vern Nicholson
tag:vernnicholson.com,2005:Post/5557049
2018-12-17T00:27:00-05:00
2019-03-15T01:44:00-04:00
Miles of Miles
<p>Before I start: thanks to those of you asking about Muswell. He's doing quite well! I'm still having to give him various pills, powders and potions, but they're working.<br><br>Several years ago now, a friend of mine initiated me into jazz via the iconic, visionary trumpeter <a href="https://en.wikipedia.org/wiki/Miles_Davis" target="_blank">Miles Davis</a>. And though I can't say I'm a jazz buff yet, I really dig Miles a lot, if I may use some dated hipster lingo.<br><br>As a pop-rock person, my entrée into the world of Miles was his fusion period. When I first heard <i>In a Silent Way</i> and <i>Bitches Brew, </i>the language spoken there was roughly akin to some of the music I grew up with. What he's most celebrated for—and my friend's preferred iteration of Davis—is his 1950s work, culminating in the legendary <i>Kind of Blue.</i> For me this material has been a challenge to appreciate, and I'm still trying. In fact, the first time I heard <i>Kind of Blue,</i> which is universally acclaimed as the greatest jazz album of all time, I cheekily renamed it<i> Kind of Boring.</i> It's still not my favourite Miles album, but I'm slowly coming around.<br><br>Anyway, it's not just the longevity of Miles Davis' career that astounds but its dizzying breadth. From a <a href="http://rollingstoneindia.com/the-enigmatic-miles-davis/" target="_blank"><i>Rolling Stone</i> article</a>: "Miles was once seated next to a senator's wife at a felicitation of various artists at the White House. The lady, obviously not familiar with jazz, asked Miles what he had done. 'I changed music six times, ma'am,' was the quick response."<br><br>Wanting to broaden my horizons, I went shopping for a career-spanning box set. Surely an artist of Miles' stature, active for 45 years, has been given the comprehensive overview treatment, right? Nope. Not unless you count the 70-CD <i>Complete Columbia Album Collection.</i> Comprehensive, yes; overview, no. So, I decided to make my own.<br><br>I took as my starting point <i><a href="https://en.wikipedia.org/wiki/The_Essential_Miles_Davis" target="_blank">The Essential Miles Davis</a>,</i> a double-CD collection that barely skims the surface and, in my opinion, glosses over some major works entirely<i>. </i>After a lot of research and digging through YouTube, I arrived at my version, which I'm calling ...</p>
<div class="separator" style="clear: both; text-align: center;"> </div>
<div class="separator" style="clear: both; text-align: center;"><a href="https://3.bp.blogspot.com/-I3R61TPBL0Q/XBcoxrCtGEI/AAAAAAAAAKM/OfQRPVlpSq0QO4RDO0iUUsbFfpIEK366QCLcBGAs/s1600/Miles%2B-%2Bess.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img src="https://3.bp.blogspot.com/-I3R61TPBL0Q/XBcoxrCtGEI/AAAAAAAAAKM/OfQRPVlpSq0QO4RDO0iUUsbFfpIEK366QCLcBGAs/s1600/Miles%2B-%2Bess.jpg" class="size_orig justify_inline border_" /></a></div>
<p> <br>Even though mine is strictly an mp3 playlist, I curated it as if Columbia had hired me to create that career-spanning box. I've divided his work into six CDs, each representing one of the "six times" alluded to by the man himself.<br><br>A few ground rules I used:</p>
<ul> <li>The material is to be ordered chronologically, by recording date.</li> <li>Each CD should be as close to full (80 minutes) as possible.</li> <li>Every major album is represented by one song, whether that song is three minutes or thirty minutes.</li> <li>Seminal, ground-breaking albums are allowed two songs.</li>
</ul>
<p>Given those parameters, I'm pretty pleased with how it turned out. Inevitably, some works are underrepresented and arguably, some are given more space than is warranted, depending on your tastes. Example: were my friend still alive, he'd probably split the periods much differently than I did. I can envision my Discs 3-6 crammed onto Disc 6 in his version, with the '50s/early '60s material taking up Discs 1-5.</p>
<p><strong>Disc 1 (79:03): Hard Bop and Beyond—1945-1959</strong></p>
<div class="separator" style="clear: both; text-align: center;"><a href="https://3.bp.blogspot.com/-W-bRSPlDApY/XBcmza5KFPI/AAAAAAAAAKA/ieSotg4lW4spH8NwsF68_cyw4rSBRwBxACLcBGAs/s1600/Miles%2B-%2Bram.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img src="https://3.bp.blogspot.com/-W-bRSPlDApY/XBcmza5KFPI/AAAAAAAAAKA/ieSotg4lW4spH8NwsF68_cyw4rSBRwBxACLcBGAs/s1600/Miles%2B-%2Bram.jpg" class="size_orig justify_inline border_" /></a></div>
<ol> <li>Now's the Time</li> <li>Jeru</li> <li>Rocker</li> <li>Compulsion</li> <li>Tempus Fugit</li> <li>Walkin'</li> <li>It Never Entered My Mind</li> <li>'Round Midnight</li> <li>Miles Ahead</li> <li>Générique</li> <li>Milestones</li> <li>Stella by Starlight</li> <li>Summertime</li> <li>So What</li> <li>Blue in Green</li>
</ol>
<p><strong>Disc 2 (76:36): Post-Bop—1960-1967</strong></p>
<div class="separator" style="clear: both; text-align: center;"><a href="https://4.bp.blogspot.com/-WHyas3SlxXo/XBcqMcRd7LI/AAAAAAAAAKY/S1ELOvuoYKwZWYdw3RMLqGo9x4lPiRLNQCLcBGAs/s1600/Miles%2B-%2Bnef.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img src="https://4.bp.blogspot.com/-WHyas3SlxXo/XBcqMcRd7LI/AAAAAAAAAKY/S1ELOvuoYKwZWYdw3RMLqGo9x4lPiRLNQCLcBGAs/s1600/Miles%2B-%2Bnef.jpg" class="size_orig justify_inline border_" /></a></div>
<ol> <li>The Pan Piper</li> <li>Someday My Prince Will Come</li> <li>Once upon a Summertime</li> <li>Seven Steps to Heaven</li> <li>My Funny Valentine (live)</li> <li>E.S.P.</li> <li>Circle</li> <li>Masquelaro</li> <li>Nefertiti</li> <li>I Fall in Love too Easily (live)</li>
</ol>
<p><strong>Disc 3 (76:35): Electric Cathedral—1968-1969</strong></p>
<div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-9VhRYMix-BY/XBcq7ZrtO1I/AAAAAAAAAKg/Ok-t714Swhoo2kCYa5OL6IVHYKJqVCVHgCLcBGAs/s1600/Miles%2B-%2Biasw.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img src="https://1.bp.blogspot.com/-9VhRYMix-BY/XBcq7ZrtO1I/AAAAAAAAAKg/Ok-t714Swhoo2kCYa5OL6IVHYKJqVCVHgCLcBGAs/s1600/Miles%2B-%2Biasw.jpg" class="size_orig justify_inline border_" /></a></div>
<ol> <li>Stuff</li> <li>Tout de suite</li> <li>Petits machins</li> <li>Ascent</li> <li>Shhh/Peaceful</li> <li>In a Silent Way</li>
</ol>
<p><strong>Disc 4 (78:23): Full-On Fusion—1970-1972</strong></p>
<div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-KhYiYCZH3yM/XBctoJQk0hI/AAAAAAAAAKs/6OWFyNXjR-0-Mu416obVa9x1qc6iBapIQCLcBGAs/s1600/Miles%2B-%2Bjj.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img src="https://1.bp.blogspot.com/-KhYiYCZH3yM/XBctoJQk0hI/AAAAAAAAAKs/6OWFyNXjR-0-Mu416obVa9x1qc6iBapIQCLcBGAs/s1600/Miles%2B-%2Bjj.jpg" class="size_orig justify_inline border_" /></a></div>
<ol> <li>Pharaoh's Dance</li> <li>Miles Runs the Voodoo Down</li> <li>Right Off</li> <li>Little Church</li> <li>Directions (live)</li> <li>Black Satin</li>
</ol>
<p><strong>Disc 5 (74:34): This Is Jazz?—1973-1975</strong></p>
<div class="separator" style="clear: both; text-align: center;"><a href="https://2.bp.blogspot.com/-P8P4BvQyZfY/XBculwDARAI/AAAAAAAAAK0/vlv9sOUdBAU-sO4eQprJZ2_fzWovvRqzACLcBGAs/s1600/Miles%2B-%2Bguwi.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img src="https://2.bp.blogspot.com/-P8P4BvQyZfY/XBculwDARAI/AAAAAAAAAK0/vlv9sOUdBAU-sO4eQprJZ2_fzWovvRqzACLcBGAs/s1600/Miles%2B-%2Bguwi.jpg" class="size_orig justify_inline border_" /></a></div>
<ol> <li>Calypso Frelimo (excerpt)</li> <li>He Loved Him Madly</li> <li>Prelude (live)</li>
</ol>
<p><strong>Disc 6 (76:55): The Man with the Horn—1981-1991</strong></p>
<div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-vWQTeyCK488/XBcvKhBHcHI/AAAAAAAAAK8/a28oxMKpWR0j0XzhdZNQjxMVCF1XdYfzQCLcBGAs/s1600/Miles%2B-%2Baura.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img src="https://1.bp.blogspot.com/-vWQTeyCK488/XBcvKhBHcHI/AAAAAAAAAK8/a28oxMKpWR0j0XzhdZNQjxMVCF1XdYfzQCLcBGAs/s1600/Miles%2B-%2Baura.jpg" class="size_orig justify_inline border_" /></a></div>
<ol> <li>The Man with the Horn</li> <li>Jean Pierre (live)</li> <li>Star People</li> <li>What It Is</li> <li>Human Nature</li> <li>Time After Time</li> <li>Orange</li> <li>Portia</li> <li>Mr. Pastorius</li> <li>Chocolate Chip</li> <li>Boplicity (live)</li> <li>Blues for Pablo (live)</li>
</ol>
<p>And there you have it: the Miles Davis box that should exist but doesn't. If you'd like to re-create it, all the material is available on <a href="https://www.youtube.com/results?search_query=miles+davis" target="_blank">YouTube</a>. Happy exploring!</p>
Vern Nicholson
tag:vernnicholson.com,2005:Post/5527943
2018-11-26T13:25:23-05:00
2018-11-26T13:27:27-05:00
Announcement: Remainder of Micro-Tour Cancelled
<p>My beloved cat Muswell is seriously ill with advanced kidney disease, among other things. I'm adapting to a treatment regimen that's time-consuming and constantly changing and also making frequent trips to the vet, at times in near-emergency situations. </p>
<p>As a result, the rest of the autumn micro-tour is cancelled. I'm hoping to play the occasional show here and there, but cannot at this time make firm commitments. Though the tour has been cut short, all shows were recorded and I still (at some point) intend to post the highlights on the <a contents="music" data-link-label="music" data-link-type="page" href="/music" target="_blank">music</a> section of my website. Look for those in December or January. </p>
<p>If you'd like to send prayers and healing Muswell's way, here are a couple of photos of my beautiful boy. Heartfelt thanks, dear readers, for your kindness and concern, and blessings to you and your families.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/259212/071eadbf41cc2ab9bf92e91217df1550df47d140/original/muswell.jpg/!!/b:W10=.jpg" class="size_l justify_center border_" /></p>
<p> </p>
<p style="text-align: center;"><img src="//d10j3mvrs1suex.cloudfront.net/u/259212/4605f5e7165603b566602cf74c514b1ae7203ea4/original/mar-2016-2.jpg/!!/b:W10=.jpg" class="size_l justify_center border_" /></p>
Vern Nicholson
tag:vernnicholson.com,2005:Post/5450331
2018-10-01T01:30:00-04:00
2021-08-22T13:19:03-04:00
Real Chords #5: Jefferson Airplane, "Today"
<p>It's with a heavy heart that I present this one, having learned of the passing of <a href="https://en.wikipedia.org/wiki/Jefferson_Airplane" target="_blank">Jefferson Airplane</a> founder and singer <a href="https://www.nytimes.com/2018/09/29/obituaries/marty-balin-dead.html" target="_blank">Marty Balin</a> last night. I'll have more to say about Marty in a moment, but to pay tribute I've worked up this gem from <i>Surrealistic Pillow</i> that I'll debut during my upcoming <a href="https://vernnicholson.com/shows" target="_blank">micro-tour</a>. According to <a href="http://ultimateclassicrock.com/marty-balin-songs/" target="_blank">Ultimate Classic Rock</a>, "'Today' stands as one of the most beautiful love songs ever written," and I can't disagree. Haunting and ethereal, it's a timeless ballad revolving around a simple but effective chord sequence.<br><br>Before I get to those chords, a few words on Marty Balin and his legacy. Without him, there would be no Jefferson Airplane, period. The band was his idea and vision, and after recruiting its members one by one he created a venue, The Matrix, in which they could hone their craft. It's not an overstatement to suggest, as former band manager Bill Thompson did, that “Marty was the one who started the San Francisco scene."<br><br>The first two Airplane albums were largely a product of that vision—love-fuelled folk/rock about to bust out into the wilder frontiers of psychedelia—and Marty's sweet-as-honey tenor led the charge. But by the third album, <i>After Bathing at Baxter's, </i>Marty had retreated somewhat (as a songwriter and lead vocalist; his harmonies permeate all their best work, <i>Baxter's</i> included). Jefferson Airplane was a group of strong, disparate personalities, each beginning to assert themselves, and in the chaotic ferment of the late 1960s no singular vision could dominate for long.<br><br>As the '60s careened into the '70s, drugs, egos and musical differences led Marty to leave the band he founded. And tellingly, the Airplane crashed without him. Marty's romantic, soulful musings, often the source of his bandmates' ridicule, were a necessary balance to Paul Kantner's sci-fi polemics, Grace Slick's icy sarcasm, and Jorma Kaukonen's blues-based excursions. And indeed, that corrective is what enabled spinoff band <a href="https://en.wikipedia.org/wiki/Jefferson_Starship" target="_blank">Jefferson Starship</a> to scale the heights it did in the '70s. <i>Red Octopus, </i>their 1975 release, once again saw Marty at the helm; his "Miracles" topped the charts that summer. Simply put, he had a radio-friendly touch that for the most part eluded his compatriots. In Paul Kantner's words, "Marty has the ability to express really simple emotions that most people might be embarrassed expressing. He's able to get away with singing 'Ooh, baby,' and meaning 'Ooh, baby.'"<br><br>Here's an excerpt from Jorma's moving <a href="http://jormakaukonen.com/cracksinthefinish/" target="_blank">tribute</a>: "I always felt that he was somewhat guarded … the quiet one. His commitment to his visions never flagged. Times come and go but his passion for his music and his art was never diminished. He was the most consummate of artists in a most renaissance way. I always felt that he perceived that each day was a blank canvas waiting to be filled."<br><br>Rest in piece, Marty Balin, and thank you for your life, your music and your vision. And with that, here are the real chords to Jefferson Airplane's "Today," written by Marty Balin and Paul Kantner:</p>
<ul> <li>Intro: D5 C (grace notes: BCD) A5</li> <li>Verse*: D5 Am7 C D5</li> <li>Chorus: (Cmaj7 F Em C D C D) x2</li> <li>End: Dm Am Bb Am Dm Am Bb Gm7 (grace notes: EFEC) D</li>
</ul>
<p>The online tabs for the song had, well, some of it right, but missed two key chords which were dead obvious to my ears: the Cmaj7 in the chorus and Gm7 at the very end. Nobody heard the Am7 in the verse, either, which I admit is more implied than played on the recording. Tip: for a lovely variation, substitute an A7sus chord in the intro in place of the A5. That's not how they play it, but I quite like it. The fingering for A7sus, low to high, is x02030.<br><br><i>* Note: </i>On the live version from Monterey Pop, the band plays a slightly different arrangement. Grace plays the rhythm on harpsichord, and her verse chords are F Am C D5. I'm sticking with the studio version for my transcription, but either will work.</p>
<ul></ul>
Vern Nicholson
tag:vernnicholson.com,2005:Post/5422767
2018-09-10T15:38:00-04:00
2018-09-10T23:44:12-04:00
Music Lessons? Moi?
<p>Like most rock-based musicians, I'm self-taught. I've been blessed with a good ear, and in my early days I found it easier and more natural to learn what I needed to by copying chords and riffs directly from my favourite records. Formal music training seemed like the long way around. Mum taught piano, so I picked up bits and pieces of music theory just the same—enough to get me by.<br><br>So, I kind of surprised myself a month ago when I signed up for a group harmony and composition class that starts tonight. It's four sessions, with the possibility of continuing on if I can afford it and am getting something out of it. I don't feel I <i>need</i> lessons, necessarily; it's more of an experiment. I suppose after all these years, I've become open to the possibility that a bit of formal training might steer my songwriting in new and interesting directions.<br><br>I'm glad, too, that I took the plunge <i>before</i> the confirmation e-mail cheerily told me that "the prerequisite for this group is knowledge of all key signatures and 12 major, harmonic, and melodic minor scales." Gulp! I cobbled together a cheat sheet containing the <a href="http://www.all-guitar-chords.com/lesson.php?id=144" target="_blank">circle of fifths</a> and those helpful mnemonic devices telling the story of Father Charles and the battle he ended (or the battle that ended him). I can't yet claim "knowledge" of key signatures, scales and their attendant chords, but I am hoping the cheat sheet will help. For now, I'm concentrating on those keys with three or fewer sharps or flats. I mean, who willingly plays or composes in, I don't know, Db?<br><br>To counter the heaviness I associate with formal music study, I've added some levity by springing for a kiddie keyboard, the <a href="https://www.casio-intl.com/asia/en/emi/products/sa46/" target="_blank">Casio SA-46</a>. With 32 mini-keys and 100 sounds, it's fun, it's portable (I can fit it in my backpack and bring it to class), and I can practise my scales on goofy voices like Bandoneon, Synth Brass 1 and Space Choir. I say this only half in jest; some of the SA-46's voices are astoundingly good. It also contains 50 rhythm patterns if you want to play your scales and chords to a trance, salsa or bhangra beat, among others. For only $50 it packs quite a punch, as useful for songwriters working on the fly as children taking their first foray into the world of music.<br><br>So, my kiddie keyboard and I are off to our first class tonight. I'm cautiously optimistic, while at the same time hoping I won't be in over my head. Regardless, I think Mum is smiling down from above, and I thank her for my very early introduction to the gift of music.</p>
Vern Nicholson
tag:vernnicholson.com,2005:Post/5395382
2018-08-21T01:47:00-04:00
2018-08-21T02:13:06-04:00
Seeing Rabbits (Further Adventures in Songwriting)
<p>Songs can come from the strangest places. Last week I was biking to work, stopped at a red light at King and Spadina. All the while there's a busker on the corner, strumming what sounds like the opening riff to The Who's <a href="https://www.youtube.com/watch?v=_WeBTWEFn_M" target="_blank">So Sad About Us</a>. Just your basic folk-rock riff in A; nothing terribly special, right?<br><br>Green. I proceed through the intersection and suddenly, an original melody pops into my head over that riff, complete with nonsense words: "Saw a rabbit just the other day, uh-huh." We call these "dummy lyrics" in the music biz: something to hang the tune on until the real words are written at a later date. A famous example: "Scrambled eggs, oh, my baby, how I love your legs" ... which became "Yesterday, all my troubles seemed so far away."<br><br>Anyway, I ride along Wellington Street, singing continuously about the rabbit I didn't actually see so I wouldn't forget it. A short time later, I pull into my workplace and park the bike. I'm 15 minutes early and have my portable voice recorder with me, so I can hang out in the parking lot and start turning this doggerel into a song <i>now.</i><br><br>In situations like this where I have no access to an instrument, I'll hum riffs and melodies and give myself instructions where necessary, like "now change to D." Following where the melody leads, I might be lucky enough to write a complete part. In this case, I got a full verse and about a quarter of a chorus, and my 48-second work tape ends with me humming an F# and saying, "minor chord here." And really, all I knew about my new composition at this point is it wouldn't be about rabbits.<br><br>Six days later, I've finished a song called "Making Rainbows from the Sun." My original melody and chords, as far as they went, have remained intact. The key is now E, not A—actually, my work tape was in Bb because the busker's guitar was out of tune—and what do you know, I ditched the rabbit but kept the "uh-huh." I do, however, thank the mysterious hare for transporting me from here to there. Props to the busker and Pete Townshend, too! And that's but one wacky example of how a song can come out of nowhere.</p>
Vern Nicholson
tag:vernnicholson.com,2005:Post/5367672
2018-07-30T15:38:00-04:00
2018-07-30T20:15:02-04:00
Violet's Giving Flowers Away
<p>Last Sunday's mass shooting on the Danforth left me shaken, perhaps more so because I live in the neighbourhood next door. I heard about it half an hour after it happened, and for the rest of the night I was riveted to live news feeds as the horrific details trickled in. On Monday afternoon I had an errand to run near there, and I walked along Danforth Avenue in a daze, just trying to process my feelings.<br><br>By then, the focus of the coverage had shifted to how the survivors comforted and assisted the victims until the paramedics arrived. Human stories of raw love and compassion began to emerge from the mayhem. I was especially touched by the tale of nine-year-old Violet Thomson, an area resident who'd hand-picked flowers from her garden and was handing them out along the Danforth. When asked why, she simply replied, "because of what happened last night." Here's Violet getting ready to perform her good work (photos by Albert Leung/CBC) ...<br> </p>
<div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-1P61NwDXnrA/W16UUQzuciI/AAAAAAAAAI8/fjggdveoHY0ua32ZkbPawFqQeiXQ9SWMgCLcBGAs/s1600/Violet%2BThomson%2B%2528Photo%2B-%2BAlbert%2BLeung%252C%2BCBC%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img src="https://1.bp.blogspot.com/-1P61NwDXnrA/W16UUQzuciI/AAAAAAAAAI8/fjggdveoHY0ua32ZkbPawFqQeiXQ9SWMgCLcBGAs/s320/Violet%2BThomson%2B%2528Photo%2B-%2BAlbert%2BLeung%252C%2BCBC%2529.jpg" class="size_orig justify_inline border_" height="180" width="320" /></a></div>
<p><br>... and giving flowers to a police officer on the scene.</p>
<p> </p>
<div class="separator" style="clear: both; text-align: center;"><a href="https://4.bp.blogspot.com/-aMecxIUApEY/W16Ufp7oZBI/AAAAAAAAAJA/7vADIWlvSEkpnNjoIcxzYOtnEjRDkGR1wCLcBGAs/s1600/Violet%2BThomson%2B2%2B%2528Photo%2B-%2BAlbert%2BLeung%252C%2BCBC%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img src="https://4.bp.blogspot.com/-aMecxIUApEY/W16Ufp7oZBI/AAAAAAAAAJA/7vADIWlvSEkpnNjoIcxzYOtnEjRDkGR1wCLcBGAs/s320/Violet%2BThomson%2B2%2B%2528Photo%2B-%2BAlbert%2BLeung%252C%2BCBC%2529.jpg" class="size_orig justify_inline border_" height="180" width="320" /></a></div>
<p> </p>
<p>Now, it so happens that in the few days preceding the shooting, I'd been working on a new song. As is my usual process, I worked out the chord sequence, strung the individual parts together and overlaid a wordless melody line. As for the lyrics, I hadn't planned on writing about the tragedy; that is, until I read about Violet and saw these touching images. So, with heartfelt gratitude to Violet Thomson, <a href="https://www.cbc.ca/news/canada/toronto/danforth-mass-shooting-toronto-girl-1.4758531" target="_blank">Md Ashaduzamman</a>, <a href="https://www.cbc.ca/news/canada/toronto/danforth-logan-shooting-1.4757409" target="_blank">Linda Falagario</a> and those whose names didn't make the news, here's a song inspired by their love, courage and compassion, <strong>"Violet's Giving Flowers Away."</strong></p>
<p> </p>
<div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/DV3IntTpPaY/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/DV3IntTpPaY?feature=player_embedded" width="320"></iframe></div>
<div class="western" style="font-style: normal; line-height: 100%; margin-bottom: 0cm; text-align: center;"> </div>
<div class="western" style="font-style: normal; line-height: 100%; margin-bottom: 0cm; text-align: center;"> </div>
