Ein volk. Ein reich. Ein furor.

The more I see of Ben Carson, the more my mind's eye flashes back to Cleavon Little disguised in a white robe and hood in Blazing Saddles.

Blazing Saddles was hilarious. Ben Carson is just weird . . . and scary. And he's leading the Republican presidential field.
 

At any rate, it's come to this in America 2015 as we embark yet again on the quadrennial farce, er, campaign -- a black dude using a picture of the collapsing World Trade Center on 9/11 to race-bait Syrian refugees. You can't make this stuff up.

I WISH someone had as some sort of sick joke. Instead, the joke is on human decency and American democracy, and it's no laughing matter.

Demagoguery such as this ought to automatically disqualify any politician who stoops to it as a serious candidate not only for the presidency, but for anything. Voters who fall for it are unworthy of the responsibility placed upon them by the dictates of democratic self-government.

Meanwhile, for Ben Carson's next act, he'll stampede some cattle through the Vatican. That'll show them papists for helpin' to resettle them A-rab terrorists in 'Murica.

NOW they're worried about homelessness

The good news: American right-wingers are focused on homelessness now.

The bad news: I think the Republican Congress is about to eliminate welfare, food stamps and the rest of the "social safety net."

I have three words for this

As I write this, 129 people are dead and 352 lie wounded in Paris after coordinated terrorist attacks attributed to ISIS -- the Islamic State in Syria, Etc., Etc., and So On.

Apparently, some delicate flowers out there are upset this is taking away from the coverage of the "terrorist attack" at the University of Missouri, where rednecks wielding AR-15s and hand grenades slaughtered hundreds of students of color and left hundreds more grievously wounded. . . . Oh, wait.

Redneck idiots yelled the N-word, and somebody drew a swastika in poop.

As bad as that is, and as much as that needs to be dealt with, it's not the wanton slaughter of 129 people and the wounding of 352. And I have three words for those hysterical and solipsistic nervous Nellies who are demented enough to think it is.

Unfortunately, this is a family blog.


HAT TIP: Rod Dreher.

3 Chords & the Truth: For Allen, with love

There isn't much to say about this week's edition of 3 Chords & the Truth.

There is much to hear during the course of this week's edition of the Big Show.

This episode of the program is dedicated to the blessed memory -- and to the divine music -- of Allen Toussaint, the soul of New Orleans and its gift to American popular song. Toussaint died this week at 77, and he brought joy to music lovers to the very end.

Every bit of this 3 Chords & the Truth will be devoted to the music this genius wrote, performed and produced. Listening to what this giant of music blessed our culture with over six decades is to realize how impoverished we all would be had Allen Toussaint never lived.

WE LIVE in a hard world, and we rely on God's tender mercies to bring us strength, solace and -- yes -- joy amid our travails and sorrows. Allen Toussaint and his music was the tenderest of God's mercies.

May God rest his soul, and may his memory, and music, be eternal.

It's 3 Chords & the Truth, y'all. Be there. Aloha.

It's raining

It's raining so hard 
Brings back memories 
Of the times 
When you were 
Here with me 
Counting every drop 
About to blow my top 
I wish this rain 
Would hurry up
And stop

In American pop culture, you could look at several moments -- several grief-stricken moments -- and think they were "the day the music died."

This is one of them.  Allen Toussaint --  the legendary New Orleans pianist, songwriter, singer , producer and recording artist -- died early this morning in Spain at 77. He was on tour, and an apparent heart attack felled him.

It's raining. And it brings back memories. Wonderful musical treasures from the times of our lives -- precious gifts for which we'll never be able to reciprocate, for which we'll never be able to properly thank  the great man.

It's raining so hard.


IN POPULAR CULTURE, you cannot have avoided the work of the man. From his recording debut in the 1950s as "Tousan" to his exit from the vale of tears (and, when listening to an Allen Toussaint song, tears of joy), his work has surrounded us all. There are songs you know and love that you didn't know were his compositions. There are songs that I've known and loved that I didn't know were Toussaint compositions.

Well, with all the posthumous plaudits and retrospectives, we're going to find out now.

