National Steel at the Silver Dollar

Doc MacLean and Michael Pickett onstage at The Silver Dollar

Last night, the National Steel Blues Tour rolled into Toronto. I’d caught wind of this inventive grassroots tour a month or so ago, and was intrigued, so I made my way down to The Silver Dollar Room to take in the show. The National Steel Blues Tour pairs up two accomplished local blues players, Doc MacLean and Michael Pickett, both of whom use National Steel resonator guitars prominently onstage. The duo are making their way across Canada with this tour, performing 75 shows in 70 days, and have been keeping a lively journal of their travels online (visit the nationalsteelblues.blogspot.com). Their shows have ranged from standard club dates to festival appearances to intimate house concerts. The ambitious DIY grassroots nature of the tour really appeals to me. These guys are out there taking their music on the road, taking chances, living the life of touring musicians, and making it happen. The Toronto stop was at a conventional venue, The Silver Dollar Room, one of the city’s few clubs actively supporting the blues, and an appropriate hometown stop for this tour.

As a music lover, my interest in this show was sparked by a couple of things. First off, the opportunity to see a live show by two established musicians with whom I was not that familiar. My awareness of blues music and musicians has grown over the years, but I’d only recently heard of Doc MacLean and Michael Pickett, despite the fact that both artists have careers stretching back over three decades. In fact, I only happened upon MacLean by chance. I’d seen him busking with his National Steel guitar in the subway station at Queen St. and University Ave. a few times, and purchased a CD from him (Narrow House). I was impressed by the album’s haunting and dark acoustic blues songs, as well as his collaborators on the disc (including Tom Waits/Canned Heat bassist Larry Taylor), so I wanted to see MacLean perform in a proper club setting. This tour fit the bill, and introduced me to Michael Pickett, who I didn’t really know of before. Pickett’s been an active musician since the ‘60s (including time with Whiskey Howl, Wooden Teeth, and the Michael Pickett Band), and is well respected in the Canadian blues community.

Doc MacLean on the National Steel guitar

Besides the opportunity to see two veteran musicians play for the first time, I was also captivated by the National Steel resonator guitar angle of the tour. I don’t know a huge amount about these guitars, but I’m very fascinated by them. They have a history dating back to the ‘20s, and are closely associated with acoustic blues. These guitars are made out of metal, as opposed to wood, and have a very unique sound, partially due to a built-in acoustic amplification system. They are called “resonator” guitars for a reason – they ring out loud and clear, conveying the bluesman’s song in no uncertain terms. Nationals were designed to amplify the sound of the guitar through natural acoustic methods (inspired by early phonograph technology), in the days before electric amplification was available, so a performer could be heard and compete with other instruments and loud audiences. The National Steel guitar carries alot of history, so it’s a real treat to get to see someone playing one in this day and age (see the National website for a detailed history of the guitar). Earlier this year, I witnessed both John Hammond and Paul James put their Nationals to use, and this night was another enticing showcase for the power of the vintage instrument to be brought to life.

The National Steel guitar

Doc MacLean and Michael Pickett shared the stage for the entire show, both playing seated, and trading songs back and forth. Both musicians had well-worn Nationals onstage – MacLean’s from 1929, and Pickett’s from 1931, I believe they said – although they also used more traditional acoustic guitars throughout the set. I’d never heard Pickett’s material before, although I was familiar with some of MacLean’s offerings. His renditions of songs from his Narrow House CD were more intimate than the recorded arrangements, stripped of drums and overdubs, and his easy manner onstage allowed the songs to come to life. The mood ranged from dark and harrowing to more laidback and mellow. A few songs that I recognized were “Bone Train”, “Narrow House”, “Angola Prison Rodeo”, and “Johnson Terraplane”. Good to see MacLean perform somewhere more upscale than the subway station! Pickett’s work was new to me, so I just tried to get a feel for his sound. Like MacLean, he’s right at home in Delta blues territory, with elements of roots and folk music somewhere in the mix, and very adept at the guitar and harmonica. In fact, both musicians offered up some serious harp playing, which played off the sound of the Nationals. These guys compliment each other quite well, and have a comfortable stage banter going on throughout the evening.