<div style="text-align: center;">Took a walk along the city’s spine<br>Trying to reclaim what’s yours and mine<br>Shaken as we are, waiting on that morning star to heal this scar<br><br>I’m not saying I know there’s enough to go around<br>But on this blackest night, here’s where compassion was found<br>She cried and sutured his wound, as ammo polluted the room<br>And Violet’s giving flowers away on the Danforth today<br><br>Saw this sign that’s louder than the gun<br>“Love for all and hatred for none”<br>I pray with heavy heart when innocents get torn apart before they start</div>
<div style="text-align: center;"> </div>
<div style="text-align: center;">I'm not saying I know there's enough to go around</div>
<div style="text-align: center;">But on this blackest night, here's where compassion was found</div>
<div style="text-align: center;">He held her, begging, "stay with me," but angels fly too easily</div>
<div style="text-align: center;">And Violet's giving flowers away on the Danforth today</div>
<div style="text-align: center;"> </div>
<div style="text-align: center;">When it all shakes down</div>
<div style="text-align: center;">Let's remember our dear Greektown</div>
<div style="text-align: center;">Where love went down</div>
<div style="text-align: center;"> </div>
<div style="text-align: center;">I'm not saying I know there's enough to go around</div>
<div style="text-align: center;">But on this blackest night, here's where compassion was found</div>
<div style="text-align: center;">She held her and said, "you're not alone," but angels have to go home</div>
<div style="text-align: center;">And Violet's giving out flowers on the Danforth today</div>
<div style="text-align: center;">Violet's giving flowers away from her garden today</div>
<div style="text-align: center;"> </div>
<div style="text-align: center;"><p>© 2018 Vern Nicholson (SOCAN)</p></div>
Vern Nicholson
tag:vernnicholson.com,2005:Post/5323833
2018-06-29T01:46:00-04:00
2019-02-18T21:46:10-05:00
Notes from the "Road" (Part 2)
<p><span style="display: none;"> </span> Well, I did it! My inaugural micro-tour is complete. Let's begin with the final statistics:</p>
<ul> <li>Duration: 5 weeks</li> <li>Shows played: 17</li> <li>Unique venues: 13</li> <li>Songs played: 47 (17 originals, 30 covers)</li> <li>Songs repeated: 0</li> <li>Songs debuted: 16</li> <li>Song most frequently covered by other performers (Ben E. King, "Stand by Me"): 3</li>
</ul>
<p>The audio highlights are now up on my <strong><a href="https://vernnicholson.com/music" style="" target="_blank">music</a></strong> page, and using those as a roadmap seems as good a way as any to delve into the people, places and experiences encountered along the way. So, off we go. Fasten your seat belts and welcome to the tour!<br><br><b>"Days of Secret Seeing" (Stop 3—Don Heights Coffeehouse, Toronto ON, May 12, 2018)</b><br><br>Don Heights is a fabulous, welcoming venue that's well off the beaten path—a first-floor suite in a faceless office building that doubles as a Unitarian Church. When I got off the Don Mills bus at Wynford Drive, I muttered, "Wow. Welcome to Nowhere. Now entering The Middle." But location is the only downside. For $5, you get coffee, tea, cookies and two solid hours' worth of entertainment. Despite the family-friendly environs it's an older crowd, mostly church people I suspect, and the feature performer gets a half-hour set at the beginning and end of the evening.<br><br>I was first on the list, and hey, I didn't have a hard act to follow at all, as pianist <a href="https://www.youtube.com/watch?v=3WcUq4WW2ro" target="_blank">Mark Lams</a> opened the evening with jaw-dropping renditions of Chopin, Beethoven and Mozart. (He later closed the show with a Joe Zawinul tune, which left me even more impressed.) So: Chopin, Beethoven, Mozart ... and Nicholson. Gulp! Adding to my nervousness was the fact that I was debuting this tricky number (for me ... easy-peasy for Mozart), but I pulled it off to warm, supportive applause. I was happy to exit after one successful song and relax for the rest of the night.<br><br><b>"Box of Rain" (Stop 5—Free Times Caf<span data-dobid="hdw">é</span>, Toronto ON, May 14, 2018)</b><br><br>The venerable Free Times is one of Toronto's most well-established open stages, and this was my second visit. That wasn't the original plan. My sources told me Lola in Kensington Market had an open stage on Mondays, but when I got there I was informed no, it's on Wednesdays. Had a terrible time hunting for a place to lock my bike, and the Market is one of the most bicycle-friendly areas in the city. Finding no bike parking in Kensington Market is like finding no hay on a farm. That was almost enough to send me home, but I thought, hey, the Free Times is just three blocks away, so I scooted up there in time for sign-up.<br><br>I was frankly intimidated by the sheer talent on display this evening. We opened with Charles, a brilliant flamenco guitarist; Lexi, who riveted my eyes to the stage with her great songs, razor-sharp riffs and confident, bellowing voice; Yoko (no, not that one) whose vocal technique was so staggering I wanted to ask, "What are you doing here? Massey Hall is that way"; and finally, a spiky-haired guy in blazing red suit, tie and shoes who walked onstage with a ukulele and stomp box and said, "It's snazzy time." Here's to you, <a href="https://www.youtube.com/watch?v=46D2Uurg9Uc" target="_blank">Mr. Snazzy</a>. Great job! What I'd give for a tiny bit of your showmanship. Perhaps inspired by the competition, I rose to the occasion with this sped-up Grateful Dead chestnut that I announced had been "put through my power-pop blender." Kudos and thanks to host <a href="http://www.glenhornblast.com/" target="_blank">Glen Hornblast</a> for the pristine sound you hear on this recording.<br><br><b>"Lost Villages Wail" (Stop 7<b>—</b>The Cavern, Toronto ON, May 20, 2018)</b><br><br>Yes, it really is a cavern in the basement of a hostel, and when I walked in a friendly young chap introduced himself, shook my hand, and asked if I knew of any good metal bars. Meanwhile, a keyboard-heavy post-punk band was setting up. One of them might have been the host/sound man; I'm not sure. By now, Grandpa here was feeling just a tad out of place, though I was hip enough to pick up on the Franz Ferdinand influence as they played their opening set. Each open stage has its own unique culture, and despite the fact that this wasn't a fit for me I'm all in favour of venues that cater to the youngsters. There are enough places for old fogies playing Eric Clapton songs.<br><br>Anyway, I closed my four-song set with this new tune, was received politely, stuck around for a couple more performers and made my way into the good night. Lest you think that was a hasty exit, the solo blues harpist who followed me must have felt more discombobulated: the applause had barely begun when he hopped offstage, up the stairs and out the door all in one motion. Lightnin' Hopkins!<br><br><b>"I Need Your Company" (Stop 9<b>—</b>Fat Albert's Coffee House, Toronto ON, May 23, 2018)</b><br><br>Say no more: this is <i>the one. </i>Fat Albert's is Toronto's longest-running open stage, having operated continuously since 1969, though it's moved around a few times. Now well-ensconced in the United Steelworkers' building, Fat's offers a friendly stage, an older crowd of mostly musicians, and a decidedly folk and singer/songwriter bent. You know it's your kind of place when you can sing along to all the covers people play. Fat's charges $2, I think, to offset the rent, coffee and cookies.<br><br>Saw a few performers here that I first met at Don Heights, which isn't surprising; it's a similar vibe. One guy came up and did a solo instrumental on the tambourine, which I found a bit odd. I played this obscure Guess Who song and to my delight, a fellow guitarist named Dave came up afterwards and said he recognized it—in fact, he bought the original vinyl in '68. (See what I mean? My kind of place.) This song has more jazz chords than I'll play in a lifetime. For a couple of years in the late '60s, Randy Bachman had a serious love affair going with major sevenths.<br><br><span style="color:null;"><b>"Late Night" (Stop 10<b>—</b>Steve's Music Lounge, Toronto ON, May 24, 2018)</b></span><br><br>"Cozy, comfy space, fabulous sound, awesome host, friendly staff, great musicians. And it's all <a href="https://www.facebook.com/stevesmusiclounge/" target="_blank">live-streamed</a> if you can't be there in person. One of the best open stages in Toronto." Yes, I liked this place so much that I gave it the glowing Facebook review you just read. A purpose-built room on the second floor of Steve's Music at Queen and Spadina, this gem's only drawback is that not enough people know about it yet.<br><br>As usual, I signed up to play first. Whenever possible, I like to get my performance over with so as not to allow the nerves to escalate. Thankfully the camera is quite unobtrusive, so it's easy to forget that your performance is being live-streamed. <a href="https://www.reverbnation.com/jessicamondello" target="_blank">Jessica</a>, the aforementioned awesome host, is not only a kick-ass songwriter and performer but a fellow Steely Dan fan, and on this night she played a killer version of "Peg." I was given a generous four songs, one of which was this moody Syd Barrett tune that I think came off rather well.<br><br><span style="color:null;"><b>"I Welcome You (But Do You Welcome Me)" (Stop 11<b>—</b>McThirsty's Pint, Peterborough ON, May 27, 2018)</b></span><br><br>This show marked the only time during the proceedings that I felt like I was on tour. Not surprising given that it was my first out-of-town gig. Sour Landslide played Peterborough in the early '90s, but I hadn't been back since. I biked down to Union Station, took the GO train to Oshawa, then a connecting bus to Peterborough and a two-block walk to the venue. Travel time door-to-door was 3:11—again, very tour-ish.<br><br>I'd forgotten how dead these small towns are on Sundays. The convenience store adjacent to the bus terminal closed at 6:00, the Mr. Sub where I ate dinner at 7:30. I'd also forgotten how seedy the city cores of these places can be. After encountering a couple of aggressive panhandlers, I headed straight to the venue. I'm not terribly comfortable hanging out in a bar, but loitering outside wasn't a viable option on this night. While I'm at it, downtown bars in small towns can be horror shows in and of themselves. But McThirsty's, though I wouldn't call it upscale, felt reasonably safe. And the pop was cheap, too ($2.50).<br><br>Ryan, the host, ambled in around 7:30 and told me the show would start at 9:00—an hour later than I'd expected. The last GO bus back left at 10:16, and after I explained my predicament he graciously agreed to let me go on first. (At this point, I have to say that without exception, all the hosts I've met have been kind, helpful and congenial, going out of their way to make me and the other performers feel comfortable. Thank you all for your service!) Ryan generously gave me five songs, and I responded by playing my best overall set of the micro-tour; ironic given how jittery I'd felt since I stepped off the bus. This is one of my newer songs. Working title: "Theme for an Imaginary Spaghetti Western," with apologies to Jack Bruce.<br><br><span style="color:null;"><b><b>"Street Choir" (Stop 12<b><b>—</b>La Rev, Toronto ON, June 2, 2018)</b></b></b></span><br><br>Though I'd had nearly a week between shows to recuperate, recharge and rehearse, I arrived at this Saturday show in The Junction tired, grumpy and out of sorts. The venue is way out in the west end, start time 2:00, traffic on Keele Street backed up due to construction. Don't they know most musicians are just finishing breakfast at 2:00? The smallish crowd at this Mexican restaurant seemed like they were just getting going, too.<b> </b>Nevertheless, I was able to summon forth a spirited rendition of one of my favourite Van Morrison songs, even deftly navigating the always-tricky F#m in the chorus.<br><br>La Rev was, I'd say, the most laid-back, <span data-dobid="hdw">loosey-goosey venue of the tour. When I walked in, a guitarist was playing Merle Haggard songs accompanied by a guy on a ragged-but-right out-of-tune piano. Not my cup of tea, but well done. Later, a singer-guitarist named David regaled us with a shambolic thing he called "The Like Medley," featuring brief snippets of such classics as "Like Me Do," "Crazy Little Thing Called Like," "Like Me Two Times," "That's What You Get for Liking Me," "All You Need Is Like" ... you get the idea. It sounded funnier than it reads.</span><br><br><span style="color:null;"><b><span data-dobid="hdw">"Lady Air" </span></b><span data-dobid="hdw"><b><b>(Stop 13</b></b><b><b><b><b>—</b>Grinder Coffee, Toronto ON, June 3, 2018)</b></b></b></span></span><br><br><span data-dobid="hdw">We now come to the most pleasant surprise of the micro-tour, and a literal surprise it was, too: I'd planned to play the Supermarket on this Sunday night. A couple of hours before showtime, I was in the midst of firming that up when I stumbled on a listing for this Leslieville </span><span data-dobid="hdw">café. As we say in football, I called an audible at the line of scrimmage and, in a teeming rainstorm, made my way here by bus instead.</span><br><br><span data-dobid="hdw">You may have noticed by now that coffee shops and coffeehouses are my favourite places to play. Not that I'm a coffee drinker, but I'm even less of a drinker drinker, as in not at all. I prefer the </span><span data-dobid="hdw"><span data-dobid="hdw">cafés and community venues</span> because people aren't there to drink but to listen, and I find them safer, more welcoming environments. Even when things go slightly askew, as when a neighbourhood gal stepped up to perform a hilarious song of hers called "My Special Hedgehog Friend."</span><br><br><span data-dobid="hdw">This was Grinder's first-ever open stage, and I sure hope they'll do it again because it was a terrific atmosphere. The place was packed and the crowd quite enthusiastic, as you'll hear when the last notes of "Lady Air" ring out. I also, in homage to the coffeehouses of the '60s, played a rendition of the folk standard "If I Had a Hammer" and invited the (youngish) crowd to sing along. No one did because <i>nobody knew the song.</i> The times they are a-changin', Gramps!</span><br><br><span style="color:null;"><b><span data-dobid="hdw">"Groping to Victory" </span></b><span data-dobid="hdw"><b><b>(Stop 15</b></b><b><b><b><b>—</b>Steve's Music Lounge, Toronto ON, June 7, 2018)</b></b></b></span></span><br><br><span data-dobid="hdw">By this point, I'd noticed that one of the micro-tour's main objectives had indeed been accomplished: namely, curtailing my stage fright. Repeated exposure really does help, as does performing to small crowds in friendly, low-pressure environments. </span><span data-dobid="hdw">Also by now, I was running out of new venues to try and returning to cozy, familiar places. That helped, too. Had my second "grandpa" moment in a week when some youngster told me he was having a heck of a time booking shows for his dubcore band. Sure. I can see how that would be a real challenge. Oh, and what's dubcore?</span><br><br><span data-dobid="hdw">Steve's was very sparsely attended this evening. Not sure if this was due to the provincial election or not; the sound man blamed the designer chocolatier that had recently opened a few doors down. I managed a fairly energetic version of this number despite having to sit on a stool. For some reason, your standard issue folk-singer stool puts my guitar at an awkward angle. If I ever get to the point where I can draw up a rider, it'll have two items on it: chair and music stand.</span><br><br><span style="color:null;"><b>"Away from the Numbers" (Stop 16—Don Heights Coffeehouse, Toronto ON, June 9, 2018)</b></span><br><br>In addition to the usual coffee and cookies, cake was served tonight and it was yummy. This evening also brought the latest instalment in what for me is a worrying trend: people doing karaoke at open stages. What's my beef? Well, one, it takes them forever to call up their backing tracks on their laptops, phones or what have you; two, it feels like cheating, like it's not a real performance; three, in my experience most of these folks cannot carry a tune. At least one host agrees, laying down the law like so at one of my earlier stops: "No singing to YouTube on your phone. This isn't karaoke night. You want to perform a cappella, fine, but this is an open stage. It's for <i>musicians</i>." Amen, brother.<br><br>Don Heights is easily the most eclectic open stage I've encountered. On this night, in addition to the aforementioned karaoke, there were poets, ranting politicos, a blues guy who played with his guitar flat on his lap, a torch singer and an opera singer. At the night's end, a guy came on who was a real live wire, a crazed beatnik poet spinning free verse over furious, almost violent strumming and banging. (Do not lend this man your guitar!) I loved his intensity, and though my material isn't quite as unhinged I like to keep things pretty peppy myself, as you can see from my song choice tonight. We are the mods! I'd rather have performed this on a Rickenbacker guitar through a Vox amp with Bruce Foxton and Rick Buckler backing me, but I made it work solo acoustic. In the last chorus, I managed to do the lead and backing vocals and somehow sound like two people—but there's no trickery, honest. It's all me, in real time.<br><br>And that concludes our tour. Hope you've enjoyed this little snapshot, and hey, maybe you can join me in person next time. As an ambivalent performer, I'm really proud that I saw my commitment through. Next time, I think I'll take it a bit easier and build in more off-days. Once again, highlights are posted on my <strong><a href="https://vernnicholson.com/music" style="" target="_blank">music</a></strong> page, and I'm already pencilling in dates for the autumn micro-tour on my <strong><a href="https://vernnicholson.com/shows" style="" target="_blank">shows</a></strong> page. Thanks for listening!</p>
Vern Nicholson
tag:vernnicholson.com,2005:Post/5245238
2018-05-20T01:25:00-04:00
2018-06-05T13:03:58-04:00
Notes from the "Road" (Part 1)
<p>Greetings from the Linden Tree Spring Micro-Tour! I'm six stops down, ten to go, and with this break in the action today I'd like to reflect on how things have gone so far.<br><br>The parameters first, for those who are scratching their heads, muttering, "Micro-tour?" I'm playing 16 open stages in a month, the dates scheduled around my three-night-a-week work schedule. It's a way of performing to as many people as possible in a concentrated time frame, with the bonus of eating in my own home and sleeping in my own bed. To further add to the intrigue, each gig features a fresh batch of songs: there are no repeats. And if that's not enough, at every show I debut a new song—either an original or a cover.<br><br>Here are the raw stats to this point, for those who like to geek out over that sort of thing:</p>
<ul> <li>Shows played: 6</li> <li>Unique venues: 5</li> <li>Songs played: 15 (7 originals, 8 covers)</li> <li>Songs repeated: 0</li> <li>Songs debuted: 6</li>
</ul>
<p>The micro-tour is an experiment. Among other things, I wanted to find out if it would lessen my stage fright. The answer is a qualified yes. From talking to other musicians and reading my heroes' biographies, I've come to see that stage fright is rarely if ever banished. The best I seem to be able to do is make peace with it, feeling the fear and doing it anyway rather than letting it paralyze me. But even with my small sample size, I'm finding that repeated, regular gigging reduces its intensity a bit. Low-pressure shows for small audiences, which all these are, certainly help.<br><br>Another burning question: do I actually <i>like</i> performing? It's no secret that the studio is my preferred habitat, and no amount of gigging will change that. Again, I give a qualified yes. (Apologies for waffling; I'm a Libra. I'm wired that way.) Hearing that applause—sometimes enthusiastic, sometimes tepid, always there—once the final note rings out is gratifying. I'm also in awe of the power musicians, especially singer-songwriters, carry: our words and music can move people, often in ways we don't expect. It's a thrill to experience that in real time.<br><br>On the flip side, the unpredictability of live performance makes it challenging and arduous. There are too many wildcards. To an extrovert, I'd imagine that's exciting; for an introvert like me, it's overwhelming. The smallest thing can throw me off completely, not to mention the major disasters. Break a string? Guitar strap falls off? Music flies off music stand? Some loony staggers onstage and starts raving? That third verse has deserted you? Doesn't matter. You have to recover and get through it somehow. If I mess up in the studio, I can go back and fix it. Onstage, there's no "stop" button till it's over, and forget about rewind, baby. You're trapped in the moment, be it good, bad or ugly. That said, there's a palpable sense of relief (and dare I say victory) once it's over. Whatever I had to face, I made it through. Regardless of the outcome of that particular night's 10,000 variables, I almost never regret playing a gig.<br><br>It's telling that I can only evaluate my shows after the fact, from a recording. While I'm performing, there's so much going on internally that it's near sensory overload. I've learned that my internal experience in the moment isn't an accurate gauge of how I'm going over or how well I'm playing. I'm just trying to get through it as it races by.<br><br>I also embarked on the micro-tour to see whether it would feel like a real tour. So far at least, I'd say no, not really. That singular focus characteristic of touring is absent. I'm still working part-time, shopping, taking out the garbage, feeding the cat, and so on. The constant gigging means I have less time for the tasks of daily life, but it doesn't exempt me from them. And even though I've not played most of these venues before, the micro-tour is, with one exception, set entirely in my home city. As such, it lacks the element of novelty: new roads, new faces, new places, truck-stop food, gruelling travel, strange hotel rooms, unfamiliar beds. This isn't necessarily a bad thing! But even I could use a bit more adventure and a bit less routine. Next time I'll build in a few more out-of-town gigs and dinners out.<br><br>So, that's the broad overview, but please stay tuned—in my next post I'll share with you some of what I've experienced along the way, along with thoughts on my performances. If you'd like to follow along, either in person or vicariously, all the dates are on my <a href="https://vernnicholson.com/shows" target="_blank">shows</a> page.</p>
Vern Nicholson
tag:vernnicholson.com,2005:Post/5185754
2018-04-16T20:24:00-04:00
2018-04-17T01:25:40-04:00
Welcome to Siberia