Allen Toussaint, the gentlemanly Rock ‘n’ Roll Hall of Fame songwriter, producer, pianist and singer whose prolific, decades-long career cast him as the renaissance man of New Orleans music, of an apparent heart attack following a concert Monday night in Madrid, Spain. He was 77.

As a young man, Toussaint was the golden boy of the golden age of New Orleans rhythm & blues, writing and producing signature songs for multiple artists. His hundreds of credits include Ernie K-Doe’s “Mother-in-Law” and “A Certain Girl,” Irma Thomas’ “It’s Raining” and “Ruler of My Heart,” Benny Spellman’s “Lipstick Traces” and “Fortune Teller,” Art Neville’s “All These Things,” Lee Dorsey’s “Ride Your Pony,” and Chris Kenner’s “I Like It Like That,” as well as seminal recordings by Aaron Neviile, the Meters and Dr. John.

Acts that covered his compositions include the Rolling Stones, the Who, Bonnie Raitt, Boz Scaggs and Phish, among many others. In the years since his acclaimed post-Hurricane Katrina collaboration with fellow songwriter Elvis Costello, Toussaint enjoyed a late-career renaissance as a touring artist.

“He was an irreplaceable treasure of New Orleans, in the ‘immortal’ category with Jelly Roll Morton, Mahalia Jackson, Louis Armstrong, Fats Domino and Professor Longhair,” said Quint Davis, the producer/director of the New Orleans Jazz & Heritage Festival. “He was a one-man Motown. He created an entire era of New Orleans rhythm and blues.”

(snip)

In his songwriting and conversations, Toussaint could craft a turn of phrase with an elegance and economy that rendered it indelible. He once said that he “tries to remain as open as I can for inspiration all the time,” but preferred late-night composing. “I especially like the wee hours of the morning, like three. It’s quiet. The air is different. I like that time of night for anything.”

He was a familiar sight at functions and benefits around town, and a co-founder of the charitable New Orleans Artists Against Hunger and Homelessness. He had been slated to join Paul Simon at a high-dollar benefit concert for the organization on Dec. 8 at Le Petit Theatre du Vieux Carre.

“Allen was never not at the height of something,” Davis said. “Everything he did was at such a high level his whole career.”

Toussaint was born in 1938. He grew up in the Gert Town neighborhood as the youngest of three children. He taught himself to play on the family’s upright piano, influenced heavily by the syncopated style of New Orleans legend Professor Longhair, and Ray Charles, whom he heard on the radio. Barely 13, he joined a rhythm and blues band called the Flamingos, which featured Snooks Eaglin on guitar.

He dropped out of high school to pursue a career in music. He became a fixture around local recording studios, where he was sometimes asked to mimic the style of Fats Domino and other pianists. He learned much about the art of crafting a song from Dave Bartholomew, Domino’s producer and co-writer.

His first recording under his own name was an instrumental album called “The Wild Sound of New Orleans,” released in 1958 by RCA Records. He was billed as “Tousan,” reportedly because the record label didn’t think consumers outside New Orleans could pronounce “Toussaint.”

Under the auspices of the Minit and Instant record labels, he soon discovered his true calling: as a songwriter, arranger, producer and accompanist for other artists. At the home he shared with his parents, Naomi and Clarence, and siblings Vincent and Joyce, he often hosted rehearsal and writing sessions that resulted in a remarkable run of regional and national hits. Irma Thomas once recalled that “It’s Raining” was “written in Allen Toussaint’s bathroom.”

Not even a two-year hitch in the Army — which began in 1963 — could stem his creativity. Backed by an Army band, he wrote and recorded a breezy instrumental called “Whipped Cream.” Trumpeter Herb Alpert & the Tijuana Brass turned “Whipped Cream” into a massive hit; their recording also served as the theme music for TV’s “The Dating Game.”

ALLEN TOUSSAINT was a giant of music and a prince of a man. To lose that presence is to find that words are inadequate to convey the loss.

Rather than blather on, maybe it's just time to allow a small fraction of his masterpieces to express what the mere words of a Louisiana-born blogger and radio guy cannot.

Rest in peace, sir. And thank you. Thank you so much.

3 Chords & the Truth: Stacks o' shellac

This week on the Big Show, we're up to our @$$ in stacks of vintage shellac.