Michael Pickett onstage at The Silver Dollar

After a generous two sets, the show came to a close. A special, intimate performance of acoustic blues, National Steel guitars, and original music on a nice autumn evening. The National Steel Blues Tour continues on for another month, heading west all the way to Saltspring Island. I wish them well. They’ve got to keep moving, with that hellhound on their trail!

Rock and Roll Riot – 30 songs from September 27th, 2008

A brief playlist from the September edition of my DJ night, Rock and Roll Riot, at the Cameron House. I managed to compile a bit longer list of songs this month.

30 Songs from The Cameron House – September 27th, 2008

Stereolab “Brakhage”

Jarvis Cocker “Black Magic”

Richard Hawley “Serious”

John Southworth “General Store”

The Raveonettes “Dead Sound”

Suicide “Cheree”

Ultra Vivid Scene “She Screamed”

Nick Cave and The Bad Seeds “Dig, Lazarus, Dig!!!”

The Wolfgang Press “Kansas”

The Last Town Chorus “Modern Love”

Joy Division “Interzone”

A Certain Ratio “Do The Du”

The Dave Howard Singers “Beat Box Baby”

Public Image Limited “This Is Not A Love Song”

Wire “Strange”

David Bowie “Time”

The Walker Brothers “I Don’t Want To Hear It Anymore”

The Stranglers “Walk On By”

The Gun Club “Jack On Fire”

Deadbolt “Voodoo Trucker”

Sandy Nelson “Big Noise From Winnetka”

Owen Bradley “Big Guitar”

Ace Cannon “Tuff”

Lee Allen and his Band “Walkin’ With Mr. Lee”

Jerry Cole “Mambo Boogie”

Atomic 7 “Ivy Rocks”

Chris Spedding “Gunfight”

The  Sadies “The Last of the Good”

Royal City “My Brother Is The Meatman”

Ronnie Hayward “Honey I’m”

Rock and Roll Riot returns to the Cameron House on October 18th, and the second last Saturday of the month every month for the rest of the year.

Elvis Aron Presley – Jan. 8, 1935 to Aug. 16, 1977

The King is Dead, Long Live the King!

Today marks the 31st anniversary of the death of Elvis Presley, an important date for music fans, popular culture in general, and especially for those who love and appreciate the work of the "King of Rock and Roll". I count myself in the latter category, and while my interest level in all things Presley has waxed and waned over the years, I grew up with a love of his music and movies (they were staples of Saturday afternoon TV when I was a kid), and that has never disappeared. Over the past decade or so, my interest and respect for Presley has been rekindled. I've rediscovered alot of incredible Elvis music, from the crucial Sun Records years into the often-maligned '70s. I've also enjoyed watching his films, rewatching old favourites such as King Creole, and seeking out lesser-known titles such as Speedway (with Nancy Sinatra!) and Stay Away, Joe, as bad as many of them might be. 

It's next to impossible to look at Elvis objectively, because of all of the baggage surrounding his life and career, and the frankly tasteless and bizarre representation of his image in the decades following his death. As Mojo Nixon pointed out, "Elvis is Everywhere", and his greater contributions often get overshadowed by the 4th rate films, the dubious output and performances of the mid-'70s, and the kitschy Elvis memorabilia that has proliferated over the years. Sure, he was a mess when he met his less-than-respectable end, but I prefer to celebrate his achievements rather than mourn his death every August 16th. What could have been... it's hard to say. I was speculating with a friend of mine last week, envisioning a series of Rick Rubin-produced Elvis albums, along the lines of the Johnny Cash albums that came out in his twilight years, ending the King's career on a high note. As it is, one can only wonder, but the recorded work left by Presley is a staggering legacy, and despite the fact that I have been listening to it and collecting it for over a quarter of a century, I'm still discovering new gems all the time. Long live the King!