<p>If this is spring, I want a refund.<br><br>Temperatures remain frigid—it's so bad that tomorrow's high of <span class="high wxo-metric-hide" title="max">2° C is below the normal <i>low</i> for this time of year, </span><span class="high wxo-metric-hide" title="max">4°. This weekend's ice storm was so abominable I stayed inside for two days. I'd hoped to use the downtime to catch up on a few baseball games, but that didn't work out so well. All my favourite teams were snowed out or rained out the whole weekend, including the Blue Jays in Cleveland.</span><br><br><span class="high wxo-metric-hide" title="max">Today came the ultimate indignity. Now that the ice storm had petered out to a steady, cold rain, I thought I'd take in the Jays-Royals game tonight. After all, we're so smart up here in Toronto, prepared as we are for lousy Aprils. Our stadium has a roof. No postponements here. Take that, Cleveland! </span><br><br><span class="high wxo-metric-hide" title="max">Uh ... hold that thought. This afternoon brought chunks of ice flying off the CN Tower, with police cordoning off adjacent walkways near Rogers Centre in the interest of pedestrian safety. But Ma Nature wasn't done with us yet. A fragment of ice <a href="http://www.cbc.ca/sports/baseball/mlb/jays-game-falling-ice-rogers-centre-1.4621981" target="_blank">struck the stadium roof</a> and tore a hole in it over the right field corner. Further flying debris caused leaks in left field. They've repaired the hole, but evidently enough issues remained with the roof that tonight's game was postponed. They'll play two tomorrow, assuming (1) they can patch up the roof in time; and (2) the ice shards stop flying (given tomorrow's balmy high, they sure as hell won't melt).</span><br><br><span class="high wxo-metric-hide" title="max">MLB is on pace to set a record for April postponements. Pretty much everywhere north of the Mason-Dixon line, it's been resolutely miserable. The White Sox and Twins were set to a play a four-game series in Minneapolis starting Thursday; three of the four were snowed out. As for the games they could get in, such as in Boston (game-time temp: </span><span class="high wxo-metric-hide" title="max"><span class="high wxo-metric-hide" title="max"><span class="high wxo-metric-hide" title="max"><span class="high wxo-metric-hide" title="max">34° F/</span></span>1° C) and Chicago (</span></span><span class="high wxo-metric-hide" title="max"><span class="high wxo-metric-hide" title="max"><span class="high wxo-metric-hide" title="max"><span class="high wxo-metric-hide" title="max"><span class="high wxo-metric-hide" title="max"><span class="high wxo-metric-hide" title="max"><span class="high wxo-metric-hide" title="max">38° F/</span></span></span></span>3° C), players resorted to ski masks, sweaters and hoodies in the futile quest to stay warm. Earlier this week, games in Denver and Minneapolis were played in the 20s Fahrenheit, which is minus single digits Celsius.</span></span></span><br><br><span class="high wxo-metric-hide" title="max">I'll give the last word to Kansas City manager Ned Yost, whose team narrowly escaped their own <a href="https://www.usatoday.com/story/sports/mlb/royals/2018/04/16/kansas-city-royals-team-bus-hit-chunk-flying-ice/522283002/" target="_blank">mishap</a> with flying ice on the ride in from Pearson Airport: </span><span class="high wxo-metric-hide" title="max">"If you come to a dome and get banged, something ain't right."</span><br><br><span class="high wxo-metric-hide" title="max">No, it ain't, Ned. Welcome to Siberia.</span></p>
Vern Nicholson
tag:vernnicholson.com,2005:Post/5146861
2018-03-24T21:03:00-04:00
2018-03-25T19:46:02-04:00
Music as Micro-Career
<p>Having just experienced the birthing of a solo album from conception to release, I've been reflecting lately on what it means to be an independent artist in 2018, and more specifically, how I see myself and my career trajectory.<br><br>Though to me it's not really the point, my music now generates a small amount of revenue. (It generates expenses far more magnanimously.) Still, I'm not yet approaching even the middle rungs of indie music success and am not sure I'm willing to do all it would take to get there. So, I must be a hobbyist, right?<br><br>Well, no. Hobbyists don't pour vast sums of their own money into mixing, mastering and artwork to create a professional product. Nor do they press hundreds of CDs, mail half of them around the world, track college radio airplay or design a cracking <a href="https://vernnicholson.com/" target="_blank">website</a> in order to showcase and promote their work, all of which I've done in the past year.<br><br>This limbo-land I find myself inhabiting—my music being neither a hobby nor a full-blown career—has led me to redefine what I do as a micro-career. Now, I'm not using the term in the way your local employment centre might. For me, a micro-career is more along the lines of Robert Fripp's conception of "a small, mobile, intelligent unit." Instead of trying to smash through my limitations (financial, social, technical, musical), I'm working with them. <i>With,</i> not within. At times I stretch my comfort zone; at other times, I pull back. The material rewards may be few, but the artistic integrity is beyond price. To put it less weightily, I'm doing what I can, when I can, as I can, and letting that suffice.<br><br>The first fruit of this re-visioning is my upcoming <a href="https://vernnicholson.com/shows" target="_blank">micro-tour</a>, scheduled for May-June. My last proper tour was over 20 years ago, and it brings back (mostly) fond memories; but I'm simply unable to tour on that sort of scale now, nor do I really want to. I find the prospect of booking shows daunting and long-distance travel is impractical, even more so for a non-driver. But I do miss the thrill of playing several gigs in a concentrated time frame, not knowing what the next venue or audience would bring. Drawing on Toronto's vibrant open stage scene, I've "booked" a micro-tour that'll let me experience just that—minus the endless highway, tedium, expense and pressure. On micro-tour, I can even eat meals at home and sleep in my own bed.<br><br>I'm still fleshing out what a micro-career in music looks like in other ways, and should I gain further insight you'll hear from me again. Perhaps (for me, anyway) its defining characteristic is this: I can forge a modest yet artistically rewarding career path <i>on my terms,</i> as I am able, and that feels immensely liberating.</p>
Vern Nicholson
tag:vernnicholson.com,2005:Post/5087873
2018-02-19T16:35:00-05:00
2018-03-20T13:03:06-04:00
Yes, Sir, Let's Admire That One
<p>If you follow baseball in Canada at all, you know who I'm talking about. The title alone gives it away. That's how deeply and ubiquitously the voice of <a href="https://en.wikipedia.org/wiki/Jerry_Howarth" target="_blank">Jerry Howarth</a> permeated baseball culture in this country. With last week's retirement announcement, the baseball world has lost one of its golden voices.<br><br>Stephen Brunt's <a href="https://www.sportsnet.ca/baseball/mlb/tribute-jerry-howarths-36-years-booth/" target="_blank">warm, insightful tribute</a>, which I urge you to read, says it best: "What will summer sound like now?" For legions of Torontonians, Ontarians and Canadians, myself included, Jerry was the Voice of Summer for 36 years, especially after assuming the Jays' lead announcer role when his long-time partner <a href="https://en.wikipedia.org/wiki/Tom_Cheek" target="_blank">Tom Cheek</a> died in 2005.<br><br>Baseball and radio are made for each other, and as a primarily auditory person, I'm wired to lap it up. The best broadcasters keep the listener informed, entertained and when necessary, amused. Beyond that, the cream of the crop—and Jerry is certainly one—are gifted storytellers, taking on the persona of a wise, kindly uncle who slips in a life lesson or two amidst the grand slams, gold gloves and chin music. Sometimes I think the reason I've spent so many summers with Jerry, all 162 games' worth, is more about palling around with the uncle I never had than the race for the pennant.<br><br>As we sit on the cusp of spring training and a new season of Blue Jays baseball, we don't yet know who will take the reins as lead radio voice. But we do know who we'll miss. To the man who opened every broadcast with a warm "Hello, friends," I say farewell, friend, God bless, and enjoy your well-earned retirement.<br><br>On a related note, <a href="http://torontosun.com/sports/football/cfl/toronto-argonauts/simmons-former-argos-coach-leo-cahill-dies-at-89" target="_blank">Leo Cahill</a>, legendary '60s and '70s coach of the Toronto Argonauts, passed away earlier this week. Flamboyant, outspoken and quick-witted, Leo was a larger-than-life personality on Argonaut teams that had more than their share of outrageous characters. I can't recall any coach or GM, save perhaps the Leafs' Harold Ballard, who so thoroughly dominated the local sports scene. Cahill's brilliance as a coach was often overlooked, and as a recruiter he had no peers. Among his many accomplishments, Leo lured <a href="https://en.wikipedia.org/wiki/Joe_Theismann" target="_blank">Joe Theismann</a> away from the Miami Dolphins to lead the 1971 Argonauts to the Grey Cup, a game which left quite an impression on a certain 10-year-old.<br><br>Cahill never won a Grey Cup, but as a CBC colour commentator he got to call the second half of the Argos' <a href="https://en.wikipedia.org/wiki/71st_Grey_Cup" target="_blank">1983 victory</a>, the one that broke Toronto's 31-year championship drought. And it's somehow fitting that the Boatmen won the last Grey Cup game played during his lifetime, last November's <a href="https://en.wikipedia.org/wiki/105th_Grey_Cup" target="_blank">27-24 victory</a> over the Calgary Stampeders, the very team that beat Leo's squad in '71. Ironically, the heavily favoured Stampeders blew the 2017 game in a manner eerily reminiscent of the 1971 Argos.<br><br>Goodbye, Leo, God bless, and thank you. We won't see your like again anytime soon, and whenever I don my <a href="https://en.wikipedia.org/wiki/Mike_Eben" target="_blank">Mike Eben</a> jersey—which arrived in the mail the day you died—I'll remember you, double blue forever.</p>
Vern Nicholson
tag:vernnicholson.com,2005:Post/5038082
2018-01-22T23:50:00-05:00
2018-03-24T01:14:27-04:00
Words and Music Are Everywhere
<p>Now that the CD is out, I've returned to one of the things I love best: songwriting. And I'm here to tell you that songs can come from some pretty odd places.<br><br>In November I took a train trip to Cornwall, and between Via's attendants handing out Remembrance Day poppies, the music I was listening to on the way (Miles Davis Quintet, <a href="https://en.wikipedia.org/wiki/Live_in_Europe_1967:_The_Bootleg_Series_Vol._1" target="_blank"><i>Live in Europe 1967</i></a>),<i> </i>a piano sitting in a downtown square with jammed keys and a bit of research on the <a href="https://en.wikipedia.org/wiki/The_Lost_Villages" target="_blank">Lost Villages</a>, I came up with a tune called "Lost Villages Wail." (It's not really about the Lost Villages—they provided me with good metaphorical meat, though.)<br><br>I generally write chords first, then melody, then words. If nothing comes spontaneously I go back to my "bits," those fragments I've recorded that on their own are little more than promising parts lasting no more than 10 seconds. If I'm lucky, I can string two or three together in the same song, but more often than not I create the music from scratch around one strong bit. And again, if I'm lucky, sometimes I get a melody so evocative that the words practically write themselves. That's what happened with December's new song, "The Lord's Glue."<br><br>This month's new song, "Let Love Strum You," springs from a truly bizarre source: a lumber outlet jingle I heard on a baseball broadcast. I pilfered the chords and melody verbatim, made it my chorus, and wrote the rest of the music around it. For the lyrics, I drew inspiration from this <a href="https://onbeing.org/blog/john-odonohue-for-one-who-is-exhausted-a-blessing/" target="_blank">poem</a> by John O'Donohue that I saw in a church bulletin. Nothing was used verbatim; I simply borrowed a few of his words, then filled in the rest. In fact, the tone of my lyrics differs considerably from that of the poem.<br><br>Words and music—they really are everywhere if you look. And all this is coming reasonably soon, I hope, on my next album, <i>Days of Secret Seeing.</i></p>
Vern Nicholson
tag:vernnicholson.com,2005:Post/4983862
2017-12-18T21:55:00-05:00
2018-07-06T13:49:19-04:00
The Westbury Wolves Official Playbook
<p>After the frenzy of the CD release, I've been spending my much-needed downtime watching classic Grey Cup games from the '60s and '70s on YouTube. The '60s games were educational because I'd never seen them, but the early '70s are where the memories really start to kick in. The first CFL game I ever watched (on TV) was the <a href="https://www.youtube.com/watch?v=i3ZCm1KDApo" target="_blank">1971 Grey Cup</a>. We had a new colour TV and rotary antenna, and Dad patiently explained the rules to my brother and me as we watched our hometown heroes, the Toronto Argonauts, snatch defeat from the jaws of victory in a heartbreaking 14-11 loss to Calgary.<br><br>Fast forward through a lost 1972 season to November 11, 1973 and the Eastern Semi-Final at CNE Stadium. This was my first live game, again with Dad and my brother. Toronto, having finished in second place with a 7-5-2 record, hosted the Montreal Alouettes. We sat in the Grandstand, Section P, I believe, about 20 rows up. With two minutes left in the fourth quarter and the score 10-7 Montreal, the Argos have the ball on the Alouette 24. QB <a href="https://en.wikipedia.org/wiki/Joe_Theismann" target="_blank">Joe Theismann</a>, in what would be his final game in the CFL, drops back to pass. He finds rookie tight end <a href="https://en.wikipedia.org/wiki/Peter_Mueller_(Canadian_football)" target="_blank">Peter Muller</a> open at the goal line—<i>for the game-winning touchdown</i>—and Muller drops the ball. The Boatmen tie the game on a field goal, but Montreal rolls over them in overtime, eventually winning 32-10. (Saving grace? The Als would lose the following week to the eventual '73 Grey Cup champion Ottawa Rough Riders.)<br><br>Around this time the neighbourhood kids and I started playing touch football, on the street, with modified CFL rules. For one, your average city street lacks goalposts, so we used the hydro wires attached to the telephone poles in lieu. (They were way up there and we were all lousy kickers, so I doubt many field goals were made.) Said telephone poles, about 30 yards apart maybe, also demarcated the goal lines, so our "field" was a tad shorter than the CFL's 110. A regulation CFL field is 65 yards wide; our street, including the sidewalks, might have been 10. If I recall correctly, the sidewalks were in bounds. Mrs. Shaw's lawn was definitely not, as she took great screeching pains to point out whenever the ball landed on it. (Hey, <i>cool it,</i> Mrs. S. At least we never broke your window.) I couldn't throw or kick, but had good hands and was a reliable tight end. Why, in my 12-year-old mind, I could've shown Peter Muller a thing or two.<br><br>All our offensive plays were pass plays. Running wasn't allowed, mainly because it would've been pointless in such a confined space. We mostly played against each other but on rare occasions, we'd challenge the kids who lived east of Bicknell Avenue. For these games we had to call ourselves <i>something</i>, hence the Westbury Wolves. And despite the sheer brilliance and cunning of our playbook (see below), as I recall we got our butts kicked whenever we ventured outside the neighbourhood for a not-so-friendly match.<br><br>So gather round, kids, and listen carefully, for Grandpa here is about to reveal the best-kept secret in the history of touch football—the Westbury Wolves Official Playbook. If you or your kids play touch football, give these a try. One or two of them might even work once in a blue moon. And if you've never heard of the CFL greats who are their namesakes, do look them up.<br><br>And speaking of namesakes: Hedge, Ec, Birdeen, Kojak, Cyc, Stick, Fuzz, the One-armed Bandit, The Ed, Dan & Don, this playbook is dedicated to you. (Yes, one of these is me. No, I'm not telling you which one.)</p>
<ul> <li>
<b><a href="https://en.wikipedia.org/wiki/Mike_Eben" target="_blank">Mike Eben</a>:</b> Run forward seven yards, then back two or three.</li> <li>
<b><a href="https://en.wikipedia.org/wiki/Zenon_Andrusyshyn" target="_blank">Zenon Andrusyshyn</a>:</b> Line up wide left or right. Run forward seven yards, then cut outside.</li> <li>
<b><a href="https://en.wikipedia.org/wiki/Peter_Dalla_Riva" target="_blank">Peter Dalla Riva</a>:</b> Run a curl pattern in the shape of a question mark, starting from the bottom.</li> <li>
<b><a href="https://en.wikipedia.org/wiki/Johnny_Rodgers" target="_blank">Johnny Rodgers</a>:</b> Run forward three yards, stop, jump, then streak downfield.</li> <li>
<b><a href="https://en.wikipedia.org/wiki/Tom_Campana" target="_blank">Tom Campana</a>: </b>Run forward five yards, cut in sharply for two yards, then cut back out (like a T-shape).</li> <li>
<b><a href="https://en.wikipedia.org/wiki/George_McGowan" target="_blank">George McGowan</a>:</b> Similar to the Dalla Riva, but instead of closing the question mark by curling in, run straight across the field.</li> <li>
<b><a href="https://en.wikipedia.org/wiki/Rhome_Nixon" target="_blank">Rhome Nixon</a>:</b><i> </i>Run forward two yards. Accept the short pass from the QB, lateral back to him, then streak downfield.</li> <li>
<b><a href="https://en.wikipedia.org/wiki/Tom_Forzani" target="_blank">Tom Forzani</a>:</b><i> </i>Line up wide left or wide right. Run a 45-degree slant about five or six yards.</li>
</ul>
<p>Fast forward, oh, 44 years, and the Argos are back on the CNE grounds, their new home a stone's throw from long-since-demolished CNE Stadium. What's more, the Double Blue are your 2017 <a href="https://www.cfl.ca/games/2456/calgary-stampeders-vs-toronto-argonauts/" target="_blank">Grey Cup champions</a>, victors over Calgary, who themselves snatched defeat from the jaws of victory with a series of improbable blunders. I've rekindled my passion for football and splurged for a <a href="http://argosatbmofield.ca/" target="_blank">season ticket</a> in the cheap seats. See you next June, Section 220! And, um, Coach Trestman? Feel free to borrow from the best.</p>
Vern Nicholson
tag:vernnicholson.com,2005:Post/4929229
2017-11-11T23:48:00-05:00
2017-11-12T18:35:56-05:00
We Have Liftoff
<p>With much merriment, <i>Linden Tree near the Water</i> was officially launched last Saturday night. Some 30 songs and many servings of cheese and crackers later, I'm still recovering. ?<br><br>I'd like to thank Trinity-St. Paul's Centre and their helpful, courteous staff; the Metro at Bloor & Robert for the fine food and drink; my helpers for the evening, N.C. and C.W., without whom I couldn't have possibly pulled this off; and especially, all those who were able to make it out. It was a pleasure to play for such a friendly crowd, and as a result, my usual performance jitters were absent.<br><br>Missed out? No, you didn't. Not really, because the whole show was recorded and we even managed to shoot some video. It'll take a few weeks to sort through it all and work my post-production magic, but look for highlights on my <a href="https://vernnicholson.com/music" target="_blank">music page</a> as soon as I can get them up there.<br><br>In the meantime, you can purchase the album in my <a href="https://vernnicholson.com/store" target="_blank">online store</a>. Also available there: a 7" single featuring "That '70s Lifetime" and "Lady Air." Thanks for your support!</p>
Vern Nicholson
tag:vernnicholson.com,2005:Post/4884686
2017-10-09T23:35:00-04:00
2017-12-21T23:11:30-05:00
Pulling It All Together
<p>It's less than a month to release day! And about that ...<br> </p>
<div style="text-align: center;"><b>Linden Tree near the Water CD Release</b></div>
<div style="text-align: center;"><b>Saturday, November 4, 7:00 p.m.</b></div>
<div style="text-align: center;"><b>Chapel, Trinity-St. Paul's Centre</b></div>
<div style="text-align: center;"><b>427 Bloor St. W., Toronto, ON</b></div>
<div style="text-align: center;"><b>Free Admission & Snacks—All Ages Welcome</b></div>
<p><br>I'll be playing a ton of music for you on guitar, dulcimer, mandolin and harmonica. If you can make it out, it'd be a pleasure to meet you.<br><br>Now to the topic at hand: releasing an independent CD is a huge undertaking and finally, the legwork I've done over the last year is paying off. Yes, it's been a full year since I started researching blogs, magazines, podcasts and college radio stations that might be receptive to my music. The submission process is, to put it charitably, a one-size-fits-none affair. Some want physical CDs; some want downloads or streams; some insist that you submit through their online interface. A few come at you with such exacting, convoluted demands that it makes you wonder if they want to hear your music at all (answer: probably not).<br><br><b>Tip #1: Address Your Packages in Advance</b><br><br>This means well before you have anything to put in them. I blew out a long weekend in August doing just that, but because I did so I picked up my CDs Thursday and completed my mailout Monday, 165 discs in all. I'd have endured at least a week-long delay had I not addressed the envelopes beforehand.<br><br><b>Tip #2: Make Your Music Downloadable and Streamable</b><br><br>Industry people will go ballistic if you e-mail your songs as attachments. More to the point, they won't listen to them. Instead, use <a href="https://www.dropbox.com/" target="_blank">Dropbox</a> (it's free) for all your downloadable assets (bios, one-sheets, music, artwork, photos) and <a href="https://soundcloud.com/verntunes" target="_blank">SoundCloud</a> (also free) to stream your album. Make it easy and painless for interested parties to hear and download your music.<br><br><b>Tip #3: Send Your Music to the Right Stations </b><br><br>Fair enough, but how do you decide which college stations are "right"? I used a few criteria:</p>
<ul> <li>
<b>Does the station play my genre of music? </b>Take a deep dive into their program schedules. Yes, this will take bloody forever—that's why you do it a year in advance. For me, keywords in show descriptions were acoustic, singer-songwriter, folk—and on the fringes, Americana/roots and power pop. But don't stop there. Read the blurb carefully and ask yourself: is my material really a fit? In my case, some folk shows feature exclusively Celtic, traditional or old-time hillbilly music. Pass. And Americana/roots may mean one thing to me, but if (as was often the case) in the DJ's mind it meant country, rockabilly or bluegrass, I passed.</li> <br> <li>
<b>Lean toward the home team.</b> Of course, the stellar quality of your music ought to trump everything, but I suspect that for unknown indie artists, your best chance of getting airplay is via the "I'm local" angle. I'm lucky. I live in a major city with tons of college towns within a 100-kilometre radius. I made sure every last one of them got a CD, even the tiny, low-profile ones. I also live in Canada, where stations must play a percentage of Canadian content, usually 35%. Your home country should obviously be perched atop your target list, but this is especially true if your country has something similar to our CanCon mandate. (Special note for Canadians: make sure your <a href="https://en.wikipedia.org/wiki/Canadian_content#How_the_MAPL_system_works" target="_blank">MAPL</a> logo is filled out correctly and placed on your back cover and the disc itself.)</li> <br> <li>