Shellac? Let me explain: Before there was vinyl, there was shellac. As in 78 r.p.m. records.

Way back there then, before the advent of the long-play record, a.k.a. the "LP," a record album was just that -- an album of four or five 78s. When LPs ascended and 78s eventually disappeared, the name stuck. Thus, a single LP, cassette, CD or group of digital downloads is an "album" to this day.

We're going to be playing some stuff off of albums this week on 3 Chords & the Truth. Album albums, not the faux albums we've become accustomed to the past 60 years. One of the albums features one legend and his orchestra playing the music of another legend -- Paul Whiteman, the guy who brought George Gershwin to prominence by commissioning a work called "Rhapsody in Blue," does Irving Berlin, author of huge swaths of the "American Songbook."

IT'S GREAT MUSIC. It's history. It's part of our culture and our national DNA. It's on the Big Show, and it's just a click away. Maybe two, if that's how you roll.

Of course, that's just one middling-sized part of the show this week -- we're nothing if not eclectic and full of surprises around the studio here in Omaha, by God, Nebraska. And believe me, there's plenty of amazing stuff on the program this week . . . and every week.

And it's all yours for the taking for the low, low price of nothing. It's free. All you have to do is click. Or download. Or whatever.

Now get to it. There's a world of music waiting for you here.

It's 3 Chords & the Truth, y'all. Be there. Aloha.

3 Chords & the Truth: A ray of sunshine

It's another rainy day in River City.

Drizzly, bleak, pervasive is this pall,
It's the soggy side of fall.

Music brightens the day in River City,
The Big Show fights off the brooding sky.
And spirits, they will fly!

Music and good cheer,
Your blues will disappear.

ANOTHER rainy day in River City,
Another wet fall day in this old city,
Sitting in this cozy studio,
The tunes are good to go.

Windy, wet and gray in River City,
You're the only one want to see . . .
Here at 3C&T!

Now suddenly you feel
The music's bright appeal . . .

Another rainy day in River City. 

IT'S 3 Chords & the Truth, y'all. Be there. Aloha.

I'll build a (vinyl) stairway to paradise

This afternoon's listening was . . . transcendent.

Sarah Vaughan. George Gershwin's very large segment of the American Songbook. Where could you go wrong?

Answer: You can't.

Boy, oh boy, are you in for a treat this week on 3 Chords & the Truth. My dilemma is deciding what to play off this 1957 masterpiece of an LP.

I have a couple of thoughts, but I almost feel like I'd be cheating you by not just playing the whole thing. The problem is that I have lots of other great music, too.

I'd feel like I was cheating you by not getting around to all that, too.

In brief, my dilemma is your gain. That's the Big Show for you.

Be there. Aloha.

3 Chords & the Truth: Buddy and the Beatles

The Cricket is the father of the Beatle.

This week on 3 Chords & the Truth, we explore Buddy Holly and his influence on The Beatles, which I submit was huge. In short, had Holly not lived and blown open rock 'n' roll with all kinds of then-not-rock 'n' roll influences and instrumentation  -- A full string section? Harps? Heresy!!! -- you have to wonder whether it would have been possible for John, Paul, George and Ringo to make the music they ultimately did.

Maybe so. Then again, maybe everybody would have been remaking "Roll Over Beethoven" and the greatest hits of Fabian over and over and over again.

But Buddy Holly blew it open, and the boys from Liverpool reaped the musical benefits.

THAT'S WHERE we're going this week on the Big Show. And you are going to reap the musical benefits as we revisit some classic Holly and some live Beatles, as broadcast back in the day on the British Broadcasting Corporation.

We're live on the BBC, and we're on top of lots of other exceptional stuff this go around. You're gonna love it.

So. . . .

It's 3 Chords & the Truth, y'all. Be there. Aloha.

3 Chords & the Truth: Java jivin'

Way down among 3 Chordsians . . .
 
Coffee beans grow by the billions
So we've got to find those extra cups to fill
We've got an awful lot of coffee in the till
 
You can't get cherry soda
'cause we gotta fill that quota
And the way things are I'll bet we never will. . . . 