<b>Has the station made any "best-of" lists?</b> These higher-profile, well-run stations, <i>if they're a good fit for your music,</i> ought to be on your priority list. I can't emphasize the "good fit" aspect enough. If a top-ranked station plays mostly urban/hip-hop/EDM or punk/metal/noise, no matter how great they are or how vast their audience, why would you send them your folk CD? As for which lists to draw on, the <a href="http://www.radiosurvivor.com/2017/08/02/2018-princeton-review-best-college-radio-station-list-released/" target="_blank">Princeton Review</a> is a good source and is current. I also scoured the <a href="http://pigeonsandplanes.com/in-depth/2013/03/the-25-best-college-radio-stations/" target="_blank">Pigeons and Planes Top 25</a>, even though it's a bit out of date. There are others as well. I've yet to see a list that includes non-US stations.</li> <br> <li>
<b>What's the station's reach?</b> Ideally, you want to target stations with reasonably strong signals in major markets. As a longtime radio geek, I was all over this one. <a href="https://radio-locator.com/" target="_blank">Radio Locator</a> features coverage maps, frequency info and more; it's also a good resource if you can't find the station's mailing address any other way. You can make 20 inquiries a day, I think, for free. After that, you either splurge for a paid subscription or wait till tomorrow. (Guess which is my preferred method?) Finding US stations is easy; the search engine is more cumbersome when it comes to Canadian radio.</li>
</ul>
<p>Now in a way, the title of my post is misleading. What I've outlined here is but a small slice of all I'm having to coordinate in order to put my CD out. I'm a tad obsessive, I know, but the fact is I have<i> 10 </i>to-do lists going. Hey, it was either that or have one list with 437 items on it.<br><br>As always, comments or feedback welcome, and I wish you all the best in your quest to get your music heard.</p>
Vern Nicholson
tag:vernnicholson.com,2005:Post/4836623
2017-09-04T00:08:00-04:00
2017-10-10T01:49:09-04:00
Sign in Stranger
<p>Was shocked and shaken this morning to hear of the passing of <a href="https://en.wikipedia.org/wiki/Walter_Becker" target="_blank">Walter Becker</a>, bassist/guitarist and co-founder of <a href="https://en.wikipedia.org/wiki/Steely_Dan" target="_blank">Steely Dan</a>. Apparently he'd been ill for some time with an unspecified ailment. I didn't know that either, but that's not surprising; the man was an artist, not a celebrity.<br><br>If you came of age during the '70s, the Dan were the soundtrack to your wayward youth, literate misanthropes in soft-rock clothes whose obscurantist musings somehow crept into the Top 40. When some hipster tells me '70s music was dreck until The Ramones, Sex Pistols et. al. righted the ship, I point them toward Steely Dan. In the words of songstress <a href="http://www.rollingstone.com/music/news/read-rickie-lee-jones-poignant-tribute-to-walter-becker-w501078" target="_blank">Rickie Lee Jones</a>, they're "the beginning of college rock."<br><br>As a kid, I bought the singles: "Do It Again," "Reelin' in the Years," "Rikki Don't Lose That Number." These slivers of wax sounded like nothing I'd ever heard, and listening to them now, they still do. Becker and collaborator Donald Fagen were originals. Jazz-rock was in vogue then, yet Steely Dan steered well clear of the pack, whether on the rock (Chicago, BS&T) or jazz side (Mahavishnu Orchestra, Weather Report). I can tell you what they weren't, but I'd need a musicology degree to tell you what they <i>were</i>. As I understand it their influences are mostly jazz greats like Charlie Parker, Duke Ellington and Charles Mingus, with dashes of R&B—yet without exception, their oeuvre consists of pop songs, albeit with a jazzy sophistication underpinning those great hooks.<br><br>I've long envied their songwriting, but their style is hard to emulate without serious chops and a knowledge of jazz harmony, both of which I lack. Why, for a few seconds today I entertained the thought of working up a Steely Dan song in tribute to Becker and quietly nixed the idea. In the past I've tried three or four of their "easier" numbers (the ones with fewer tricky jazz modulations), and they simply don't come off with one guy and an acoustic guitar, at least not this guy. The Steely Dan influence has, however, shown up once in my music—fittingly in an obscure way that only a pedant would appreciate. "After You," one of the songs on my forthcoming album, features a pedal steel part in the bridge—actually a sample that I plied, twisted and manipulated in a week-long bout of studio obsessiveness that would make Walter Becker proud—that I think gets the official Steely Dan Award for Best Use of Pedal Steel in a Non-Country Song. (Check out Jeff Baxter's gorgeous steel work on <i>Can't Buy a Thrill </i>or <i>Countdown to Ecstasy, </i>their first two albums, to hear what I mean.)<br><br>In any case, you will be missed, Mr. B. May the afterlife treat you well. Won't you sign in, stranger?</p>
Vern Nicholson
tag:vernnicholson.com,2005:Post/4814357
2017-08-14T20:33:00-04:00
2017-10-10T01:50:45-04:00
Video Production on the Cheap
<p>I'll admit it: I'm an audio guy. Not a huge fan of watching videos or making them. But for a working musician in the digital age, having some sort of presence on YouTube is essential. And at last, I've found a relatively painless way to make videos that look decent—and more importantly to me, sound great—on a shoestring.<br><br>As it says on the Hamburger Helper package, you will need/il vous faudra:</p>
<ul> <li>Webcam that's better than the one that comes with your laptop</li> <li>Microphone, same; ideally one that records in stereo</li> <li>Reading lamp</li> <li>Basic video editing program (I use Windows Movie Maker)</li> <li>Basic audio editing program (I use Audacity)</li> <li>CD player separate from your laptop</li> <li>As plain and uncluttered a background as you can manage</li> <li>Plenty of patience</li>
</ul>
<p>I found <a href="http://www.quepublishing.com/articles/article.aspx?p=1804863" target="_blank">this article</a> quite helpful in terms of basic tips and cheap workarounds. I'd recently bought a <a href="https://www.zoom-na.com/products/field-video-recording/field-recording/zoom-h1-handy-recorder" target="_blank">Zoom H1</a>, which solved the mic issue, and following the article's advice purchased a Logitech C270 webcam for $30. Now, the Zoom will work as a USB mic attached to your computer, and its quality was markedly superior to the webcam's built-in mic. But I wanted the best audio possible for my videos, and this entailed recording high-quality audio separately and overlaying it later. Without going into arduous detail, here's an overview of the process:</p>
<ul> <li>Record your audio, upload it to your laptop and burn it onto a CD (I used the Zoom H1 for one song and previously created studio recordings for the others). Tip: add a good, long count-in (at least four bars) before your song starts. This gives you enough time to press "record" on your webcam and "play" on the CD player, get yourself situated and come in when the music starts.</li> <li>Turn on your reading lamp and position it behind and a little to the side of your webcam.</li> <li>Point the lamp toward where you'll be positioned in the video. Check for odd-looking shadows and readjust accordingly.</li> <li>Position your webcam such that both you and your instrument are visible and as close as possible to the centre of the shot. If you're like me and not visually inclined, this may take some time.</li> <li>Double-check that your background is neutral and uncluttered. If possible, move extraneous junk out of the way before shooting.</li> <li>With the CD playing (on a separate player; your laptop will be otherwise occupied) record your video, remembering to disable your laptop's built-in mic and/or the webcam's built-in mic. Your webcam software will likely give you "do you really want to do that" warnings; ignore or override them. Yes, you really want to do that.</li> <li>Import your video into Movie Maker. Import your prerecorded audio using the "add music" function.</li> <li>Trim the video start and end so what you're left with is just your performance, give or take a second or two on either end.</li> <li>Sync the music to the video. This is easier said than done. For some reason—your mileage may vary—I find that when I import my audio and video into Movie Maker and line them up, the sync drifts. This is where Audacity comes in (see next bullet point).</li> <li>Audacity's "change tempo" effect will alter the speed of your audio but not its pitch. After much experimentation, I've found that changing the song's tempo +0.2% ensures good sync with no drift.</li> <li>Once the audio and video are in sync, use some of Movie Maker's built-in features to create a more polished, professional look. I chose to add a title card and credits with basic transitions to and from.</li> <li>In Movie Maker, you have to save your video twice: once as a video and once as a Movie Maker project (in case you want to do further editing, and trust me, you will). So: Save Movie, Save Project. If you'll be posting to YouTube, click "YouTube" under "recommended settings."</li>
</ul>
<p>Lip-syncing tip: for me it's easier to actually sing and play instead of pretending to sing and play, but either approach will work because no audio is being recorded. Choose what suits you best. And what does all this end up looking and sounding like? Well, in my instance, you can enjoy the results on my <a href="https://www.youtube.com/channel/UCZn9t_w5Q4JIyK9XAJldICQ" target="_blank">YouTube channel</a>.<br><br>I hope this helps you shoot your own videos should you feel the inclination, and as always, comments are welcome.</p>
Vern Nicholson
tag:vernnicholson.com,2005:Post/4798350
2017-07-16T23:34:00-04:00
2017-10-10T02:06:59-04:00
Nearer the Water
<p>Mark your calendars, folks: <i>Linden Tree near the Water</i> is scheduled for release on November 4, 2017. Details on the CD release show coming soon. I'll be playing a ton of music that night—the album, some great new songs and a choice selection of my favourite covers—on guitar, dulcimer, mandolin and harmonica.<br><br>With the help of artist and photographer friends who wish to remain anonymous and the fine folks at <a href="http://indiepool.com/" target="_blank">Indie Pool</a> and <a href="https://bandzoogle.com/" target="_blank">Bandzoogle</a>, I've been immersed in designing the CD package and ancillary stuff (website, one-sheet and so on). Releasing an independent CD, even on a small scale, is hard work. But it's been fun, too, as I find myself having to stretch in unexpected ways. Why, this week I even did a sketch in Microsoft Paint in an effort to point my designer in the right direction. "Kindergarten Klimt," I've called my naive style, and believe me, I hope to retire after just the one drawing. (Artist and designer were hired for a reason!)<br><br>This week's breakthrough: I've found my font, the typeface I'll be using on the CD and promotional materials. Not giving too much away other than to say it's been used in a music-related context before (many years ago) and you'll love it when you see it. I sure did.<br><br>A little teaser for you: yes, there will be a single and yes, it'll be released on 7" vinyl, just like we did in the good old days. The songs are "That '70s Lifetime" b/w "Lady Air." For now it'll be a (very) limited run—short-run vinyl being quite expensive—also released on November 4. To whet your appetite, here's my <a contents="video" data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=BO32n2lsQuQ" target="_blank">video</a> for "Lady Air." Featuring captions because, well, that's my day job and whenever I encounter a video, I can't help but caption it.</p>
Vern Nicholson
tag:vernnicholson.com,2005:Post/4798351
2017-06-22T18:49:00-04:00
2018-07-30T13:24:05-04:00
Real Chords #4: Queen, "'39"
<p>This latest instalment in my Real Chords series is, well, a doozy. Welcome to master class, kids. The good news? This song, Brian May's self-described attempt at "sci-fi skiffle" from Queen's 1975 <i>A Night at the Opera</i>, isn't that hard to play once you get the hang of it. It is, however, one of the toughest to pick up by ear—which, happily, I've done for you. As you'll soon see, certain sections feature bizarre chord sequences that make no intuitive sense. But for all that, there's only one truly oddball chord in the whole song.<br><br>Perhaps due to the degree of difficulty, the online chord charts are generally good, though I didn't find any that were 100% accurate. For once, it doesn't much matter if you capo it or not; no matter what you do you'll run into a ton of weird chords. To play it in the same key as the original, use Capo 1. Fascinating fact: the song's <a href="https://en.wikipedia.org/wiki/%2739" target="_blank">Wikipedia entry</a> claims that George Michael used to play this as a busker in the London Underground. If true, props to someone I'd previously dismissed as a lightweight. It's not an easy song to put across as a solo performer.<br><br>A few notes on the chords below: the aforementioned outlier, Adim7, is fingered x01212 low to high. Csus2 is x3x033. Now, this is a matter of taste, but in my music I use the Csus2 in place of a standard open C about 80% of the time. It just sounds better to me. If you <a href="https://www.youtube.com/watch?v=kE8kGMfXaFU" target="_blank">listen</a> to the song as you learn, you'll also note that some of these chords really fly by, particularly in the second half of the bridge, pre-chorus and chorus. Expect to stumble over those bits at first.<br><br>Here, then, are the real chords to Queen's "'39," written by Brian May:<br><br><b>Capo 1</b></p>
<ul> <li>Intro 1 (spaghetti western bit): C Am E Bb Eb Bb C F G</li> <li>Intro 2 (folky bit): G D Em C G D C G G D Em Csus2 Csus2 D Dsus G</li> <li>Verse: D Em C G D Em Em7 Csus2 Dsus D G</li> <li>Pre-Chorus: D Adim7 Em Am G D C Em C D C G D (that last G is <i>so</i> quick, but necessary to set up the D)</li> <li>Chorus: G Csus2 G D G B7 Em D C G/B Am G D G</li> <li>Bridge: Eb Cm7 A C F#m C Am E Bb Eb Bb C F G</li> <li>End: G B7 Em D C G/B Am Em D (G ... implied, not played)</li> <li>Outro: G D Em Csus2 Csus2 D Dsus G</li>
</ul>
Vern Nicholson
tag:vernnicholson.com,2005:Post/4798352
2017-05-22T01:46:00-04:00
2020-07-25T12:44:16-04:00
Navigating the Dulcimer
<p>A few years ago, having finally figured out what was making that gorgeous drone on some of my favourite recordings, I bought a dulcimer. Now, technically the instrument I own is called an <a href="https://en.wikipedia.org/wiki/Appalachian_dulcimer" target="_blank">Appalachian dulcimer</a>. Despite the name, I was quite surprised to discover that the instrument's origins lie in the United States, though its antecedents can be traced back to Europe. Moreover, there's a vast tradition of American dulcimer music with which I'm entirely unfamiliar. Why? One, I'm not big on old-timey country and bluegrass, and two, the favourite recordings mentioned earlier all emanate from the UK. So, dear Americans, forgive me for believing the dulcimer was a British instrument used to play British folk music—and for continuing to write and perform broadly within that tradition. (And if you think that's blasphemy, I present one of your own: synth-pop dulcimer diva <a href="https://www.youtube.com/watch?v=gZa4mdWu6Gs" target="_blank">Cyndi Lauper</a>. Who knew?)<br><br>The dulcimer is one of the easiest stringed instruments to play; it's also one of the hardest to find, unless you live in rural Appalachia. I live in a big city with big-city music stores that sell banjos, mandolins and ukuleles galore. But only one had a dulcimer, a Romanian knock-off that a bit of research told me was best avoided. I soon realized that to get what I really wanted (a pickup, 6 1/2 and 13 1/2 frets, and a well-made instrument), a field trip either to Tennessee or a local builder was in order. Fortunately, Hugh Hunter of <a href="http://www.midnightspecial.ca/other-instruments.html" target="_blank">Midnight Special Instruments</a> was a two-hour bus ride away in the town of Rockwood, and I was all set. (I think he's since moved, and I'm not sure where. Still in Southern Ontario, I believe.)<br><br>Here are a few basics to start. Unlike most stringed instruments, the dulcimer is played in your lap. Also unusual: the lowest string is farthest from you. Strings are typically strummed or plucked with a pick, though some players are finger-pickers. In its standard construction—as many variants exist as folks who want customized instruments—the dulcimer has four strings: a bass string, middle string and two melody strings. There are many possible tunings, some of which are listed <a href="http://www.jcrmusic.com/Learning.html" target="_blank">here</a>. I use DAdd, low to high, primarily because as far as I can tell it's the tuning used in those haunting British folk songs that got me hooked in the first place.<br><br>The two melody strings are tuned in unison and are so close together you can't fret them separately anyway, unless you're the Django Reinhardt of the dulcimer. As a result, you need a considerable wingspan in terms of finger movement, because 95% of your melody is being played on that one pair of strings. Fortunately, my stubby bass-player fingers and their extended reach have helped in that regard. (Which is nice for a change; they're a liability on the mandolin and sometimes the guitar, too.)<br><br>The dulcimer's frets are arranged such that they create a diatonic scale. This means two things. First, it's nearly impossible to play a wrong note. You'll pretty much get a pleasing tone no matter where you put your fingers. Second, certain notes in the chromatic scale are simply unavailable. I'll use an example to illustrate:</p>
<ul> <li>First four frets on the D string of a guitar: D#, E, F, F#</li> <li>First four frets on the D string of a dulcimer: E, F#, G, A</li>
</ul>
<p>So, if you want to play (let's say) an F on a dulcimer, you need to re-tune. Simple as that. Using a capo won't give you more or different notes, but it does make things quite interesting in other ways. When I bought my dulcimer Hugh had no capos in stock, so I ordered one from a guy in Ohio named <a href="http://www.ronewingdulcimers.com/" target="_blank">Ron Ewing</a>.<br><br> </p>
<div class="separator" style="clear: both; text-align: center;"><a href="https://4.bp.blogspot.com/-7fJ94b6O2vY/WSKg9r2MRyI/AAAAAAAAAIQ/0il_jGiPIQYxVz-Byi-9ukJ-97qRZOp4wCLcB/s1600/Dulcimer%2BCapos.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img src="https://4.bp.blogspot.com/-7fJ94b6O2vY/WSKg9r2MRyI/AAAAAAAAAIQ/0il_jGiPIQYxVz-Byi-9ukJ-97qRZOp4wCLcB/s1600/Dulcimer%2BCapos.jpg" class="size_orig justify_inline border_" /></a></div>
<p><br>As you can see, these handsome devices would never be mistaken for guitar capos. A dulcimer neck is far thicker than that of a guitar, so a guitar capo wouldn't fit at all.<br><br>Once you capo a dulcimer, all bets are off. Because the instrument is diatonic, putting a capo on it changes not only the key but <i>the scale itself. </i>When I first started out, I couldn't figure out how those UK folk-rockers were getting brooding minor keys out of their dulcimers, as mine seemed resolutely stuck in D major. Well, slap a capo on the first fret and presto: you're now in E minor or E-aeolian. If the song you're playing is in C minor (like "Witchwood" below), just keep your capo on and tune down two whole steps. As you might guess, capoing further up the fretboard produces new scales (and modes) every time. I haven't yet figured out what they are, but thankfully <a href="http://www.sksmithmusic.com/virtual_classroom/modes.html#Mode_Chart" target="_blank">Steven K. Smith</a> has.<br><br>I'd be remiss if I didn't point you in the direction of those haunting British folk songs, so here goes. Some feature electric dulcimer, which only adds to the fun:</p>
<ul> <li>Strawbs, "<a href="https://www.youtube.com/watch?v=8XlT1jlD-xU" target="_blank">Witchwood</a>," "<a href="https://www.youtube.com/watch?v=5B4kw4oYI8k" target="_blank">Benedictus</a>" (the solo isn't a guitar but a dulcimer through a fuzz box!)</li> <li>Fairport Convention, "<a href="https://www.youtube.com/watch?v=WyzhkVytm8E" target="_blank">Genesis Hall</a>," "<a href="https://www.youtube.com/watch?v=BUo6XEQTAmI" target="_blank">Flowers of the Forest</a>"</li> <li>Pentangle, "<a href="https://www.youtube.com/watch?v=iKfnBi0yuNw" target="_blank">A Maid That's Deep in Love</a>"</li> <li>Steeleye Span, "<a href="https://www.youtube.com/watch?v=pXr0vz3HIqc" target="_blank">One Night as I Lay on My Bed</a>," "<a href="https://www.youtube.com/watch?v=OM7jISbR_ps" target="_blank">The Lark in the Morning</a>"</li>
</ul>
<p>And for your listening pleasure, here's the first song I wrote on dulcimer, "<a href="https://www.youtube.com/watch?v=HtSVOx0cE4Y" style="" target="_blank">This Magnificent Dare</a>." The dulcimer is double-tracked and tuned down two whole steps to Bb.</p>
Vern Nicholson
tag:vernnicholson.com,2005:Post/4798353
2017-04-18T23:45:00-04:00
2017-10-10T01:56:58-04:00
Update on My New Album
<p>I'm happy to report that <i>Linden Tree near the Water</i> is inching toward release. The album was mastered in February, and artwork and photography are in progress. The biggest obstacle is finding a way to finance the manufacturing of the discs themselves, but I'm making some headway on that front as well.<br><br>The running order has now been set (all songs written, produced and performed by yours truly):</p>
<ol> <li>Next of Kindred</li> <li>Cabbagetown Princess in Parkdale Clothes</li> <li>That '70s Lifetime</li> <li>This Magnificent Dare</li> <li>Groping to Victory</li> <li>Nest for Little Bird</li> <li>After You</li> <li>Year of No Tomorrow</li> <li>Christmas with Bruce and Bob</li> <li>Lady Air</li> <li>Le chevalier manqué</li> <li>Linden Tree near the Water</li>
</ol>
<p>A few more behind-the-scenes details also need to be put in place, but in any event I'm aiming to have the album ready by October. In the meantime, do enjoy the samples I've posted on my <a href="http://vernnicholson.com/" target="_blank">website</a>.<br><br>In other news, the Floyd box keeps on giving. I discovered a means of converting audio on the DVDs to mp3: <a href="http://www.dvdae.com/download" target="_blank">DVD Audio Extractor</a>. It's free for 30 days, and it does a superb job. I tweaked the audio files in Audacity to create fades, eliminate silences and edit out extraneous commentary. Anyway, I now have 41 additional songs in my library (over five hours' worth!), and in keeping with the nomenclature I've called my virtual volume Extric/ation.</p>
Vern Nicholson
tag:vernnicholson.com,2005:Post/4798354
2017-03-15T00:24:00-04:00
2020-10-31T23:31:14-04:00
I Play Guitar Like A ...
<p>So, I trekked out to Mississauga recently for a music clinic. Don't know if I picked up much of what the instructor tried to impart, but I sure gained some insight into my musical self.<br><br>Some people—and our dear instructor, a jazz musician, is clearly in this camp—pick up an instrument in order to gain proficiency, if not mastery. Which is, on the surface, fair enough; after all, it's pretty hard to make music without knowing your way around at least one instrument, even if it's your own voice. The goal is to practise, practise, practise and just maybe, you'll become the next Eddie Van Halen or Joe Satriani. And I must confess, I worshipped at the altar of technique when I first picked up the bass guitar years ago. My early influences were giants of the electric bass: Chris Squire, Phil Lesh and above all, the magnificent <a href="https://en.wikipedia.org/wiki/Jack_Casady" target="_blank">Jack Casady</a>. In retrospect, it served me well to aim that high, as it soon became apparent that steady practice, a few lessons and some basic music theory (thanks, Mom) were the bare essentials needed to even approach my idols' prowess. Never got there, but I did learn how to play reasonably decent bass.<br><br>But you know, a funny thing happened on the way to Billy Sheehan: I fell in love with songwriting, arrangement and production. I came to understand that what I really wanted to do was write great songs and make great-sounding records. And to accomplish that, I had to do two things: acquaint myself with a variety of instruments and figure out what makes a song work. Thirty years later, I'm still working on both.<br><br>In terms of technique, this means I've become a generalist, not a specialist. I'd rather play ten instruments adequately, and in some cases barely, than one brilliantly. In my experience most "musos" (technicians) find this sort of attitude absolutely baffling. Case in point: the clinic instructor was dismissive of <a href="https://deftdigits.com/2011/07/26/8-essential-open-chords-and-how-to-use-them/" target="_blank">cowboy chords</a>, urging us (presumed) muso guitarists not to limit ourselves to such mundane forms of musical expression. And sure, run-of-the-mill players like me play easy-strum chords partly because we're lazy and inept. Guilty as charged. However, the main reason I and thousands of songwriters use them is because <i>they sound so good. </i>There's something to be said for the shimmering overtones of open strings ringing out, especially in folk and rock.<br><br>In the end, perhaps it's a matter of differing tastes. I suppose if you're excited by flurries of notes, unusual scales and metres and convoluted jazz chords, my ringing easy-strum G chord would bore the pants off you. Conversely, if you'd take Roger McGuinn's opening lick to "Mr. Tambourine Man" over any Eddie Van Halen or Joe Satriani lick ever played, you know of what I speak.<br><br>Anyway, we did get some swag last night, for which I was most grateful: a pick holder, a circle of fifths poster and a sheet of promotional stickers, and that's where I'll wrap up. One sticker, now on my lyrics binder, really caught my eye. Designed like a name tag, it said, "I Play Guitar Like A ..." inviting us to fill in the blank. I thought about it for a split second and right away, I knew—<br><br>I play guitar like a songwriter.</p>
Vern Nicholson
tag:vernnicholson.com,2005:Post/4798355
2017-02-21T02:00:00-05:00
2017-10-10T02:05:16-04:00
Appreci/ation
<p>Two months after opening it, I've almost worked my way through <i><a href="http://shop.pinkfloyd.com/the-early-years-box-set-1965-1972" target="_blank">The Early Years 1965-1972</a>, </i>Pink Floyd's massive vault-clearing box. Though not without its flaws, this 28-disc set (11 CDs, 9 DVDs and 8 Blu-rays, the content on the DVDs and Blu-rays being identical) is a treasure trove of material from the Floyd's most restless, innovative period. What follows is my highly subjective review, with an emphasis on the audio portion because that's what interests me most. (A more exhaustive review that includes the video material can be found on the excellent fan site <a href="http://www.brain-damage.co.uk/box-sets/pink-floyd-the-early-years-1965-1972-box-set.html" target="_blank">Brain Damage</a>.) First, overall impressions:<br><br><b>Pros</b></p>
<ul> <li>Nearly all existent archival material from the period is here, much previously unreleased, most in excellent quality.</li> <li>The video footage, much of it extremely rare, has been impeccably restored.</li> <li>Bonus volume (1 CD, 2 DVDs/Blu-rays), ten large memorabilia pieces and five replica 7" singles are all exclusive to the box.</li> <li>Sturdy, attractive packaging.</li> <li>The memorabilia in the individual volumes is a nice touch.</li>
</ul>
<p><b>Cons</b></p>
<ul> <li>Careful with that price, Eugene. The box sells for $640; the six individual volumes, due to be released in late March, are going for $63 each. I wanted it all and am glad I splurged for the box, but I'm a bit peeved that the exclusive material wound up costing an extra $262.</li> <li>Is the size of a small microwave. I had to clear an entire bookshelf to find a spot for it.</li> <li>Some tracks suffer from inexcusable lapses in quality (inferior sources, songs at incorrect speeds, questionable mastering—see below for specifics).</li> <li>For this price, a hardcover booklet should have been included. Liner notes are there, but sparse.</li>
</ul>
<p>Now on to the individual volumes (again, I'm focusing on the audio):<br><br><b>1965-1967 Cambridge St/ation</b><br><br>For many Floyd freaks, myself included, this is the heart of the matter: the Syd Barrett era. Disc 1 kicks off with the band's 1965 demos. Syd does his best Mick Jagger on these R&B-flavoured cuts, which is jarring for those used to the English-accented vocal delivery he favoured throughout his brief career. Remasters of the 1967 singles follow, then a couple of remixes. Next up is a trio of long-hoped-for outtakes, the holy grail of Syd's tenure: "In the Beechwoods," "Vegetable Man" and "Scream Thy Last Scream," all essential additions to the Barrett canon. The second disc features a scorching September concert, the only surviving live document of Barrett-era Floyd. Unfortunately, the vocals are very low in the mix. This and the clattering "John Latham" session that follows proves once and for all that The Pink Floyd of '67, despite their flower-power reputation, were in essence a proto-punk band—and not for the faint of heart. Glaring omission (there's room for it on Disc 1): the 1966 demo of "Interstellar Overdrive." (This can be, and was, remedied in homebrew fashion. See below.)<br><br><b>1968 Germin/ation</b><br><br>What's here is, with one exception, great stuff: quality remasters of the two 1968 singles, two BBC sessions, and a pair of unreleased songs from an August session in LA that no one even knew existed till now. The exception: an inferior-quality version of "Interstellar Overdrive" that also runs a full tone too slow. Another complaint: there's room on the disc for audio versions of the February Bouton Rouge performances that appear on the DVD/Blu-ray. These feature new guitarist/vocalist David Gilmour taking the lead on the Barrett-era songs "Flaming" and "Astronomy Domine." Fascinating material: why not include it?<br><br><b>1969 Dramatis/ation</b><br><br>Another two-disc volume, and I must confess one that didn't impress, perhaps because too many songs were repeated. The BBC sessions are okay but hardly revelatory, the Paradiso concert <i>again</i> suffers from vocal mic failure and the <i>More</i> outtakes don't live up to their promise. The track labelled "Seabirds" is actually an alternate version of the "Quicksilver" instrumental, not "Seabirds" as heard in the film. Presumably that version is lost. It's wonderful to have "The Man" and "The Journey" in fine quality on Disc 2, but a pity that this show (Amsterdam, September '69) found Gilmour's vocal cords in such rough shape. "The Narrow Way, Part 3" is an especially painful listen.<br><br><b>1970 Devi/ation</b><br><br>Goldmine! Disc 1 is book-ended by two versions of "Atom Heart Mother": a sizzling band-only romp and a brass/choir take recorded for the BBC that arguably outshines the studio recording. In between are fine BBC renderings of "Embryo," "Green Is the Colour" and the rarely played "If." The second disc features outtakes from the <i>Zabriskie Point </i>sessions, a varied and intriguing lot on the whole. The song often bootlegged as "Fingal's Cave" is here titled "Aeroplane" and not only runs longer but rocks harder, with more clarity and definition than heard previously.<br><br><b>1971 Reverber/ation</b><br><br>There's some meaty material packed onto this year's sole disc. "Nothing Part 14," a work-in-progress snippet of "Echoes," is eerily riveting, prefiguring Brian Eno's ambient work. This is followed by another terrific BBC session, the highlight of which is an extended (and dramatically different) take on "Fat Old Sun." I had an inferior version of this on cassette at one time; it's great to finally have it in pristine quality. I'd like to have seen a second disc devoted to the remaining parts of "Nothing" (rumour has it there were 24 in all). Perhaps the rest is lost?<br><br><b>1972 Obfusc/ation</b><br><br>Two discs here, though apparently that wasn't the original intent: the booklet only has room for one (the audio version of <i>Live at Pompeii</i>), while the second disc, a 2016 remix of <i>Obscured by Clouds</i>, comes in a paper slipcase with the curious note that it's a replacement disc for <i>Live at Pompeii,</i> which was "supplied in error." Further, rumblings abound in online forums that both discs suffer from shoddy mastering, in particular a far-too-crisp high end. They don't sound that bad to me, but perhaps I lack the audiophile equipment (or audiophile ears) to discern the problem. In any event, it's good to finally have <i>Live at Pompeii</i> in standalone audio. The <i>Obscured by Clouds</i> remix, on the other hand, strikes me as redundant. Again, giving us audio versions of the live material featured on the DVD/Blu-ray might have been a better choice.<br><br><b>Bonus: 1967-72 Continu/ation</b><br><br>The bonus volume, exclusive to the box, is a frustrating mixed bag. The track list is one to make Syd-era fans drool: two complete BBC sessions from 1967, one from September, the second from December, mere weeks before Barrett's ignominious exit. After that, stray BBC tracks from 1968 and 1971, all that's salvageable from <i>The Committee</i> soundtrack, "Moonhead" (an instrumental recorded to accompany footage of the moon landing) and a live "Echoes" from 1974 (?) round out the disc. On the plus side, all this is killer material; however, the sources chosen are by and large abominable, especially considering that better sources circulate on bootlegs. The "Reaction in G" and "Set the Controls for the Heart of the Sun" from the September 1967 session are, frankly, unlistenable—and I say this as someone with a high tolerance for bootleg-quality audio. But! All is not lost, because after some diligent poking around the Internet I was able to procure better versions of <i>all</i> the questionable material. So, I proudly present my unofficial, homebrew 29th disc ...<br><br><b>Ultra Bonus: 1965-1972 Augment/ation</b><br><br>I can't take credit for either the name or the idea—other Floydians have taken it upon themselves to create a self-styled addendum of missing/upgraded material, too. Anyway, here's my tracklist, all 78 minutes' worth:</p>
<ol> <li>Interstellar Overdrive [Thomson Private Recording Studio, 10/31/66]</li> <li>The Scarecrow [mono single mix, 6/67]</li> <li>Reaction in G [live Copenhagen, 9/13/67]</li> <li>The Scarecrow [BBC 9/25/67, upgrade]</li> <li>Reaction in G [BBC 9/25/67, upgrade]</li> <li>Set the Controls for the Heart of the Sun [BBC 9/25/67, upgrade]</li> <li>Reaction in G [live Rotterdam, 11/13/67]</li> <li>Apples and Oranges [stereo mix, 11/67]</li> <li>Scream Thy Last Scream [BBC 12/20/67, upgrade]</li> <li>Vegetable Man [BBC 12/20/67, upgrade]</li> <li>Pow R. Toc H. [BBC 12/20/67, upgrade, full length]</li> <li>Jugband Blues [BBC 12/20/67, upgrade]</li> <li>Baby Blue Shuffle in D Major [BBC 12/2/68, pitch-corrected]</li> <li>Interstellar Overdrive [BBC 12/2/68, upgrade, pitch-corrected]</li> <li>Biding My Time [outtake, 7/69]</li> <li>Oenone [<i>Zabriskie Point</i> outtake, 11/69]</li> <li>Give Birth to a Smile [Roger Waters & PF, <i>Music from the Body, </i><span style="font-style: normal;">1970]</span>
</li>
</ol>
<p>Of these, eight tracks are upgrades to the BBC sessions on Continu/ation; one is an upgrade to the bum cut on Germin/ation; and the other eight are stray tracks that really should have been part of the box but were inexplicably left off. I won't review my self-curated disc other than to say it renders the lapses on Continu/ation and elsewhere far more palatable and for me, literally completes the box set. Now, where might you find said upgrades, were you to go searching for them? Well, here's a <a href="http://floydpodcast.com/bbc-archives-67-69-40th-anniversary-edition/" target="_blank">hint</a>. Thank me later. You will, however, have to do some serious audio editing.<br><br>All told, in spite of the set's flaws and the steep price, I'm most grateful to have it, hence the sincere title of my post. Pink Floyd have historically been rather stingy when it comes to opening the vaults, so this was a most surprising gesture. Surviving band members had little involvement, apparently, other than green-lighting the project. We can, however, thank band conceptualist Roger Waters for the "/ation" titles, though reportedly he's not responsible for "Continu/ation," which he finds "so lame." (Wait till you <i>hear</i> it, Roger.)<br><br>Oh, and speaking of appreciation: I've recently scored a copy of the deluxe edition of Fairport Convention's 1969 classic, <i>Liege & Lief</i>, for $9.75. And I just bought two bare-bones box sets containing Fairport's first ten albums, plus the four-disc <i>Live at the BBC</i>, for a grand total of $75. Kind of makes up for my hole-in-wallet experience with the Floyd box.</p>
Vern Nicholson
tag:vernnicholson.com,2005:Post/4798356
2017-01-25T00:06:00-05:00
2017-10-10T02:03:51-04:00
Recycling the Classics
<p>As a songwriter, I often find myself hunting for that one stellar chord sequence or melodic line that really makes a song shine. I'd like to think I've come up with a few on my own but sometimes, one needs a little help.<br><br>If done skilfully, what I'm about to outline for you truly is recycling, not outright theft. Case in point: a song I've just written called "Love's Twin Flames." I'd initially set out to write something in the vein of Syd Barrett-era Pink Floyd, which I'm happy to say the finished product sounds nothing like. (You know you're on the right track when you <i>try</i> to ape somebody and it still comes out sounding like you.) I did, however, end up borrowing half the chorus of "Arnold Layne" for my bridge, and therein lies the difference between recycling and stealing. If it's their chorus, make it your bridge or verse. Alter the melody, a little or a lot. Change the last chord or three. Put it in a different key or tempo. And obviously, write a new set of lyrics.<br><br>Not done yet, I began tinkering with the chorus of Guided By Voices' "Liquid Indian." It's an absolutely killer chorus paired with the most hideous, abstruse verse ever written (I think Robert Pollard, gifted though he is, sometimes takes perverse pleasure in being demented). Ever since I first heard the song I wondered how that lovely chorus—or something like it—would sit in more genteel surroundings. It's been in the back of my mind for some time as a reclamation project, if you will. Again: I changed the melody, put it in a different key, took out a chord and added two new ones, wrote new words, and it's found a new home as the pre-chorus of "Love's Twin Flames."<br><br>Recycling can also happen unconsciously. My song "After You" has a pre-chorus sequence that I knew I'd heard before. I couldn't place it for the longest time but eventually found it in a Fairport Convention tune called "Wandering Man." As it turns out, they (unconsciously?) borrowed it too, from Rod Stewart's 1972 hit "You Wear It Well." And despite Rod, the Fairports and I all using this chord sequence, our songs sound nothing alike. That's how you know you're recycling, not stealing.<br><br>A variation on the process is deliberately starting to write by playing a snippet of a well-known song, then going off in a new direction. Another new one of mine called "Puis-Je T'Aimer" began life as "Uncle Vern's Band," a thinly veiled reference to the Grateful Dead chestnut "Uncle John's Band." And for about six seconds, my song and the Dead's sound alike (same intro chords, though I changed the key and tempo). After that, I veer off into a universe that's as unlike Garcia/Hunter as chalk and cheese.<br><br>One of my favourite recycled songs is The Jam's "In the Crowd," a stellar track from <i>All Mod Cons.</i> Give that a listen, then try The Kinks' "Johnny Thunder" from their 1968 classic <i>The Kinks Are the Village Green Preservation Society. </i>Something sound familiar? Not casting aspersions on Paul Weller, but this really borders on theft: same chords, melody, tempo and even key, I believe. Yet! Both are classic songs, and that one part aside they sound nothing alike. If anything, it's a testament to Weller's genius that he borrowed so literally (and liberally) to create a new and equally brilliant piece of music.<br><br>Have you recycled others' material in your writing? What's your favourite recycled bit or song? Comments are welcome.</p>
Vern Nicholson
tag:vernnicholson.com,2005:Post/4798357
2016-12-05T06:00:00-05:00
2021-03-02T11:29:44-05:00
Real Chords #3: Pink Floyd, "Alan's Psychedelic Breakfast" (Morning Glory Section)
<p>I've been on a Floyd kick lately, what with my <i><a href="https://en.wikipedia.org/wiki/The_Early_Years_1965%E2%80%931972" target="_blank">The Early Years: 1965-1972</a> </i>box set waiting to be opened at Christmas. I love me some early Floyd, and this thing has it all: 27 CDs, DVDs and Blu-rays and five 7" vinyl singles, plus loads of memorabilia. It's also the size of a small microwave oven. Can't wait! Anyway, I had this song on over dinner tonight, got curious, picked up the guitar, checked for chords online and ... well, the usual. I found an almost-there transcription with a few wrong chords and a disinclination to acknowledge that the capo has been invented.<br><br>Now, don't get me wrong: the fine folks who post these things are rabid fans like you and me, brother and sister, and this particular punter's efforts <a href="https://www.youtube.com/watch?v=oXsCvlQ37jo" target="_blank">pointed me at the sky</a>—i.e., the right direction—for which I thank him. But if there's an even slightly easier way to play the song, why not take full advantage and use a capo? In fairness, "Alan's Psychedelic Breakfast" is hardly an obvious candidate for that. It's chock-full of awkward chords no matter what you do, and features one chord that's especially unusual (it took me about five run-throughs to finally land on Bbdim7, a chord that eluded Mr. Punter despite his valiant attempt).<br><br>I should note that I transcribed this more as an academic exercise, just to see if I could do it. You know how it is: you hear something and go, "Yowza! I want to play that," even if it's not suited to solo performance. I wouldn't recommend attempting this at an open stage unless you were at a Floyd convention, put it that way. At the very least you'd need piano accompaniment, 'cause that's where the melody lies. Even so, the song's <a href="https://en.wikipedia.org/wiki/Alan's_Psychedelic_Breakfast" target="_blank">Wikipedia</a> entry notes that Rick Wright played <i>three</i> pianos in this section, so make that a magnificent concert pianist, ideally one with a few extra hands. All told, it's more fun to try at home along with the record.<br><br>Okay, I'll admit to a second reason for wanting to figure this one out: the chords are so achingly beautiful that I wanted to learn them now so I can use them in modified form later. Some of these progressions will be heard again, trust me. (Next month we'll discuss the fine art of recycling in music, so stay tuned.) Some highlights for you: referring to the transcription below, that intro section is pure chordal magic. The Bbdim7 is the key to its success, the pivot upon which the whole sequence turns. The end of the theme (from the Eb on) is plenty bizarre but somehow they make it work with a lovely piano melody that flutters atop all those weird chords. And finally, the Bb to Abm7 to Eb transition is sublime, worthy of any highfalutin' "serious" composer. Full marks to whoever wrote that section (Wright, I'm guessing).<br><br>As with our <a href="https://3vee.blogspot.ca/2016/11/real-chords-2-moody-blues-dawn-is.html" target="_blank">previous Real Chords entry</a>, the acoustic rhythm guitar transcribed here doesn't exist on the recording. Look at it this way: you can play producer on a Pink Floyd song and add a track that, in your esteemed professional opinion, should have been there all along to add some colour. Here, then, are the real chords to "Alan's Psychedelic Breakfast" (Morning Glory section), written by Roger Waters, Rick Wright, Nick Mason and David Gilmour. For those of you playing along with the record, this section begins at 8:18.<br><br><b>Capo 2</b></p>
<ul> <li>Intro: D F# Em C Bbdim7* A</li> <li>Theme: D F# G A Bb Abm7 Eb Ab C F E Esus A</li> <li>Theme Variant: D F# G A Bb B Db Eb Ab C F E Esus E</li> <li>Outro: (A Gmaj7 Fmaj7 G) x3, A Gmaj7 Fmaj7 E Esus E</li> <li>Double Time: A Gmaj7 Fmaj7 G A Gmaj7 Fmaj7 E Esus E</li> <li>Quadruple Time: As above, then end on A</li>
</ul>
<p>* Fingering, low to high: x12020<br><br><i>Notes: </i>I play the Eb using a standard C shape moved up three frets. If you want to try it out, make sure you finger the top string (as if you were playing the high G in a C major chord). Unsurprisingly, an Eb doesn't sound too good with an open E ringing out on top. Anyway, I think the Eb sounds nicer this way and it also makes for an easier transition to the Ab that follows.<br> </p>
Vern Nicholson
tag:vernnicholson.com,2005:Post/4798358
2016-11-19T18:18:00-05:00
2017-07-31T21:41:15-04:00
Real Chords #2: The Moody Blues, "Dawn Is a Feeling"
We continue our Real Chords series with this gem, the opening number from The Moodies' classic <i>Days of Future Passed</i>. Before we get into it, I offer the caveat that I've arranged the song for guitar; on the recording, no guitar is present. I hear piano, mellotron, drums and bass, and that instrumentation is confirmed by the song's <a href="https://en.wikipedia.org/wiki/Dawn_Is_a_Feeling" target="_blank">Wikipedia entry</a>. But unless you plan on dragging a mellotron to your local open stage—and if you are, do let me know; that I'd love to see—you will, I hope, find this arrangement to your liking.<br><br>A few notes on the composition itself: as is common with material from what I call the golden age of songwriting (roughly 1965-75), we have here a gorgeous melody accompanied by a dreamy chord progression, all courtesy keyboardist <a href="https://en.wikipedia.org/wiki/Mike_Pinder" target="_blank">Mike Pinder</a>. Particularly noteworthy for me is his inventive use of dominant sevenths, chords that more often than not turn up as drippy <span data-dobid="hdw">clichés </span>in most popular music. He also wisely cedes the lead vocal to Justin Hayward, whose silky, quivering baritone suits the melody perfectly. (Pinder gets his vocal turn in the bridge, and the shift in voice is simply brilliant. For full effect, you really need to seek out the original vinyl mix to hear the reverb on his vocal; on the CD mix, it's dry.)<br><br>And again, as mentioned in previous posts, online chord charts will lead you astray even if they seem close to the mark. Yes, the song is actually in C minor, but no guitarist needs to play it in open position unless you enjoy twisting your fingers through a sequence like Eb Ab Db7. To see what I mean try <a href="https://tabs.ultimate-guitar.com/t/the_moody_blues/dawn_is_a_feeling_crd.htm" target="_blank">this version</a>, then compare it to mine below.<br><br>Here, then, are the real chords to "<a href="https://www.youtube.com/watch?v=jkb9ZrRKBiA" target="_blank">Dawn Is a Feeling</a>," written by Mike Pinder and arranged for guitar by yours truly:<br><br><b>Capo 3</b><br><ul>
<li>Verse: Am E C7 Fmaj7 Bb7</li>
<li>Chorus: E7 Am E7 Am E</li>
<li>Bridge: Dm Dm/C#* C Bm E (Am Am/G D/F# E) x2</li>
</ul>* Fingering, low to high: xx0221. My online <a href="http://jguitar.com/chordname?string5=1&string4=2&string3=2&string2=0&string1=x&string0=x" target="_blank">chord namer</a> calls this "DmM7" or D minor major 7th, which makes no freaking sense. I may not be using the slash correctly given that the C# isn't on the bottom, but whatever: it's just a Dm with a C# in place of the high D.<br><br><i>Notes: </i>I prefer playing the E7 in this song as 020100: one, it's easier and two, I think it sounds better than 022130, the alternative. Your choice as to which you like best. I find the Bb7—which is barred at the 4th fret, i.e. one fret above the capo—difficult to play, due to the technical limitations of my guitar or (more likely) the guitarist. Hopefully you won't have as rough a time with it. I'm also playing the root notes of the Am/G and D/F# with my pinky and thumb respectively. It's not exactly smooth yet, but I'm working on it.<br><br>
Vern Nicholson
tag:vernnicholson.com,2005:Post/4798361
2016-08-08T00:46:00-04:00
2017-07-31T21:41:15-04:00
Rock 'n' Roll Dictators: A Case Study