We've got a zillion tons of coffee on the bill 

No tea or tomato juice
You'll see no potato juice
'cause the Favog in the Big O's saying "No, no, no"
A Big Show listener's daughter
Was accused of drinkin' water
And was fined a great big fifty dollar bill
We've got an awful lot of coffee songs to shill

IN OTHER WORDS, this week on 3 Chords & the Truth . . .

I love coffee, i love tea
I love the java jive and it loves me
Coffee and tea and the java and me
A cup, a cup, a cup, a cup, a cup (boy!)

IT'S 3 Chords & the Truth, y'all. Be there.  Aloha.

Tonight's vinylpalooza

I'm cheap enough that paying $15 for this 1959 stereo release gave me serious pause at the LP bins of an Old Market antique emporium.

On one hand, I'd rather find a gem for a song at an estate sale or something.

On the other hand, the records from this vendor are usually in marvelous playing condition.

On the third hand, a stereo rock 'n' roll record from 1959 -- the mono version of Bobby Freeman's Do You Wanna Dance album came out the previous year -- and from an indie label, no less. That's likely on the rare side, making the $15 price not a rip-off.

I'll say!

BEFORE LISTENING to this early-rock classic this evening, I did a little Internet price checking for the stereo version of Do You Wanna Dance . . . Jubilee 1086 for all you record geeks out there. And the low price I found it being sold for was something like $29.95. The high price (on eBay, of course) was . . . was . . . gulp! . . . $110. I understand a mint first pressing goes for $200.

Mine seems to be a second pressing. Sigh. I coulda been rich.

Now note that amid all this "What's it wurf???" nerd-o-mania, not a word was written about the actual music, which was great despite following the rock-album convention of the day for a hot act. That would be:

SIDE A

• Cover something.
• Cover something.
• Cover something.
• Original that'll never be released as a single.
• Cover something.
• Hit record we named the LP for.

 SIDE B

• Cover something.
• Cover something.
• Original that you'll hear nowhere else. Ever.
• Cover something.
• Original that sounds exactly like the big hit on Side 1.
• Cover something inspiring. Or something.

That is all. Good night, and good listening.

And that's the way it @#$%*&!!! is . . . .

Alrighty, folks. This is your NSFW video of the day.

Here, at wits' end dealing with a producer back at the station, British reporter Jonathan Pie gives us the real news. Which is a lot closer to the truth than the "official" news.

"Jonathan Pie," alas, is really comedian Tom Walker, as reported by the Russian-government website Sputnik News. Which is just as well, I suppose. Pity the real TV journalist who gets fed up and tells the unvarnished truth . . . and then has the outtake go viral.

Now, what I'd like to see is a real newscast by American and Russian anchors who get good and cranky, then cut the official propaganda of each superpower to shreds . . . thereby arriving at something like the truth.

3 Chords & the Truth: Is this thing on?

We almost interrupt this program due to technical difficulties.

Almost.

It's a little late this go around, but 3 Chords & the Truth is here . . . and the music is good. Really good.

IN A FEW instances, as usual, your mind will be blown by the latest edition of the Big Show. Take safety precautions to prevent ill effects similar to those occurring when the Adobe Audition audio editor comes in contact with the latest Mac OS, El Capitan.

In short, your mental state could resemble Donald Trump's hair.

Be prepared. Be safe. Hold on.

COME TO think of it, we are on, right?

Testing. Testing. One, two, three, four, five. . . . Testing.

Whew! I was worried there for a second. Carry on.

It's 3 Chords & the Truth, y'all. Be there. Aloha.

3 Chords & the Truth: Hep to the jive

Don't be a wet blanket, pally. Get hep to the 3 Chords & the Truth Fan Club and never miss another jivin' tune again.

All you have to do to be with the swingin' crowd is become a regular listener of the Big Show. And the best thing about it is that you get the whole wide world of solid sounds for exactly nothin'.

That's right, won't cost you a thin dime, Ain't no better bargain than free, buddy boy.

So join all the cool kids in the 3 Chords & the Truth appreciation society and hear everything from the Syndicate of Sound to Southern Culture on the Skids. From She & Him to Dale & Grace.

And that ain't the half of it, Daddy-O.