I've just finished John Fogerty's autobiography, <i>Fortunate Son. </i>Now, I'd say that Fogerty is one of my greatest musical heroes, but that's not quite accurate. It's his band, <a href="https://en.wikipedia.org/wiki/Creedence_Clearwater_Revival" target="_blank">Creedence Clearwater Revival</a>, that I adored as a young boy. <i>Green River</i> was the first album I ever owned, and I have fond memories of unwrapping the rest of their albums as Christmas and birthday presents in the early '70s.<br><br>But hold on a minute, you might say. Fogerty <i>was</i> CCR, was he not? Judging from his book, he'd have no trouble agreeing. After all, he wrote, produced, arranged and sang 97% of their material (100% if you discount their 1972 swan song <i><a href="https://www.youtube.com/watch?v=zTei8gZNqMo&list=PLhCutDzz-jQ7UIyBuGyHcPEZ6ICYe8o0J" target="_blank">Mardi Gras</a>,</i> about which more shortly). Additionally, all the instrumentation save for the rhythm guitar, bass and drums was played by him. This includes backing vocals on all but four songs ("Susie Q," "Porterville," "Who'll Stop the Rain" and "Sailor's Lament," according to the book). And if you believe Fogerty's claims, he wrote many of his bandmates' parts as well. All they did was execute them, to varying degrees of success in his estimation.<br><br>As I'm sure is obvious by now, Creedence Clearwater Revival is the textbook example of a rock 'n' roll dictatorship. The collective, such as it is, exists only to support the protagonist's vision. Assuming the dictator is as gifted as he thinks he is, all is copacetic until either (a) his vision falters or (b) the supporting cast mutinies. In the case of Creedence, both happened pretty much simultaneously.<br><br>Based strictly on the available evidence—CCR's music and the members' solo efforts—it's hard to argue with John Fogerty. Acquiescence to his bandmates' demands for equal time on <i>Mardi Gras</i> led <i>Rolling Stone</i>'s Jon Landau to dub the album Fogerty's Revenge, and later in the same review, "the worst album I have ever heard from a major rock band." By this time, rhythm guitarist Tom Fogerty had left, leaving bassist Stu Cook and drummer Doug Clifford the sole beneficiaries of the fledgling Creedence democracy.<br><br>So: was CCR really John Fogerty, supported by three fair-to-middling hacks under his employ only because he needed a live band? To answer that, let's examine their subsequent solo careers. As far as I can tell, Stu Cook's entire oeuvre consists of his three songs on <i>Mardi Gras.</i> "Door to Door" is, I think, a rockin' and rather clever CCR knockoff, while "Take It Like a Friend" bubbles along in a funky, early '70s R&B vein, marred only by his unfortunate falsetto at the end. "Sail Away" is the only clunker here, a paint-by-numbers slice of Tex-Mex that goes nowhere and further exposes Stu's vocal limitations.<br><br>In addition to his three songs of fame on <i>Mardi Gras,</i> Doug Clifford released a solo album that same year, <i>Cosmo,</i> which even he says is "a terrible record." After hearing it on YouTube I can't disagree, though "Take a Train" struck me as a catchy number. Going back to <i>Mardi Gras, </i>Doug's "Tearin' Up the Country" is a chicken-pickin' trifle I could live without, and "What Are You Gonna Do" is redeemed only by the gospel backing in the choruses. "Need Someone to Hold," on the other hand, is hands down the best non-Fogerty Creedence tune—well played, written and sung.<br><br>As for Cook and Clifford's songwriting legacy, I'll just note that their tribute band, Creedence Clearwater Revisited, performs only Fogerty's material. Nor (aside from a Clifford co-write on a 1981 Tom Fogerty album) has the duo written anything else in the ensuing, oh, 45 years.<br><br>For a guy who was the first to leave and ostensibly had the most to gain by doing so, Tom Fogerty's self-titled 1972 <a href="https://www.youtube.com/watch?v=6HzWshXkhh0" target="_blank">debut album</a> is pedestrian and sloppily recorded to boot. This was the best he could do after five years in little brother's shadow? Were you to place its top three songs—"The Legend of Alcatraz," "Lady of Fatima" and the non-album single "Goodbye Media Man"—on <i>Mardi Gras</i> alongside those of his erstwhile compatriots, they'd be distinguished only for their resemblance to a junior-league Creedence. In fairness, by the time of his fourth LP <a href="https://www.youtube.com/watch?v=-l2VDokI2x8" target="_blank"><i>Myopia</i></a> (1974), his songwriting and production skills had improved. Check out "What Did I Know," an amiable country-rocker, the Badfinger-like "Sweet Things to Come," and the homespun "There Was a Time." That said, Tom's best material isn't up to the lofty standards set by his brother in CCR.<br><br>As for little brother, his career has lasted the longest and produced the best music of the lot, though he too has recorded his share of duds, <i>Eye of the Zombie</i> and the unreleased<i> Hoodoo</i> among them. In fact, I'd argue that occasional flashes of brilliance aside, none of John's solo output comes anywhere close to matching CCR's five-album hot streak that extends from <i>Bayou Country</i> straight through to <i>Pendulum.</i><br><br>All told, then, the evidence points to John Fogerty as the primary force behind Creedence Clearwater Revival, but not the only one. Despite his low opinion of the others' talents and ample data in support of same, the four of them possessed a certain chemistry entirely missing from their solo efforts, J.C. Fogerty's included. Simply put, the music these four made together is far superior to anything they've produced as individuals.<br><br>Now, back to <i>Fortunate Son</i>—not a review but a few observations. Beneath what an online reviewer aptly calls an "aw-shucks veneer" is one bitter man, despite his claims to the contrary. It's hard to say who he hates more: his ex-bandmates or Fantasy Records' head honcho Saul Zaentz. With the exception of brother Tom, who gets one compliment for every three barbs, John portrays the other two as selfish, whining ingrates with zero talent and even fewer creative ideas.<br><br>What's fascinating—and a strong, unspoken undercurrent throughout—is his utter bewilderment as to why the others demanded creative parity. What comes across is something like, "We were so successful, and we could have kept the band going for much longer if they'd just shut up and done what I said. I was the genius; they had nothing. Why did they go and ruin everything?" All true based on the evidence, but it completely ignores the psychological makeup of the average musician. As Fogerty ought to know, what drives most musicians is the pursuit of their artistic vision. "Musician" and "minion" aren't exactly overlapping temperaments. If you love following orders and taking direction, music is not the career path for you. What's most remarkable is that the others swallowed their pride for as long as they did, regardless of their creativity or lack of same.<br><br>Now that I've said my piece, let's revisit <i>Mardi Gras</i> one last time.<i> </i>It's not the worst album ever, though in John Fogerty's defence had the democratic CCR produced a follow-up, that one might have been. To put a pretty bow on a disheartening story, I've assembled a "complete" version of the album by inserting the three Tom Fogerty songs listed above. Call it The Other Fogerty's Revenge. And the verdict? They make the album neither better nor worse, just longer.<br><br>
Vern Nicholson
tag:vernnicholson.com,2005:Post/4798362
2016-07-16T01:00:00-04:00
2021-08-21T21:12:42-04:00
Real Chords #1: The Kinks, "Do You Remember Walter"
<p>After cursing and shaking my head one too many times at online chord charts, I bring you an occasional series called <b>Real Chords</b>. If I may say so, those of you who'd like to learn some classic songs on the guitar will spare yourselves much hardship and frustration by heeding the advice herein.<br><br>Before I start, I want to note that underpinning the whole enterprise is my version of <a href="https://en.wikipedia.org/wiki/Occam%27s_razor" target="_blank">Occam's razor</a> as applied to songwriting: for 95% of rock songs, the most correct way to play it is the simplest. Many of the writers whose work I'll discuss here are songwriters first and foremost, not virtuoso instrumentalists. If part of a band, they're likely rhythm guitarists. A few might be bassists or keyboard players. Given that they want to make the song work, especially onstage, and they're the ones singing it, they are unlikely to favour finger-twisting, intricate arrangements.<br><br>With that out of the way, our first instalment features "Do You Remember Walter," a magnificent tune from <i>The Kinks Are the Village Green Preservation Society </i>(1968). My initial search for chord charts turned up two: first, <a href="https://cassettetheory.wordpress.com/2012/01/17/the-kinks-do-you-remember-walter/" target="_blank">Cassette Theory's</a> eloquent description of Ray Davies' use of key changes, which I confess sailed over my head; and second, several transcription attempts by fans on the <a href="https://www.kindakinks.net/discography/showsong.php?chord=89" target="_blank">Kinda Kinks</a> website. Now, don't get me wrong: these yeoman efforts can be useful in pointing one in the right direction, and oftentimes they're spot-on as is. In both cases here, though, were you to follow these charts you'd be heading towards difficulty and away from simplicity, and you'd be playing several wrong chords to boot.<br><br>One clue that you're being led astray is the presence in a chart of chords like Ab, Eb and Bb. Especially on a steel-string acoustic guitar, only masochists or virtuosos would choose to play these chords open. There's also a clever turnaround in the chorus that, at least according to my ears, all these folks have missed. Why? Because unless you capo it—or you're Django Reinhardt—it's <i>unplayable</i>.<br><br>And therein lies our solution. No, not practising for a hundred years to become the next Django Reinhardt, though if you want to, be my guest; you've more patience and discipline than I ever will. Try playing the song at Capo 3 and presto: those gnarly Ab, Eb and Bb chords are now F, C and G. (In fairness, the last poster on the Kinda Kinks site arrived at the same conclusion, though I still think he got the turnaround wrong.)<br><br>Here are the real chords for "<a href="https://www.youtube.com/watch?v=Erhio9iZpSU" target="_blank">Do You Remember Walter</a>," written by Ray Davies:<br><br><b>Capo 3</b></p>
<ul> <li>Intro: A</li> <li>Verse: A C G D G</li> <li>Chorus: C B E C/G Am7 Cmaj9/B* B E F C E D A</li> <li>Outro: A A7 A A7 to fade</li>
</ul>
<p>* Fingering, low to high: x20010<br><br><i>Notes:</i> I've transcribed this song as I believe The Kinks actually play it. In my own version, I add a little colour by inserting an Amaj7 in the first line of the verse before changing to the C. I'll do a little Asus lick off the A so I'm not just blandly strumming one chord over several bars. Also in the verse, I like to stick an Am in after the D, then switch back to D before going to G. In the second half of the chorus, I sometimes play a straight G instead of the C/G. I encourage you to fiddle around and add your stamp to it as well. In addition, if singing this proves to be an uncomfortable stretch (the range is either too low or, in my case, too high), just move the capo up or down till you find a key that fits your natural singing voice. Simple, right?<br> </p>
Vern Nicholson
tag:vernnicholson.com,2005:Post/4798363
2016-06-24T21:13:00-04:00
2017-07-31T21:41:15-04:00
Summer Potpourri
This month's post is a bit of a mish-mash, as none of what's on my mind merits a full-blown screed. So, in no particular order:<br><br><b>New Covers.</b> "God's Children" (The Kinks), "Late Night" (Syd Barrett), "Lightning Rose" (Jefferson Starship—ongoing Paul Kantner tribute). Coming soon to an open stage. I'm also working up "Moments of the Soft Persuasion" (Peter, Paul and Mary), but not for live performance. Oh, I can get through it okay but this tune, which has an absolute killer chorus, falls flat without harmonies. If I could find a Paul and Mary to sing it with me, I'd sing the Peter bit. In the meantime, I aim to record a version by overdubbing all three vocals. In trying to work through the changes I kept getting stuck on this one chord. Had no idea what it was. I finally isolated what the singers were doing and figured at the very least, those three notes must be constituent parts of the mystery chord. Those were A, C# and F#, all on the second fret. I then randomly wrapped my thumb around the bottom strings on the same fret and as soon as I strummed, I knew I had hit on it. But what was it called? Since my last "secret chord" post I've discovered a handy <a href="http://jguitar.com/chordname" target="_blank">chord namer</a>. But if you punch in this chord—a shape that frets everything at the second fret but leaves the D-string open—check out the unwieldy names it generates! That's why I call my chords "Am funny," "Fmould" and so on. That said, "Bm9/F#" was both pithy and accurate, so Bm9/F# it shall be. The magic chord occurs between F#m and G at the start of the killer chorus. Try it, you'll love it.<br><br><b>Brexit. </b>David Cameron will go down in infamy as the British PM who irreparably fractured not one but two long-standing geopolitical alliances—the European Union and the UK itself—all for the sake of quelling internal party squabbles. A bit drastic, no? It's also cost him his job, which may not be a bad thing.<br><br><b>Populism. </b>I've had a couple of people tell me that Donald Trump is eminently qualified for the US presidency because "he's not a politician." You've heard these arguments too, I'm sure. Here's what I find odd: if you wanted someone to train your prize race horse and ride it to victory, would you hire an accountant? Is a jockey your go-to guy when preparing your year-end financials? I'm guessing not. So why does prevailing wisdom tell us that politicians are<i> </i>corrupt, incompetent and unfit to govern simply because they're politicians? And were we to elect a plumber, beautician or snake-oil salesman, would he/she not be tarred with the same brush after a term or two in office anyway? I don't get it.<br><br><b>BMO Field. </b>My tailgating concerns aside, the Argos' new home is a winner even if the team isn't yet. I missed last night's opener but took in the preseason game a couple of weeks back, and I loved it. The seating is cozy, intimate and, for those of us old enough to remember <a href="https://en.wikipedia.org/wiki/Exhibition_Stadium" target="_blank">CNE Stadium</a> pre-baseball, a throwback to a golden era of Argonaut football. (Pedantic aside: we football fans never, ever called it "Exhibition Stadium." The Blue Jays brought that moniker in 1977. It was and shall forever remain CNE Stadium. More pedantry: the new place is pronounced BEE-mo, not B-M-O.) I've lately been looking at aerial maps, present and historical, to determine where the CNE's north grandstand was in relation to the new digs. We had season tickets for a few years in the '70s and I recall them being in said grandstand, Section D, Row 33. Seats might have been 3 and 4. As far as I can tell, the old grandstand would cut across the south end of BMO Field on an angle of, oh, 60 degrees or so, meaning my CNE seat would be floating in space somewhere around what's now the 20-yard line, near the west sideline. You see, BMO faces directly north/south; CNE Stadium had a broadly NW/SE orientation. That alone made my first visit to BMO a bit jarring, because there I was, in essentially the same place watching the same team, and the views, the atmosphere, <i>everything</i> is almost-but-not-quite like I remember it. We are, after all, talking 40 years later. It's kind of like looking at an old family portrait on a funny angle with 3D glasses, and there's a blank space where Uncle Ted and Aunt Bertha used to be.<br><br>CNE Stadium is now a parking lot, with a cracked marker in the middle of it that says "Exhibition Stadium - Home Plate." Useless if you're trying to locate the grandstand, which was so far from the plate that it may as well have been in the next county. Anyway, I dream that someday the city will create a proper memorial for CNE Stadium, even as revisionist historians decry it as the Mistake by the Lake. (Pedantry, final instalment: whatever its flaws, not a soul called it that during its lifetime. The revisionists have borrowed/appropriated the nickname of Cleveland Municipal Stadium.) In the meantime I'll learn to love BMO, tilted angle, missing persons and all. Whether or not you're all misty-eyed over CNE Stadium, BMO Field is a marked improvement over the Argos' former home, the cavernous and sterile Rogers Centre. Which, by the way, I think is an okay venue for baseball. Not stellar, but serviceable.<br><br>By the way, here's a fabulous <a href="http://i40.tinypic.com/k3nk76.jpg" target="_blank">photo</a> of CNE Stadium in its pre-baseball configuration. This was taken on November 25, 1973 at the Grey Cup, two weeks after my first game there, the Eastern Semi-Final between the Argonauts and Montreal Alouettes. And here's the football field <a href="http://football.ballparks.com/CFL/Toronto/oldindex.htm" target="_blank">in 1976</a>, during the facility's conversion for baseball. I guarantee I would have been at this game, but am not in the photo. Section D was about 15 yards deep in the near end zone and is cropped out of the shot.<br><br><b>Grammar.</b> In the space of 24 hours I've heard two football commentators say something like "The training staff is going to be very precautious." The adjective is "cautious," guys. Sufficient in and of itself; no need for a prefix. You can be very cautious and take precautions, though.<br><br>
Vern Nicholson
tag:vernnicholson.com,2005:Post/4798364
2016-05-03T03:02:00-04:00
2017-07-31T21:41:15-04:00
Writing Song Lyrics
In a <a href="http://3vee.blogspot.ca/2016/03/songwriting-from-ground-up.html" target="_blank">previous post</a> on songwriting, I walked you through my typical process, from chord sequence to melody to finished song. This time we'll take a closer look at the final stage, writing the lyrics, using the example of my just-completed "Luminous Morn." I should point out that my process for this one was quite unusual, as you'll soon see. When it comes to lyrics, the way I write varies widely and I have no standard method. This is how it went down this time.<br><br>As usual, I started with a complete chord sequence and hummed melody. As occasionally happens, a plausible first line popped into my head straight away, so I went with it, figuring I could change it later if need be (I didn't). That first line:<br><br><i>Come to the water's edge, come now, my love</i><br><br>Sometimes the music itself will suggest a lyrical tone. This tune was a slow, minor-key progression that was clearly in the vein of traditional British folk. So I knew from the off that I wouldn't be writing lyrics like "me and my bros chillin', yo." This song wanted formal, almost archaic language—something a 15th-century troubadour would use to beckon his love hither while strumming his lute.<br><br>Earlier today I was reading Psalm 98, a great place to hunt for archaic if that's what you're after, and came across this:<br><br><i>Sing praises to </i><i><i><span class="indent-1"><span class="text Ps-98-6">the <span class="small-caps" style="font-variant: small-caps;">Lord</span></span></span> </i>with the lyre,</i><br><i>with the lyre and the sound of melody.</i><br><i>With trumpets and the sound of the horn</i><br><i><span class="indent-1"><span class="indent-1-breaks"></span><span class="text Ps-98-6">make a joyful noise before the King, the <span class="small-caps" style="font-variant: small-caps;">Lord</span></span></span>.</i><br><br>I liked "lyre" and "horn" both, so I plopped them into my first verse like so:<i> </i><br><br><i><i>Come to the water's edge, come now, my love</i></i><br><i><i>Come let me sing you the song I dream of</i></i><br><i><i>Strum of the lyre and breath of the horn</i></i><br><br>Great! But I needed one more line, and it had to rhyme with "horn." I thought of "morn," which seemed to fit, and that mutated into "[Something] the [something] miraculous morn." Pretty nice, sang well, needed the blanks filled in, but still, "miraculous morn" wasn't quite what I meant. So, I went to thesaurus.com, typed in "miraculous" and checked the alternatives. "Numinous" came up, a word for which I liked the sound and meaning ... once I looked it up. And that right there posed a problem. I have a songwriting rule that says you shouldn't use any word in a song you'd never ordinarily speak, and that goes double if you have to look it up. So "numinous," lyrical though it may be, was out. The next step was immediately obvious: what rhymes with "numinous"? Well, luminous, right? Sings well, sounds good, sounds a bit archaic, makes sense and passes the familiarity test. So, the first verse became:<br><br><i><i>Come to the water's edge, come now, my love</i></i><br><i><i>Come let me sing you the song I dream of</i></i><br><i><i>Strum of the lyre and breath of the horn</i></i><br><i><i>Herald the dawn of this luminous morn</i></i><br><br>I sing as I write, because as mentioned in my earlier post if a line doesn't sing well, I don't care if it's better than Will Shakespeare; it's gone. And "herald" didn't sing well. I began searching for related words and came up with "summon." This required a change in the preposition, but that's fine. The changed line:<br><br><i><i>Summon the dawn on this luminous morn</i></i><br><br>Good, but still needed work—that second line wasn't up to snuff. I tinkered and tinkered till I found something I liked better. The final first verse:<i><i> </i></i><br><br><i><i>Come to the water's edge, come now, my love</i></i><br><i><i>Come hear the serenade sung from above</i></i><br><i><i>Strum of the lyre and breath of the horn</i></i><br><i><i>Summon the dawn on this luminous morn</i></i><br><br>Because this tune has a fairly simple structure—three verses, two choruses—it occurred to me that "Luminous Morn" was at the very least a strong contender for song title. What I'll usually do at this point is google my would-be title to see if anyone else has used it. Google returned 1,290 results, which I took as a good sign. I was, however, drawn to an entry labelled <i>Current Literature, Volume 5</i> from Google Books, so I clicked on that. Evidently the phrase appeared there. It turns out that <i>Current Literature, Volume 5</i> is from August 1890, and as far as I can tell was some kind of Reader's Digest for Victorians. My title was found in a section entitled "Choice Verse from Books and Magazines." It's in a poem called "The Song of the Sea" by one Harriet Whitney which originally appeared in <i>Belford's, </i>whatever that was. Here's Harriet's line:<br><br><i>Their world was a world of enchantment;</i><br><i>And they laughed with the laughter of scorn,</i><br><i>When I turned me away from its beauty</i><br><i>In the light of the luminous morn. </i><br><br>Now, here's where it gets interesting. Quite by accident I'd stumbled on a sample of Victorian poetry. No idea if these folks were esteemed poets of their day or amateurs writing for local newspapers. I suspect the latter (no offence intended, dear Harriet). Anyway, I moved on to my next task: hunting for additional material to, well, steal. Not all from Harriet's poem; I also picked through the choice verse in the surrounding vicinity. Here are the phrases I wrote down:<br><br><i><i>take cheer</i> </i><br><i>song of the sea</i><br><i>sun-beaten land</i><br><i>vine-tangled valley</i><br><i>steal away</i><br><i><i>tranquil, I brood</i> </i><br><i>mend broken strands</i><br><i>grassy slope </i><br><i>dwell in the stillness</i><br><br>Meanwhile, a few pages back, I found a reference to a Mrs. E.J. Nicholson (I rarely see my surname in print, so it caught my eye) who wrote under the pen name of Pearl Rivers. That struck me as mighty evocative, something I could use for sure. Swipe!<br><br>To give you a flavour of this publication, here's an excerpt from that section: "She was born on Pearl River, Mississippi, and thus she constantly associates the scenes of her childhood with all her literary productions." Yes, "born on." How quaint. Also noted were the frequent use of "to-day," "to-morrow," "good-by" and so on. (This is what "me and my bros chillin', yo" will sound like in 125 years, friends.)<br><br>During my dinner break I was listening to a podcast called "The Soul-Directed Life," and kept my ears primed for words I could pilfer from there. Here's what came up:<br><br><i>nourish</i><br><i>garden</i><br><i>beloved</i><br><i>leading me on</i><br><i>sustain </i><br><i><i>sacrament</i> </i><br><br>I wrote these down on a separate sheet, then set both lists aside to start work on the chorus. For that, I had an elongated "ooh-ooh" in the earlier demo I'd recorded, and I liked the sound of it so much that I decided whatever word went over that bit, it had to rhyme with "ooh." I started with <i>soo-oon, we can go</i> but didn't like the rhyme scheme it suggested or the meaning, so I chewed on it a little more. The line morphed into<i> soon, we are near</i>. Wrong tense. <i>Soon, we'll be near</i>—better tense-wise but kind of blah. I finally settled on <i>soon, we'll draw near</i>. "Draw near" struck me as a more Victorian turn of phrase, so I went with that.<br><br>I finished the rest of the song using the lists, my rhyming dictionary, and yes, several words I came up with all on my own. Compare the finished version to the lists above and you'll see how the element of chance enters the songwriting process and how, in the end, my stealing isn't stealing at all. "Luminous Morn" reads nothing like Harriet Whitney's poem, Psalm 98 or The Soul-Directed Life, but I thank them all for their help.<br><br><div style="text-align: center;">
<b>Luminous Morn </b>(Vern Nicholson, <span class="_Tgc">© 2016 SOCAN)</span>
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style="text-align: center;"><span style="font-family: inherit;">Come to the water’s edge, come now, my love</span></div><div style="text-align: center;"><span style="font-family: inherit;"> </span></div><div class="MsoNormal" style="text-align: center;"><span style="font-family: inherit;">Come hear the serenade sung from above</span></div><div style="text-align: center;"><span style="font-family: inherit;"> </span></div><div class="MsoNormal" style="text-align: center;"><span style="font-family: inherit;">Strum of the lyre and breath of the horn</span></div><div style="text-align: center;"><span style="font-family: inherit;"> </span></div><div class="MsoNormal" style="text-align: center;"><span style="font-family: inherit;">Summon the dawn on this luminous morn</span></div><div style="text-align: center;"><span style="font-family: inherit;"> </span></div><div class="MsoNormal" style="text-align: center;"><br></div><div style="text-align: center;"><span style="font-family: inherit;"> </span></div><div class="MsoNormal" style="text-align: center;"><span style="font-family: inherit;">Sun-beaten gardens will show what’s in store</span></div><div style="text-align: center;"><span style="font-family: inherit;"> </span></div><div class="MsoNormal" style="text-align: center;"><span style="font-family: inherit;">Rivers of pearl lead us on through the door</span></div><div style="text-align: center;"><span style="font-family: inherit;"> </span></div><div class="MsoNormal" style="text-align: center;"><span style="font-family: inherit;">Steal into gladness, bid farewell forlorn</span></div><div style="text-align: center;"><span style="font-family: inherit;"> </span></div><div class="MsoNormal" style="text-align: center;"><span style="font-family: inherit;">High on the stillness of luminous morn</span></div><div style="text-align: center;"><span style="font-family: inherit;"> </span></div><div class="MsoNormal" style="text-align: center;"><br></div><div style="text-align: center;"><span style="font-family: inherit;"> </span></div><div class="MsoNormal" style="text-align: center;"><span style="font-family: inherit;">Broken hearts mended in times of good cheer</span></div><div style="text-align: center;"><span style="font-family: inherit;"> </span></div><div class="MsoNormal" style="text-align: center;"><span style="font-family: inherit;">Soon, we’ll draw near</span></div><div style="text-align: center;"><span style="font-family: inherit;"> </span></div><div class="MsoNormal" style="text-align: center;"><span style="font-family: inherit;">Love is the sacrament by which we’re born</span></div><div style="text-align: center;"><span style="font-family: inherit;"> </span></div><div class="MsoNormal" style="text-align: center;"><span style="font-family: inherit;">Here on the cusp of our luminous morn</span></div><div style="text-align: center;"><span style="font-family: inherit;"> </span></div><div class="MsoNormal" style="text-align: center;"><br></div><div style="text-align: center;">
<span style="font-family: inherit;"></span><span style="font-family: inherit;"></span><span style="font-family: inherit;"></span><span style="font-family: inherit;">Come to the water’s edge, come now, my love</span><span style="font-family: inherit;"></span><span style="font-family: inherit;"> </span><span style="font-family: inherit;"></span>
</div><div class="MsoNormal" style="text-align: center;"><span style="font-family: inherit;">Come hear the serenade sung from above</span></div><div style="text-align: center;"><span style="font-family: inherit;"> </span></div><div class="MsoNormal" style="text-align: center;"><span style="font-family: inherit;">Strum of the lyre and breath of the horn</span></div><div style="text-align: center;"><span style="font-family: inherit;"> </span></div><div class="MsoNormal" style="text-align: center;"><span style="font-family: inherit;">Oh, summon the dawn on this luminous morn</span></div><div style="text-align: center;"><span style="font-family: inherit;"> </span></div><div class="MsoNormal" style="text-align: center;"><span style="font-family: inherit;">Hasten the dawn of this luminous morn</span></div><div style="text-align: center;"></div><span class="_Tgc"><br></span><br><i><!--[if gte mso 9]><xml> <o:OfficeDocumentSettings> <o:TargetScreenSize>800x600</o:TargetScreenSize> 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Vern Nicholson
tag:vernnicholson.com,2005:Post/4798365
2016-04-18T21:45:00-04:00
2017-07-31T21:41:16-04:00
Back to the Garden
And I'm not talking springtime planting, folks. The Fonz don't do gardening. As you might guess, I'm speaking of the legendary 1969 <a href="https://en.wikipedia.org/wiki/Woodstock" target="_blank">Woodstock Festival</a>. Even if you're not into all that hippie music or the attendant counterculture, most observers agree with Wikipedia's assertion that "it is widely regarded as a pivotal moment in popular music history."<br><br>Me, I quite enjoy that hippie music; indeed, some of my favourites played Woodstock. There were also a few artists on the bill I could do without (hello Melanie, Canned Heat, Johnny Winter and Sha Na Na). But all told, I've been a fan of the mystique ever since I bought the original triple album back in 1980 or so.<br><br>Anyway, I recently dragged out my 4-CD box (released in 1994 for the 25th anniversary), enjoyed the highlights and wondered if there's more where that came from. Turns out there is. Much more. First, the fine people at Rhino Records issued a 6-CD box to coincide with the 40th anniversary in 2009, boasting 38 previously unreleased tracks. That same year came <i>The Woodstock Experience,</i> a reissue series featuring complete sets from Santana, Jefferson Airplane, Janis Joplin, Sly & The Family Stone and Johnny Winter. If I'd had the cash back then I'd have bought three of the five, but as it stood I splurged for the Airplane and no more. Just last week, I scored a great deal on the Rhino box: $40 on amazon.ca.<br><br>Armed with all that, I decided to make the ultimate mix tape ... sorry, playlist. Off the top, I realized that the 6-CD box, comprehensive as it was, didn't include everything on the 4-CD set. That had 11 songs missing from the Rhino compilation (mostly due to rights issues or personal choice of the producers). And with that, I thought I was done until I checked YouTube, where I found a treasure trove of material that's not on either box set or the previous LPs. From there, I was able to fill out those sets I wanted more from: 22 additional tunes in all—more if you count some <i>Woodstock Experience</i> material I was able to slot in for Janis, Sly and Santana. And <i>still more</i> was available, but I weeded out iffy performances, material of dodgy quality and stuff I simply didn't want (more Canned Heat, etc.).<br><br>Assembling this mass of music into something listenable took a little finagling. For starters, the multiplicity of sources meant wide variation in volume levels. I used MP3Gain to make crude volume adjustments; beyond that, if things still weren't right I imported the mp3s into Audacity and tweaked them there. Audacity also proved useful for creating fade-ins and fade-outs as needed, and most crucially, pasting the stage patter where it belongs chronologically. See, the producers of both the big compilations (as they should) placed emcee intros before the first song and outros after the last song. That's fine, but the first/last songs on that particular compilation may not be true to how the set was actually played. This became an issue when I downloaded something off YouTube that came before or after the "first" and "last" song illusions created by the compilations' producers. How would I know? Well, Rhino's box includes each band's complete set, all in the correct order. And these guys got it from the source: their original intent was to put out a 30-CD box of every note played at Woodstock, so they've gone through the original recordings top to bottom.<br><br>I also used Audacity on occasion to EQ the material and spiff it up. I couldn't hope to match the quality of the official compilations, but a judicious touch of high- or low-end (sometimes both) helped the iffier tracks pale a touch less compared to the professional productions. In one instance (Keef Hartley Band), the only known source was an audience recording, so as you can imagine that required some serious sonic work. <br><br>Finally, I employed my sound-editing skills to help out a band I really didn't like: Quill. They'd never before appeared on a Woodstock compilation and it's easy to see why, as their two songs on the Rhino box are godawful. But, as I wanted to represent every act that played, I went on a quest to find something bearable. YouTube provided a middling track called "Waiting for You" which sounded like a poor man's T. Rex filtered through third-rate Frank Zappa. (Yes, that's Quill at their best, folks.) As is often the case with bands endowed with a bloated sense of their importance, they meander on and on. The original track was over 11 minutes and featured a clumsy and pointless percussion interlude. I found a good spot, counted off eight bars and chop: gone. At 8:30, the truncated version remains somewhat tedious but at least I've purged the song of its worst excesses.<br><br>While we're on that topic, the Rhino overlords saw fit to include a full-length version of Canned Heat's "Woodstock Boogie," a 29-minute snooze-fest to these ears. (I'm not a fan of da blooze, in case you've not gleaned that from my previous posts.) What gems could have gone on there in its place! Alas. Anyway, I trimmed that sucker to its rightful length of 0:00 by keeping it off my playlist.<br><br>Speaking of which, in its ten-hour glory, I proudly present ...<br><br><span style="color: cyan;"><b>V E R N ' S U L T I M A T E W O O D S T O C K P L A Y L I S T </b></span><br>(* = unreleased anywhere but YouTube as far as know ... though see addendum at bottom)<br><br><span style="color: red;"><b>Day 1</b></span><br><ul>
<li>
<b>Richie Havens:</b> High Flyin' Bird*, I Can't Make It Anymore*, Handsome Johnny, Strawberry Fields Forever*, Freedom</li>
<li>
<b>Sweetwater: </b>Look Out, Two Worlds</li>
<li>
<b>Bert Sommer: </b>Jennifer, And When It's Over, Smile</li>
<li>
<b>Tim Hardin:</b> Hang on to a Dream, If I Were a Carpenter, Simple Song of Freedom</li>
<li>
<b>Ravi Shankar:</b> Raga Puriya-Dhanashri/Gat in Sawarital</li>
<li>
<b>Melanie</b>: Momma Momma, Beautiful People</li>
<li>
<b>Arlo Guthrie:</b> Coming into Los Angeles, Wheel of Fortune, Walkin' Down the Line, Every Hand in the Land</li>
<li>
<b>Joan Baez:</b> Joe Hill, Sweet Sir Galahad, Hickory Wind, Drug Store Truck Drivin' Man, One Day at a Time*</li>
</ul><span style="color: yellow;"><b>Day 2</b></span><br><ul>
<li>
<b>Quill: </b>Waiting for You*</li>
<li>
<b>Country Joe McDonald:</b> Donovan's Reef, Flying High*, The "Fish" Cheer/I-Feel-Like-I'm-Fixin'-to-Die Rag</li>
<li>
<b>Santana: </b>Waiting, Evil Ways, You Just Don't Care, Jingo, Persuasion, Soul Sacrifice</li>
<li>
<b>John Sebastian: </b>How Have You Been, Rainbows All Over Your Blues, I Had a Dream, Darlin' Be Home Soon*</li>
<li>
<b>Keef Hartley Band: </b>Spanish Fly<i>*</i>
</li>
<li>
<b>The Incredible String Band: </b>The Letter, Gather 'Round*, When You Find Out Who You Are</li>
<li>
<b>Canned Heat: </b>Going up the Country, On the Road Again*</li>
<li>
<b>Mountain: </b>Blood of the Sun, Theme for an Imaginary Western, For Yasgur's Farm</li>
<li>
<b>Grateful Dead:</b> Mama Tried, Dark Star</li>
<li>
<b>Creedence Clearwater Revival:</b> Born on the Bayou*, Green River, Ninety-Nine and a Half (Won't Do), Commotion, Bad Moon Rising, I Put a Spell on You, Keep on Chooglin'*</li>
<li>
<b>Janis Joplin: </b>Raise Your Hand, Try (Just a Little Bit Harder), Kozmic Blues, Work Me Lord, Ball and Chain</li>
<li>
<b>Sly & The Family Stone:</b> Sing a Simple Song, You Can Make It If You Try, Medley: Dance to the Music/Music Lover/I Want to Take You Higher, Stand!</li>
<li>
<b>The Who:</b> Amazing Journey, Pinball Wizard, We're Not Gonna Take It, My Generation*, Naked Eye*</li>
</ul><span style="color: lime;"><b>Day 3</b></span><br><ul>
<li>
<b>Jefferson Airplane: </b>The Other Side of This Life, Somebody to Love, 3/5 of a Mile in 10 Seconds, Won't You Try/Saturday Afternoon, Eskimo Blue Day, Volunteers</li>
<li>
<b>Joe Cocker: </b>Feelin' Alright, Let's Go Get Stoned, I Shall Be Released*, With a Little Help from My Friends</li>
<li>
<b>Country Joe & The Fish: </b>Rock & Soul Music, Love, Silver and Gold</li>
<li>
<b>Ten Years After: </b>I'm Going Home</li>
<li>
<b>The Band: </b>Tears of Rage*, Long Black Veil, The Weight, Loving You Is Sweeter than Ever</li>
<li>
<b>Johnny Winter: </b>Mean Town Blues, Johnny B. Goode</li>
<li>
<b>Blood, Sweat & Tears:</b> More and More*, Somethin' Comin' On*, I Love You More than You'll Ever Know*, Spinning Wheel*, You've Made Me So Very Happy</li>
<li>
<b>Crosby, Stills, Nash (& Young): </b>Suite: Judy Blue Eyes, Marrakesh Express, Sea of Madness, Wooden Ships, Find the Cost of Freedom</li>
<li>
<b>The Paul Butterfield Blues Band:</b> Morning Sunrise*, Love March, Everything's Gonna Be Alright</li>
<li>
<b>Sha Na Na:</b> Wipe Out*, At the Hop, Get a Job (Reprise)</li>
<li>
<b>Jimi Hendrix: </b>Voodoo Child (Slight Return)/Stepping Stone, The Star Spangled Banner, Purple Haze, Woodstock Improvisation</li>
</ul>The highlights you recall from the original triple LP are, of course, all present and accounted for: Richie Havens' wild strumming on "Freedom," Santana's incendiary "Soul Sacrifice," Sly's high-octane funk medley, Joe Cocker's soulful take on "With a Little Help from My Friends," Ten Years After's romp through "I'm Going Home," Hendrix deconstructing and reconstructing the US National Anthem. But the glut of unreleased material produced new revelations as well. The unknown Bert Sommer wrote some killer songs, and that shimmering organ accompaniment really made them shine. Santana's entire set smoked, top to bottom. The Dead, whose overall performance was sub-par and plagued by technical problems, rose to the occasion with a spacey "Dark Star." CCR cranked out their swamp-rock like a walking jukebox, and BS&T strutted their way through a tight, jazzy set. All in all, I can't help but wonder what else lies in the vaults. Five turkeys for every pearl, probably, but I pine for that 30-CD set. There is a 50th anniversary coming up in a few years; maybe then?<br><br><i>Addendum, May 2, 2016: </i>If you want to seriously disappear down the Woodstock wormhole, try James Stafford's <a href="https://wimwords.com/2012/08/17/the-kind-of-complete-woodstock-introduction/" target="_blank">The (Kind Of) Complete Woodstock</a> series, an exhaustive compendium of bands, set lists and sources. It turns out that most of what I assumed was YouTube-only material has been pilfered from stray semi-official and official releases, mostly on DVD and VHS. See Stafford's posts for specifics if you're interested. A smattering of material unique to YouTube still remains.<br><br>
Vern Nicholson
tag:vernnicholson.com,2005:Post/4798366
2016-03-25T00:07:00-04:00
2017-07-31T21:41:16-04:00
Songwriting from the Ground Up
I'm working on three new songs at the moment. I've just finished one called "Shadow Play Clan," and I thought I'd give you a tour of the process. What I'm about to describe is fairly typical for me, with the caveat that not every song I write happens in this way, and certainly not every songwriter composes music the way I generally do.<br><br>In my experience, listeners often assume that a musician sits down and says, "I think I'll write a song today," decides what to write about and methodically proceeds in writing said song. Now, I've heard of people who really do work like this, as if it's a job for which they set aside blocks of time and literally punch in and out. My process isn't quite like that.<br><br>For me, the germ of a song comes at an unexpected time; I may not even have access to an instrument when the first flush of inspiration strikes. In this case, I did. I was warming up to rehearse for a show when I found myself playing this <a href="http://pages.pathcom.com/~leilanisgift/Shadow%20Play%20Clan%20Instrumental%20Excerpt.mp3" target="_blank">chord sequence</a> and thought, "Hmm, that's nice. I should develop that." But first things first—I need to get it down before I forget it, so I'll whip out my mp3 recorder and do just that. If the chords are unusual, plenteous or non-standard, I may speak the fingerings onto the tape before I play, write them down, or both. ("Tape" = Vern showing his age.)<br><br>Sometimes multiple sections of the song arrive at once as I play through the changes and try to figure out what might come next. Other times I'll get only the one part and will later string it together with previously recorded (compatible) bits. If I have no such things, that's when I might actually reserve a chunk of time to write the next part(s). With "Shadow Play Clan," I think two parts came at once and I had to figure out the rest later, then stitch everything together. Anyway, eventually I'll end up with a skeleton of a song, an extended chord sequence that makes sense to me as a possible intro, outro, verse, chorus and bridge.<br><br>A quick digression: I usually write on guitar, but have (so far) also composed music on bass, piano, dulcimer and on occasion just voice. (Sometimes a strong melody comes first, in which case I'll sing it into my recorder and figure out keys and chords later. "Linden Tree near the Water," the title track of my forthcoming album, started with me warbling a melodic snippet in a parking lot on a windy day with trucks roaring by. And I have the work "tape" to prove it!) As a musician, I'm fascinated by the way one's choice of instrument in a very real sense determines the song's form and composition. I've heard colleagues say that if you're stuck in a songwriting rut, try composing on a different instrument, maybe even one with which you have limited facility.<br><br>Back to our embryonic song, I've now got my skeleton, which in this case is a sequence of guitar chords. What's next? Some composers will immediately write the words, if they've not done so already. In fact, those whom I'd call lyrics-first people usually <em>start</em> with the words, then hang the chords and the melody around them. I'm a lyrics-last kind of guy. Generally I need the melody before I can write any lyrics. So, armed with my skeletal chord sequence, I pick up my instrument of choice, run through the tune and start humming: la-la-la, doo-doo-doo, ooh-ooh-ooh, bah-bah-bah, whatever. If the odd word wants to assert itself, I'll sing it, too. Some aspect of the melody, even a fragment, may work especially well and if so, I make sure I record it before it vanishes. This may include variations on the melodic theme that'll happen in strategic places: for example, singing in a higher register on the last chorus. I often work on isolated bits of the song, stitching the melody together much like I did the chords. Taking the same excerpt used above, I ended up with this <a href="http://pages.pathcom.com/~leilanisgift/Shadow%20Play%20Clan%20Melody%20Excerpt.mp3" target="_blank">melody line</a>.<br><br>Once I've got the whole song, top to bottom, with chords and melody, it's finally time for the words. I may have a few lines I've scribbled down somewhere that I can start with, but it depends. Often the cadence and accents of the melody itself suggest certain sounds, rhymes, maybe even specific words. At this point, if I've not done so already I'll give the song a working title—in this case it was "3-Minute Pop."<br><br>Another short digression: sometimes I'm asked, "How do you decide what to write about?" Well, it chooses me. I don't "decide" anything other than whether to follow the muse or not. Something I've read or heard or seen or experienced or felt will light a fire under me and I'm artistically constipated, as it were. I need to get it out. Again, some songwriters may sit down and decide, "Today, I'm going to write a song about butterflies" or whatever, but I don't operate that way. For better or for worse, my particular process results in a lot of first-person writing. I'm reminded of John Lennon's quote: "I write about me because I know me." In fact The Beatles, those master tunesmiths, are a case study in contrasts, Lennon's predominantly "I" viewpoint counterbalanced by McCartney's "he/she/you." Think of the difference between, say, "Help!" and "Eleanor Rigby," "I'm So Tired" and "Hey Jude." Of course, both could (and did) swap roles when it suited them, like John's "Dr. Robert" and Paul's "I've Just Seen a Face." That's why they're masters, folks.<br><br>Anyway, for this particular song I thought I'd try something new. Second- or third-person lyrics still seem a bit distant to me, both in terms of their emotional gravitas and my ability to pull them off, but I thought I'd try an experiment while sticking with first-person. So, "Shadow Play Clan" is written first-person from the viewpoint of someone <em>who isn't me.</em> She's someone quite dear to me, someone I want to understand better, someone with whom I aim to empathize but have at times had difficulty doing so. Once that light bulb clicked on, bingo: fire lit, motivation in place to write words. Here's the result, over the same bit as before, taken from the <a href="http://pages.pathcom.com/~leilanisgift/Shadow%20Play%20Clan%20Demo%20Excerpt.mp3" target="_blank">demo recording</a> of the song.<br><br>You'll note that the with-words version doesn't exactly match the cadence of the raw melody. It's close, but there's some variation. Adding words and making them rhyme will do that, and that's fine, but here's where you can really tell the difference between lyrics-first and lyrics-last writers. To a fault, a lyrics-first writer shapes the melody around the words, even if the result is hard to sing and it seems like there are 37 extra syllables in a particular couplet. Example: Bruce Cockburn's "<a href="https://www.youtube.com/watch?v=z-avqJQwOoo" target="_blank">Silver Wheels</a>." Now, don't get me wrong: I love this song and part of me wishes I could write like this, but I just can't wrap my tongue around that many syllables. Besides, I lack the literary chops. (Check out especially the "radio speakers gargle Top 40 trash" verse at 3:06. He almost makes it rhyme, too!) In contrast, I will <em>delete</em> otherwise lovely words that weigh down the melody with too many syllables, hard consonants, awkward rhymes or anything that doesn't sing well. And on occasion, I'll insert a word that may not make literal sense or express precisely what I want but <em>sounds</em> so bloody good.<br><br>While we're on the topic, a word about rhymes and songwriting crimes. (Just checking to see if you're still with me. Okay, good.) I've not yet learned how to write without them, though I'm pretty sure my rhyming schemes vary from song to song, more through blind luck than a deep awareness of what I'm doing. The trick is to avoid rhymes that are dead obvious, bordering on cliché (think moon/spoon, love/dove or fire/desire; my own pet peeve is change/rearrange) while at the same time resisting the temptation to go all clever-clever, pseudo-literary (like, say, bluesy/Jacuzzi or lamb/cardiogram). When you're stuck, a rhyming dictionary can be helpful if used sparingly. My personal rule: if the rhyme jumps out and says, "Aha! The only way you'd ever have found me is by using a rhyming dictionary," <em>don't</em> use it. In the chorus for this song I originally had "shadow play man," which I was reluctant to ditch because it sung very well. Ah, the perils of being a lyrics-last guy. I went through alternates off the top of my head, all of them nice, one-syllable non sequiturs—"ran," "pan," "fan," "tan"—before consulting the dictionary, where I found "clan." Jackpot. It's not quite as lyrical as "man" but I could make it work, and the meaning was much closer to what I'd originally intended, so I stuck it in and there you are.<br><br>And the title? For us lyrics-last folk the title comes even more last, if that's remotely grammatical. That said, I have done the reverse: my song "That '70s Lifetime" started life as just that title, everything else proceeding from there. Now, hit-maker gurus will tell you that your title must be in the chorus, must be short, must be catchy and must be repeated 736 times before fadeout. As you might expect I don't subscribe to that theory, though neither am I fundamentally opposed. If things fall that way, all well and good, but I like to pick an evocative phrase in the song that also (ideally) encapsulates the overarching thrust of the tune. Sometimes that's in the verse or even the bridge. As it turns out, this time my title is lifted from the chorus. As for its catchiness, "Shadow Play Clan" is, I admit, more <a href="https://en.wikipedia.org/wiki/Robert_Pollard" target="_blank">Robert Pollard</a> obscure than Garth Brooks straightforward; fine by me. Actually, one of my favourite titlers is the legendary <a href="https://en.wikipedia.org/wiki/Arthur_Lee_(musician)" target="_blank">Arthur Lee</a>, whose song titles usually appeared nowhere in his lyrics and could well cast the entire song in an ironic light, such as "<a href="https://www.youtube.com/watch?v=3oy59FBl1u8" target="_blank">The Good Humor Man He Sees Everything Like This</a>." Take a listen, and you tell me he should have called it "Pigtails in the Morning" instead.<br><br>So, there you have the anatomy of a song from the ground up. The next step, of course, involves turning the demo into a finished recording. Having just written it I'm not at the production and arrangement stage with this one yet, but when the time comes I'll be asking questions like: stripped-down or full-band treatment? If it's the latter, what will the rhythm section (bass and drums) do? Additional percussion, tambourine maybe? Do I want any keyboards? How about backing vocals or a second guitar? Other instrumental colour? How's the tempo of the original recording? Do I want to make any last-minute changes to the lyrics or phrasing? All these and more considerations come into play, but that's another post for another time.<br><br>
Vern Nicholson
tag:vernnicholson.com,2005:Post/4798367
2016-02-08T19:37:00-05:00
2017-07-31T21:41:16-04:00
Your Mind Has Left Your Body
I can now empathize with the shock and grief of all the Bowiephiles out there, as my greatest musical hero passed away a couple of weeks back. I'm speaking of singer/guitarist/visionary <a href="https://en.wikipedia.org/wiki/Paul_Kantner" target="_blank">Paul Kantner</a>, the guiding light behind <a href="https://en.wikipedia.org/wiki/Jefferson_Airplane" target="_blank">Jefferson Airplane</a> and later, <a href="https://en.wikipedia.org/wiki/Jefferson_Starship" target="_blank">Jefferson Starship</a>.<br><br>Most people haven't even heard of him, and here's why: for all his stubbornness and obstinacy, Paul was in some ways the ultimate team player. In the Airplane, he was flanked by two expressive, talented vocalists (Grace Slick and Marty Balin) and three staggeringly gifted instrumentalists (guitarist Jorma Kaukonen, bassist Jack Casady and drummer Spencer Dryden). Paul's guitar—always subtle, never flashy, sometimes buried in the mix—was, in Grateful Dead guitarist Bob Weir's words, "the glue that held all that together." As for his singing, Weir continues, "his voice was the foundation of the choral vocals." Without exception, his songs were vehicles for the ensemble, sonic flights of fancy in which the collective could shine. As Jorma noted in his touching <a href="http://jormakaukonen.com/cracksinthefinish/?p=5324" target="_blank">tribute</a>, "Paul was the catalyst that made the alchemy happen." <br><br>Another reason you don't know Paul Kantner: though he was the only constant over a 19-year whirlwind of personnel changes, he never wrote or sang lead on a hit single. It wasn't his way or his interest, really, as his esoteric compositions didn't lend themselves to hit-making. His <a href="http://www.jeffersonairplane.com/the-band/paul-kantner/" target="_blank">biography</a> on the Airplane's website puts it succinctly: "If Marty Balin was the soul of the band and Grace Slick its public persona, then Paul Kantner could be considered its brain."<br><br>The first member Marty recruited for his new band in March 1965, Paul may be the only person in rock history who passed the audition by not auditioning. Marty: "I was at a hootenanny at this folk club in Frisco called The Drinking Gourd. I was just looking at people; they were filling up the list for the hootenanny and this guy comes in with two [guitar] cases, a 6 and a 12, in his hand. I was looking for a guy who could play a 12-string; I'd come out of folk and liked 12-string a lot. I said, 'Hey, give him my spot. Let's see what he does.' And it was the funniest thing. He started to play, and then just stopped. He said, 'I can't do this.' And for some reason I said, 'That's the guy. That's the guy, right there.'"<br><br>From such humble beginnings Paul became, hands down, my favourite guitarist of all time. Were I to make this claim to a roomful of guitar devotees, predominant reactions would be two: first, "Who?" And second, for those with passing familiarity with his music, "You're kidding, right?" Indeed, this is a man who, during the darkest days of '80s-era Jefferson Starship, was told by one of his bandmates that he couldn't play, much less write a decent song.<br><br>A brilliant technician he's not, but Paul was a true original in a realm where everyone sounds like each other. Alternately chiming and slashing through the maelstrom with his Rickenbacker 12-string, his sound, voicing and arrangement skills were unique. Doubters and naysayers should check out, among others, "<a href="https://www.youtube.com/watch?v=fuBHk1VrWic" target="_blank">Wild Tyme</a>" from the Airplane's epic <i>After Bathing at Baxter's</i> album. (If you can figure out what Paul's playing, let me know. I've no idea how he's hitting those odd chords, most of which lack major or minor thirds. Paul's guitar is on the left.) To hear him in a vastly different context, try "<a href="https://www.youtube.com/watch?v=E35Yzr0HGto" target="_blank">Love Too Good</a>," the lead track off Jefferson Starship's <i>Earth. </i>He's on the right here, a bit lower in the mix, and his part kicks in around 0:27 with some gorgeous harmonics.<br><br>Also recommended is "<a href="https://www.youtube.com/watch?v=ltyjNjsz8UU" target="_blank">The Other Side of This Life</a>" from the Airplane's live <i>Bless Its Pointed Little Head. </i>While Grace, Marty, Jack, Jorma and Spencer chase each other like a pack of wild hounds, there's Paul on your left, bell-like, chiming away, his guitar almost having the timbre of a piano, holding the whole thing together. Again I emphasize: no other rhythm guitarist sounds like this. If you can figure out what the heck he's doing, I'd love to know.<br><br>In tribute, I'm working up several of Paul's songs to, in his words, "carry the fire." It's not been an easy task because as mentioned earlier, this was an artist who wrote not for himself but the band. Much of his stuff requires the vocal and instrumental acrobatics of others to truly flower. I have, however, managed to cherry-pick five or six tunes (so far) that translate well to solo performance. I only hope to do them justice.<br><br>I got to meet Paul once, when a late iteration of Jefferson Starship played a club date in Toronto some 15 years back. He and Marty signed my <i>Volunteers</i> album, and I chatted briefly with Marty but couldn't bring myself to approach Paul. You know how it is: when you meet your heroes you either get completely tongue-tied or gush at them for hours. I sure didn't want to do that, and a simple "I love your music" seemed hollow and trite, though certainly true. So, I shook his hand, thanked him for the autograph and left.<br><br>More accolades from those who knew Paul best—here's Jorma Kaukonen again: "He held our feet to the flame. He could be argumentative and contentious … he could be loving and kind … his dedication to the Airplane’s destiny as he saw it was undeniable."<br><br>Grateful Dead drummer Mickey Hart: "[Paul] was kind of the backbone of that band. It was always about Grace and Jack and Jorma [but] I don't think he got the credit he deserved."<br><br>Bob Weir: "Paul lived at the heart of the song. He was there for the Muse—when she needed a human voice or instrument, she channelled it through him." <br><br>Jack Casady: "[Paul] was the pilot who flew Jefferson Airplane and later Jefferson Starship to unparallelled heights, beyond our wildest dreams, but not his. He had a vision. And he pursued that vision with relentless abandon."<br><br>Marty Balin: "He would write these songs sometimes, and they would be so long and ponderous, these giant epics about living in space. It was like a postmodernist, putting this and that and this together. It was very difficult to make his songs fly. Some of his songs were, God, gigantic pieces of music, but he developed his own thing. He was one of the greats, one of the most interesting people I ever associated with. He left a good body of work. If people just listen to his music, they'll see how great he was."<br><br>You can do just that by starting with this (Airplane-heavy) top ten <a href="http://ultimateclassicrock.com/paul-kantner-songs/" target="_blank">list</a> of Paul's songs. If you hear in them what I do, you're in for a wonderful journey. I could of course recommend dozens more, but that's for you to discover.<br><br>I'll leave the last word to Jack Casady, as I think he put it best: "It was always Paul's vision that steered the ship. I would like to offer my condolences to Paul's family, especially his children China, Gareth and Alexander. He will be greatly missed. But he will also be remembered and cherished by the legions of fans that he made at every port he stopped at. Fare thee well, fair aviator."<br><br><div style="text-align: center;">You have left your body<br>Return when you may<br>Save it for another day ... beyond you</div><div style="text-align: center;"><br></div><div style="text-align: center;">- Paul Kantner, 1973 </div><br>