SIGN ON with the Big Show, and you get some bonus Otis Redding and Shawn Mullins for a small shipping and handling charge. That would be your undying devotion, sister. Or brother. Either way, man -- it's copacetic.

Oh, the things you'll hear!

It's 3 Chords & the Truth, y'all. Be there.  Aloha.

If you or a loved one has been hurt by Leonard Fournette. . . .

I don't care who ya' are, this is funny.

In a related class-action development, I understand that pursuers who inhale the dust in Leonard Fournette's wake also may be at high risk for mesothelioma. If you or some linebacker you love develops mesothelioma after playing football against LSU and Leonard Fournette call State, War Eagle and Orangemen at 1 (800) TOO SLOW.

Geaux Tigers!

3 Chords & the Truth: Drop the needle

 
I've got a phonograph, and I'm not afraid to use it. Don't mess with me.

Man, that kind of sums up the whole of 3 Chords & the Truth, doesn't it?

Actually, I've got more than a few phonographs, and I use 'em plenty. That's where the bulk of the music on the Big Show comes from -- musical gems I've had forever, and treasures I've dug up at estate sales, thrift shops, used-record bins and elsewhere all over creation.

A lot of it you're not going to find on the Internet or on CD. So if you want to hear a lot of this stuff. . . .

For instance, remember Lou Bega's big hit from 1999, "Mambo No. 5"? Well, this week, you're going to hear the original by Perez Prado and His Orchestra from way back in the day. If you ask me, Prado's version swings a lot harder than the 1990s iteration.

OTHERWISE on 3 Chords & the Truth this week, your Mighty Favog has . . .

A little bit of Stafford in my life, a little bit of Van Damme by her side

A little bit of Cugat is all I need, a little bit of Dusty is what I see

A little bit of the Moodies in the sun, a little bit of Nick Lowe all night long

A little bit of Root Boy here I am, a little bit of Stan Getz is my plan.

Get the drift?

No? Let me elaborate.

A little bit of Arlo in my life, a little bit of Crenshaw by my side

A little bit of Elgart is all I need, a little bit of J-Cash is what I see

A little bit of Pozo in the sun, a little bit of Seco all night long

A little bit of Prado here I am, a little bit of you makes me your man.

BELIEVE ME, you ain't heard nothing like this.

It's 3 Chords & the Truth, y'all. Be there. Aloha.

How your hi-fi stereo record works

Click on the picture for larger, readable view

This afternoon's vintage-LP listening comes with a technical note.

And our tech talk today centers on a question: You ever wonder how stereo records put the stereo on the record?

Well, the top photo of the inner sleeve of our 1958 release by David Carroll and His Orchestra explains how the modern marvel of stereophonic records work. And it also contains a caveat for the stereo newbie, as nearly everyone was 57 years ago -- do not play this thing on a monophonic record player.

A mono cartridge on your mono phonograph will tear this sucker up.

See the explanation on the record sleeve for why that is.

3 Chords & the Truth: Twice as nice

It's a twin-spin weekend on 3 Chords & the Truth!

That's right, you hip, happenin' and now music fans, we're staring off this week's episode of the Big Show with artists so nice, you've got to hear 'em twice. And I'm also going to play you the 1966 Petula Clark album cut that I think should have been a single, because it's that good.

Of course, there were one or two more album cuts on her My Love LP that also should have been hit singles, but you can't play 'em all. Well, I suppose I could, but I restrained myself. I'm a professional.

And that's just the first music set this go around on 3 Chords & the Truth. There's so much more good stuff on the rest of the program, you just can't imagine.

WELL, if you're a regular listener to the best musical spot on the Internet, you can imagine. But saying that doesn't work as well rhetorically, so just go with me here.

So sit down, grab a snack and a drink, and treat yourself to an hour and a half of music-media bliss. If you don't, you'll just be cheating yourself.

Trust me on this.

So, without taking up more time reading that you should spend listening. . . .

IT'S 3 Chords & the Truth, y'all. Be there. Aloha.

Vintage LP du jour

 

On the menu tonight at La Maison de Trois Chords is The Friends of Distinction's Real Friends album, a nice 1970 vintage for our listening pleasure.

Not only does it feature one of my all-time favorite songs, "Love or Let Me Be Lonely," it also sounds better than many new albums right out of the shrink wrap, even though this particular LP left its shrink wrap around 1970.