Vern Nicholson
tag:vernnicholson.com,2005:Post/4798368
2016-01-11T17:53:00-05:00
2017-07-31T21:41:16-04:00
There's a Starman Waiting in the Sky
Like many of you, I heard news of the passing of <a href="https://en.wikipedia.org/wiki/David_Bowie" target="_blank">David Bowie</a> this morning. Now, you surely don't need me to convince you of the Thin White Duke's genius. In an industry where so many mark time with rehashed versions of their youthful selves, Bowie's maverick spirit and restless innovation stood apart. Even his missteps were noteworthy and at times, wildly popular (hello, "Let's Dance").<br><br>Given the sincere admiration expressed above, you might find it odd that I've never seriously connected with Bowie's music. Perhaps I've not ventured deep enough. My familiarity is that of a casual fan who quite likes some of his most famous songs ("Space Oddity," "Young Americans" and "Golden Years" among them). On reflection, I can see what's held me back. A cursory scan of his early '70s material reveals two major touchstones: glam rock and show tunes, neither of which have ever spoken to me in any way. In his subsequent career he ventured far beyond both, of course, but first impressions count, especially in the psyche of a music-obsessed preteen. As such, I never got into Bowie. I do, however, have musician friends whose tastes I respect immensely for whom Bowie was their Bob Dylan.<br><br>When an icon dies I like to pay tribute in some small way, so your friendly neighbourhood folk 'n' roller is working up a version of "Starman" for acoustic guitar and harmonica. And ironically, it's only in doing so that I've come to appreciate the complexity and sheer artistry of Bowie's work. "Starman" is an impeccably crafted, deceptively catchy number that's in fact rather difficult to play. (I settled on "Starman," by the way, after trying half a verse of "Life on Mars" and giving up. Even "Space Oddity" was too tricky.)<br><br>Last word: for those of us who scoffed at show tunes, androgyny and glam, my 11-year-old self included, <i>Hunky Dory, Ziggy Stardust</i> and <i>Aladdin Sane</i> will no doubt be esteemed and appreciated a hundred years from now. The same can't be said for much of the pile-driving pop/rock of the day, including some of my childhood favourites.<br><br>
Vern Nicholson
tag:vernnicholson.com,2005:Post/4798369
2015-12-15T19:15:00-05:00
2017-07-31T21:41:16-04:00
Taking Forever, Just Like Brian Wilson Did
So, I got a Christmas card from my best friend telling me, "Santa knows what you did, and he's pissed." To which he added, "Actually, he's pissed because of what you didn't do: release the album! C'mon, <a href="https://en.wikipedia.org/wiki/Brian_Wilson" target="_blank">Brian Wilson</a>, let it go." Here's Brian's reply.<br>______________________________________________________________ <br><br><b>~ From the desk of BRIAN WILSON ~</b> <br><br>Yo D.,<br><br>Thanks for alerting me that Santa's pissed and I should expect a lump of coal in the sandbox this year. Gotta admit that I do feel a bit like The Pink Floyd (as we called them in the '60s ... I still don't know where the "The" went ... must ask Dr. Landy about that sometime as it's been bugging me for years ... anyway, I digress). What I mean is taking 3 years to record my new LP, <i>Smiley Smile Simile Similar Simpleton, </i>then another 6 months to mix the blasted thing.<br><br>So yeah, it's been mixed but we got a wee problem ... my engineer transferred the tapes—or whatever they are; he tells me they don't use tape anymore ... weird—to this little doohickey of mine called a "portable hard drive" ... and when I listened back there were these random spikes of white noise plastered over every damn one of my songs. True story. Dr. Landy said he heard it too ... wasn't just my personal hallucination. Maybe we hallucinated it together. Trippy, huh? So, long story short, my engineer is workin' on some other way to get the songs to me without the white noise. I say if he'd used Scotch 3M quarter-inch in the first place we wouldn't be in this predicament. If magnetic tape was good enough in '63, how come it's passé in '73?<br><br>What's that? It's two-thousand-and-what? Get outta town. Really? Hmm. Guess time doesn't fly when you're stuck in a sandbox with an ornery dulcimer and co-dependent shrink.<br><br>Anyhoo, it's super-peachy to know that fans are salivating for new product from yrs. truly, bummer that they're all worked up over not having same. It's coming, I swear. Mastering is up next after we sort out the white noise debacle. 'Course, I could just put it out <i>avec</i> the white noise ... it'd be kinda avant-garage, is that the word? Could be the "in" sound of 2058 or whatever the hell year this is. Anyway, gotta go—the dulcimer is acting up again. Probably all that sand in the sound holes.<br><br>Love, Bri <br><br>
Vern Nicholson
tag:vernnicholson.com,2005:Post/4798370
2015-11-23T00:43:00-05:00
2017-07-31T21:41:16-04:00
Weir-d Chord Sequences
A small confession here: I was a teenage Deadhead. I'm now a middle-aged Deadhead. Yes, I possess a modest collection of live shows—first on cassette, these days as mp3s on my laptop. I've seen the Grateful Dead live, but only twice (6/21/84 and 6/30/87 for the record, both local shows at Kingswood Music Theatre up in Maple). And I'm one of those solitary Heads who's never felt the need to be part of the Deadhead community or enhance the listening experience by ingesting drugs, psychedelic or otherwise. The music is trippy enough.<br><br>The current <a href="https://en.wikipedia.org/wiki/Dead_%26_Company" target="_blank">Dead & Company</a> tour has rekindled the flame for us old-timers and caused some newbies to hop on the bus, so to speak. It's been great to hear this rejuvenated band revisit the canon and put its own stamp on the songs. I'm bummed that I couldn't make it to the show closest to me (Buffalo, November 11), especially considering they played the rare and spacey "Dark Star" that night. I did, however, download the entire show a day later. If you're interested, you can stream and/or download endless Dead and related concerts at the <a href="https://archive.org/details/GratefulDead" target="_blank">Internet Archive</a>.<br><br>Anyway, the other night in St. Louis they busted out a tune I was delighted to hear again, the Weir-Barlow classic "Black-Throated Wind." Always on the hunt for new cover material, I thought I'd try it out on my guitar. Parts of the song are near the top of my vocal range, but on the whole I can sing it comfortably. What came as a surprise, though, was the chord sequence. It's one of the most bizarre I've heard in a popular song.<br><br>Things start off simply enough. After an intro lick around E, Esus4 and E7, the verse goes like this:<br><ul>
<li>E F#m D A E, repeated once</li>
<li>A D Bm E, repeated once</li>
</ul>We're pretty clearly in the key of E here, with the sorts of chords you'd expect to see. Nothing really stands out. Then comes this jaw-dropping chorus:<br><ul><li>D C#m A Em C A D C#m A Em A G D A</li></ul>I don't know music theory well enough to explain what's going on, but suffice it to say I've never encountered a song where C, C#m, D, E and Em coexist. All are common chords in rock songs, just not in the <i>same</i> song. They make no sense in terms of graceful key relationships (or anything conventionally musical), yet somehow Bob Weir makes them work, weaving a powerful and unusual melody around them. The structure and variety of the chords also ensure that "Black-Throated Wind" is one of those rare songs that needs no bridge. With all that chordal movement, a bridge would be too much. Weir has always had a reputation as a bit of a quirky songwriter, and now I see why. Well done, sir!<br><br>A tip for those of you who want to learn the song: use Capo 2 and transpose the above chords down a whole step. It's far more playable this way. Here are the transposed chords—first, the verses:<br><ul>
<li>D Em C G D, repeated once</li>
<li>G C Am D, repeated once</li>
</ul>Chorus:<br><ul><li>C Bm G Dm Bb G C Bm G Dm G F C G</li></ul>As a bonus, I've expanded my harmonica knowledge by working up this tune. I play the opening guitar lick on the harmonica, and the only way to get those "blue" notes is to play in cross-harp or second position. Which I finally figured out: for second position, your harmonica key should be a fourth above the key of the song. So, song in E? Choose a harmonica in the key of A.<br><br>
Vern Nicholson
tag:vernnicholson.com,2005:Post/4798371
2015-10-25T01:52:00-04:00
2021-07-26T16:18:07-04:00
Pilgrimage III: The Ballad of Emil Lewandowski
For those of you waiting for the final post in my "Pilgrimage" series, I apologize for the long delay. This one is rather late in coming, but it's clearly time.<br><br>Aside from his immediate family and, apparently, readers of the outdoor magazines in which his occasional fishing articles appeared, the world knows little of Emil Lewandowski, a Buffalo native who passed away in nearby Dunkirk, NY last week at the age of 74. But for those of us who came of age in the early '70s, Emil was a Top 40 titan whose soulful voice graced such hits as "Mama Told Me (Not to Come)," "Shambala" and "Let Me Serenade You." We knew him, of course, as <a href="https://en.wikipedia.org/wiki/Cory_Wells" target="_blank">Cory Wells</a> of <a href="https://en.wikipedia.org/wiki/Three_Dog_Night" target="_blank">Three Dog Night</a>.<br><br>Panned as a lightweight pop act who didn't write their own songs, 3DN sounded like manna from heaven to my boyhood ears. Here were three amazingly gifted lead singers backed by stellar musicians playing first-rate material. In my estimation Cory, Chuck Negron and Danny Hutton, the band's co-lead vocalists, were to the human voice what Jimi Hendrix was to the electric guitar. Period. The <a href="http://www.vocalgroup.org/" target="_blank">Vocal Group Hall of Fame</a>, at least, agrees. As for the lightweight part, have a listen to <i>Captured Live at the Forum</i> and tell me this band—as evidenced especially by Michael Allsup's shred-o-rama guitar—doesn't tear the roof off the place. Cory's showcase on that record, Otis Redding's "Try a Little Tenderness," is simply a tour de force, and don't get me started on the percussive genius that is Floyd Sneed. The guy drums with both ends of his sticks; maybe that's why he sounds like he has eight arms and six feet.<br><br>In the late summer of 2012, I heard that Three Dog Night was playing Buffalo, Kleinhans Music Hall to be precise, and they'd be backed by the Buffalo Philharmonic. Something told me this might be my only chance to hear my boyhood idols in concert, and the orchestral angle made it a must-see. Things were tight at the time, but I scraped enough together for the ticket, return bus fare and a one-night stay at the Hampton Inn, and on a chilly Friday night in October, there I was: last row, main floor, slightly right of centre.<br><br>Now, the band I saw was arguably Two Dog Night—Chuck having fallen out with his bandmates some years back—but especially in light of Cory's passing, I feel fortunate to have seen even that. Floyd and bassist Joe Schermie were also missing; Joe because he'd died some years back, Floyd for unknown reasons. Michael and since-deceased keyboardist Jimmy Greenspoon were in attendance, so that made four of the original seven members. And somehow, between Danny, Cory and bassist Paul Kingery, they managed to cover all Chuck's parts. That alone was quite impressive.<br><br>"The use of cameras and recording devices is strictly prohibited," warned the program. Nevertheless, your intrepid Mark Martian sneaked in a tiny device and fought the good fight. But the sheer volume of band and orchestra overwhelmed my mp3 player's built-in mic, and the 2/3 of the show I did record before the battery died is muddy, distorted and unlistenable. (I've kept it in case I someday encounter an audio restoration guru.)<br><br>I'd describe the show as workmanlike—well played but not transcendent—and predictably hit-heavy. (My fawning over <i>Captured Live at the Forum</i> aside, 3DN were never an album-oriented band.) After "The Family of Man," the evening's first song, Cory mentioned to rapturous applause that this was his homecoming and the band's first Kleinhans show since 1970. And to my surprise, Cory played rhythm guitar on several songs: decently, too (it definitely wasn't a prop). As for the orchestra, for the most part they were hard to pick out of the mix, though the horn section shone in "Celebrate" and "Play Something Sweet (Brickyard Blues)."<br><br>Song I Wish Had Been Played: "Eli's Coming." Runner-up: "It's for You."<br><br>Bonus Points For: Cory's neon purple tie.<br><br>Mark Mars Moment: Well, this singles act played one song so obscure even your friendly neighbourhood Mark Martian had never heard it: "You Can Leave Your Hat On," a Randy Newman-penned album cut from 1975. Cory did a great job on it, but it's really not my kind of burlesque-style R&B.<br><br>Despite the preponderance of grey hair in the crowd, it struck me during "Joy to the World" that this is essentially thinking man's children's music. You see, it wasn't me singing along as Cory made these Vegas-like wave gestures over the "joy to the fishes in the deep blue sea" line; it was that nine-year-old whose dad brought home that record, my first-ever 45, in the summer of 1971. And in that little boy's world, Chuck, Danny and Cory were giants.<br><br>As a youngster I had a special fondness for Cory, who brought a gritty, bluesy edge to the band. And as it turns out, he and I have something rather profound in common as well, a quality that's quite rare in the music biz. From the <i>Buffalo News</i> <a href="http://www.buffalonews.com/city-region/chautauqua-county/rock-star-cory-wells-was-fighting-cancer-apparently-died-of-infection-family-says-20151023" target="_blank">obituary</a>: "'My father never, ever took drugs, and he hated alcohol,' [daughter Dawn] Cussins said. 'He was totally against any of his songs being used in beer advertisements because he never wanted to encourage kids to drink.'"<br><br>Amen to that, and thanks for the music, Cory Wells. Along with your compatriots, you are the reason I'm a singer/songwriter today. Blessings and gratitude to you. Condolences to your family and fans.<br><br>As a tribute to Cory, I've worked up a version of "The Family of Man" that I'll debut this afternoon (Sunday, October 25, 3:00 p.m.) at the <a href="https://www.facebook.com/lazycatcafe" target="_blank">Lazy Cat Caf</a><span class="st"><a href="https://www.facebook.com/lazycatcafe" target="_blank">é</a>. If you're in the area, please stop by and say hello.</span><br><br>
Vern Nicholson
tag:vernnicholson.com,2005:Post/4798372
2015-09-28T02:29:00-04:00
2017-07-31T21:41:17-04:00
Under the Covers
One of the most fun aspects of being a musician is coming up with covers to play. My tastes run toward the esoteric, and lately I've been trying out some of my favourite Guess Who songs. Now, when it comes to The Guess Who, you're probably thinking "These Eyes," "American Woman," "No Time," maybe "Clap for the Wolfman."<br><br>Well, not in Vern's World (though I love those songs, too). I've been working up "His Girl" (flop single from 1966), "She Might Have Been a Nice Girl" (1971), "Smoke Big Factory" (1972) and "Cardboard Empire" (1973), the last three obscure album cuts all. Oh, and "Silver Bird" (1970), from the abandoned sessions for a follow-up to the <i>American Woman</i> album.<br><br>Something I've learned in trying to pick out these chords by ear: rock guitarists, even the greats—and I count Randy Bachman, Kurt Winter and Greg Leskiw among them—are lazy. Okay, maybe not lazy; but like me, they prefer chords that are easy to play, easy to change to and from, and ring out well (in other words, the chord contains plenty of open strings). So, if I'm trying out a chord and it's finger-contorting, chances are I've got the wrong formation even if it sounds right. There must be an easier way to play this difficult chord, and it's up to me to find it.<br><br>Sometimes the guitarist might be playing in an alternate tuning, though that's not the case with The Guess Who save for "Heaven Only Moved Once Yesterday" (1972), another one I attempted that's in dropped D (DADGBE, low to high, for those of you following along at home). Two of the songs suddenly clicked for me once I found the correct capo position: that would be Capo 2 for "Cardboard Empire" and "Smoke Big Factory." And in the latter and "She Might Have Been a Nice Girl," what sounded at first like crazy-ass jazz chords were simply a ton of open strings with one fretted note, usually but not always the root. Both songs use an easy-strum G6: GxDGBE. (The "x" means you block, mute or don't play that string.) I also discovered two rather strange (but dead easy to play) A chords: one I'll call Aopen (xAEGBE) and the other, Adcg (xADGCG). The A might not be the actual root in either case, but try 'em, you'll like 'em. They sound fabulous.<br><br>I've also discovered that Randy Bachman, at least for a time, had a love affair going with major and minor sevenths. Once I grasped that—and they're all fairly easy to play, at least in the key of G—"Silver Bird" fell right into place. Randy sometimes capos as well, and way up there, too: "No Sugar Tonight" is Capo 4 and "Lightfoot," a delightful obscurity off <i>Wheatfield Soul,</i> is as far as I can tell an inventive layered combination of Capo 5 and Capo 7.<br><br>All this merriment has added some killer covers to my repertoire, and most importantly I've learned some great chords that will soon find their way into my own music. I know that because it's already happened: a chord I discovered while working up Husker Du's "Could You Be the One" was re-purposed for "Lady Air." The secret chord, which I call Fmould, is FCxGDG, and you play the F with your thumb. (By the way, this chord also appears in The Guess Who's "Hand Me Down World," so it could just as plausibly be called Fwinter.)<br><br>And why do I give these chords such zany names? Well, I have to remember them somehow and you won't find them in any guitar chord book.<br><br>
Vern Nicholson
tag:vernnicholson.com,2005:Post/4798373
2015-08-31T00:00:00-04:00
2017-07-31T21:41:17-04:00
"Work" of Art
Your friendly neighbourhood indie musician here with a quick update. In September, I need to:<br><ul>
<li>Finish mixing my album</li>
<li>Spend the remaining money from the grant I received for same</li>
<li>Send a completion report with final mixes, lyrics, results ("referencing your original goals"), a detailed studio log, invoices and proofs of payment</li>
<li>Apply for a FACTOR grant </li>
<li>Apply for an Ontario Arts Council grant</li>
<li>Apply for a Toronto Arts Council grant</li>
<li>Get quotes in order to prepare coordinated budgets for all three applications </li>
<li>Keep practising, especially guitar and harmonica together</li>
<li>Record a demo of the new song I've written </li>
</ul>See, when you're nine years old, playing air guitar on a tennis racket to "Albert Flasher" and dreaming the rock 'n' roll dream, they don't tell you that being a musician will entail seriously hard work. <br><br>
Vern Nicholson
tag:vernnicholson.com,2005:Post/4798374
2015-07-14T00:53:00-04:00
2017-07-31T21:41:17-04:00
Harmonica Basics
And I do mean <i>basics</i>, my friends. I'm a raw beginner, but in the course of blowing some serviceable notes on my record and just learning to play guitar and harmonica together, I've discovered a few tips I'd like to share with you. First off, as far as I can see, 99% of the harmonica instruction available online assumes that you want to play the blues. If this is you, read no further; I've nothing useful to impart. Google "blues harp lessons" or something and off you go.<br><br>As for the rest of us, welcome to the wonderful world of first position. Here you'll find Bob Dylan, Neil Young, and the vast majority of folk music. In first position, key of song equals key of harmonica. Simple, right? Yes, as long as we're talking major keys. Playing in minor keys is trickier. I've been adding three semitones to the song key in order to find the harmonica key (example: song in E minor, harmonica in G). That's correct as far it goes, but it appears I have only half the picture as there are two minor-key modes. <a href="http://www.wildflowerharmonica.com/minor/" target="_blank">This page</a> explains things better than I currently can.<br><br>Two advantages to first position: one, it's hard to play a wrong note; two, you have access to the three building-block chords of popular music—namely I, IV, V. The I (root), is simply the key of the harmonica, and if you blow (exhale) anywhere on the instrument, you'll obtain the root chord. For illustrative purposes, let's assume your harmonica is in C. Your blow notes, low to high: C E G C E G C E G C. Anywhere you blow, you're guaranteed to get some inversion of a C-major triad.<br><br>If you draw (inhale), the notes you get depend on where your mouth is positioned on the harmonica. On a C harmonica, your draw notes, low to high, are D G B D F A B D F A. Now, the V (fifth) chord is easily identifiable here. In the key of C, the fifth is G. Going low, any of the first four draw notes will give you a G-major triad, and up on draw holes 7, 8 and 9, you've got a G7 chord minus the G root. The IV (fourth) is a bit harder to produce, but it can be done. In C, the fourth is F, and you can't get the full triad but the root and major third (F and A) occur twice, at holes 5 and 6 and 9 and 10. I find the high pair a bit shrill so generally I'll go for the 5- and 6-holes, which are conveniently located in the middle of the instrument.<br><br>Much of the time, of course, you'll want to play melodic lines (single notes instead of full chords). Again, I'm hardly in a position to advise on technique, but I've found that pursing the lips will usually produce a single note, though sometimes I get two. Hey, I'm still working out the kinks. But because the harmonica is a diatonic instrument, you'll be picking out notes in the major scale of the harmonica key—which, as we discussed earlier, is the same as the song's key in first position. So, you really can't lose, and it's quite easy to stumble upon the melodies of greats that have come before. And by improvising or riffing on those, you can write your own killer lines, tailor-made for your songs. (Example: tonight I chanced on the opening to Dylan's "With God on Our Side" just by messing around.) <br><br>One more tip: everyone will tell you that your first harmonica should be in the key of C, as most instructional material for beginners is written in C. If you're learning from a book, that's probably wise counsel. However, if you're using harmonica to colour your own songs, the song key determines the harmonica key. Your song is in F? Then the harmonica should be in F, and so on for all 12 keys. (Again, if you're a blues player, I can't help you other than to note that you're generally playing in second position, so song and harmonica keys will differ. See 99% of online harmonica instruction for more.) Based on the songs I've written and am covering, the most useful harmonicas for me have been G, D, Bb, A, B and E. In fact, I've yet to use a C harmonica in any of my music. Maybe that tells you something about my music. Point being, "Buy a C harmonica first" is not always the best advice.<br><br>Now let me climb up on my soapbox for just a moment. I've found scant online material on first-position playing—hence this post—and what little I did find is dismissive at best. In one video, the instructor did a desultory run-through of "Oh! Susanna" to demonstrate first position, immediately contrasting that with a flurry of lightning-fast blues licks in second position. I won't diss the guy completely because he's clearly knowledgeable, is more skilled than I'll ever be, and in another video helped me decide which harmonica to buy. But let it be known that first-position music is still <i>music</i> and damn fine music at that, whether or not it evinces dazzling virtuosity. First-position players have made stellar contributions to popular song (see Dylan, Bob among others) that go far beyond cornball folk standards.<br><br>Oh ... and for those of you wondering, my harmonica of choice is the <a href="http://ca.playhohner.com/instruments/harmonicas/diatonic-harmonicas/progressive-series/special-20-classic/" target="_blank">Hohner Special 20</a>, though I'm not expecting a juicy endorsement deal anytime soon. <br><br>
Vern Nicholson