DO YOU THINK I still could get me a "Complete RCA Catalog" if I mailed a quarter to Dept. C, Rockaway, New Jersey 07866?

On the other hand, maybe I can dig out the Complete RCA Catalog that I did get for 25 cents back then.

Once a geek, always a geek.

That is all.

3 Chords & the Truth: The horror

It was the worst of times. It was the worst of times.

Aye, it is true that we see through a glass darkly. But sometimes, it is too dark to even see the glass.

That's the theme of this week's 3 Chords & the Truth. No, this isn't the kind of program that tries to fool you into thinking it's sunny all the time.

But this is the kind of program that tries to lift your soul even while we're trying to make you think about some stuff that maybe you'd rather not. Sometimes, thinking can be entertaining, too.

Nevertheless, there will be no pledge-week hard sell after the Big Show. Perhaps there would be if we had a pledge week -- but we don't. You can put your credit card away.

SO this week, events have pushed us into thoughtfulness, if not out-and-out solemnity . . . though there's a touch of that, too. As we put this week's show together, it's the 14th anniversary attacks on New York and Washington, and that's plenty of reason to reflect on a lot of things. A few of those things make it into the show, for your reflection and, one hopes, edification.

Also as we wrap up another edition of 3 Chords & the Truth, we've just finished watching the remastered, 25th-anniversary edition of The Civil War on that channel that does have pledge breaks. It seems to me that that's food for plenty of thought, too, in this summer of controversy over Confederate symbolism and monuments. Thus, a Civil War set . . . submitted for your approval.

Lest I start to bog you down right here in the description of the podcast, I'll just stop my touting right here and humbly ask you to set aside a spare 91 minutes and 15 seconds and listen to the thing. I don't think you'll be sorry you did.

And you may even be ecstatic that you did. So listen. Click the player or the link and have at it.

IT'S 3 Chords & the Truth, y'all. Be there. Aloha.

America was warned

March 4, 1963.

That was the day Frank Zappa, age 22, appeared on the Steve Allen Show and played the bicycle.

We cannot say we didn't see what was coming.

3 Chords & the Truth: Tunes from wonderland

If you're younger than your Mighty Favog, who apparently is something of a fossil, you probably don't remember when your TV picture being in living color was a pretty big (and expensive) deal.

It was a glorious entertainment development way back when, during the Age of Wonders, when the wonders of technology were spaced out just enough for us to appreciate them all.

Now, it seems, I'm always at least one wonder behind. Because fossil, no doubt.

Too, the wonders don't seem so wonderful anymore. Just kind of "meh" as wonders go. Maybe we just have too many of them too fast today. Maybe I'm just jaded in my old age.

And that, Cap, is kinda, sorta the inspiration for this episode of 3 Chords & the Truth.

THUS, we start the Big Show with seriously wonderful music from the time when color TV was a true wonder. And, looking back on that era, so was the music. Especially our opener this week, Lenny Dee's wondrous 1966 take on Chris Montez's fantastic 1965 take on Petula Clark's 1965 original of "Call Me."

And if it's possible, the program just might get better from there. A little trippy at times, too.

So, that's about all I have to say about that. Just do yourself a huge favor and listen. Preferably on one of those massive 1960's console stereos. Those things were awesome.

It's 3 Chords & the Truth, y'all. Be there. Aloha.

Let's dance!

Here's some of what's been on the old record player the past couple of days.

In 1956, Capitol Records got Benny Goodman and some of the old orchestra gang together to recut some of his classics in hi-fi. And boy do they sound good in high fidelity, pointing out the advancements in recording technology in just the decade and a half or so since the originals came out on 78 r.p.m. discs.

THE ALBUM, The Benny Goodman Story, featured selections from the motion picture of the same name that had just hit movie houses all across America.

What's interesting about this album, which just may be a first-run pressing -- given the packaging and red Capitol label, which changed to turquoise sometime that same year -- is how the cardboard LP sleeve came inside a paper outer sleeve. I don't think I've ever run across that sort of packaging before for a record album.

And that's your bit of vinyl-nerd bait for the day, all the way from the fabulous '50s.