In honour of the occasion, I usually listen to some Elvis music, and if possible watch of one of his concerts or films on video. Here are this year's picks:

Elvis record of the day: From Elvis in Memphis (1969, CD reissue)

Elvis movie of the day: Blue Hawaii (1961)

A special mention to Redondo Roundup, one of my favourite music blogs out there. Redondo posted a nice collection of videos of very early Elvis television performances from the Dorsey Brothers' Stage Show in 1956. You can check them out here, and see what the excitement was all about over half a century ago!

Rock and Roll Riot – 20 songs from July 26th, 2008

Rock and Roll Riot is the name of my regular DJ night, which happens once a month at the venerable Cameron House in Toronto. I've been doing this night for a number of years now, starting back in 2002 as an occasional fill-in gig, and gradually settling in to a monthly Saturday night slot. It's been a fantastic opportunity to spin tons of records, explore different musical avenues, and hang out at one of my favourite clubs. I take on other DJ gigs on occasion, often sharing the bill with live bands, but Rock and Roll Riot is my mainstay. The musical focus of Rock and Roll Riot is quite broad, and has evolved over the years, incorporating all sorts of different sounds and styles, eras and artists. Generally, the evening features healthy doses of rock and roll (1950s to the present), rockabilly, psychobilly, surf, instrumental, blues, punk, funk, rhythm and blues, new wave/post-punk, glam rock, novelty tunes, and lounge/exotica. Sure, that's alot of ground to cover, but that's part of the fun – I have a four hour time slot, which allows for a substantial selection of music each month. 

In my experience, most DJs tend to really focus on one particular sound or style of music, but I like to keep my mix diverse and unpredictable, to a certain point. I'm not playing contemporary dance music (ie. techno, electronica, house, hip hop, etc.), although much of what I play is actually very dance-oriented, but at the core is rock and roll, and it resonates outwards from there. The more eclectic and exciting, the better. My musical interests over the past decade have been increasingly directed back into the '40s, '50s and '60s, the early years of rock and roll, its roots in blues, rhythm and blues, jazz and country, and the rockabilly sounds that I loved in my youth, as well as instrumental rock and surf. This is rich musical territory, and much of the music of the era is as raw, vital, and original today as it was back in its day. And it's fun!

I don't keep meticulous charts or playlists – it would be next to impossible with the amount of songs I spin in a night – but I thought it would be an idea to post a brief snapshot of my set once a month. I'm not really sure exactly why I had the urge to do this, other than as a fun thing to do, and to keep some sort of record of the songs I've played to look back on after awhile. I usually forget pretty quickly what was played from month to month, so this will help me keep track. I was originally planning to list 10 songs per month, but decided that 20 might be a bit more representative. Files for The Mysterious Vault. And, if anyone reading the blog finds the music of interest, please come down to the Cameron House and hang out some Saturday night when I'm there!

20 Songs from The Cameron House – July 26th, 2008

New Order “Ceremony”

Echo And The Bunnymen “Evergreen”

Nouvelle Vague “Dance With Me”

Peter Bjorn and John “Let's Call It Off”

Handsome Ned “Wrong Side of the Tracks”

Ruby Ann “Dynamite”

The Bop Cats “One Hand Loose”

Roy Orbison “Domino”

Gene Vincent “Cruisin’”

Jack Nitzsche “The Last Race”

Brian Setzer “Flyin’ Saucer Rock and Roll”

Ray Condo And His Hardrock Goners “Blast Off”

Wanda Jackson “Fujiyama Mama”

James Brown & His Famous Flames “Night Train”

Booker T. & The MGs “Groovin’”

Reverend Organdrum “Honky Tonk (Side A & B)”

The Ventures “Needles And Pins”

John Cale “Gun”

The Stooges “Down On The Street”

The Lounge Lizards “Harlem Nocturne”

O Canada! Five albums for Canada Day 2008

In the spirit of Canada Day (July 1st for all you foreigners), I usually try to keep my stereo loaded with music by Canadian artists. This year's selection turned out to be largely of the country and instrumental variety, with a little good ol' classic Canadian rock thrown in for good measure. Here's what made the cut this year – one short of a six pack!

Wes Dakus and the Rebels Volume 1

Ray Condo and His Hardrock Goners Party Favourites

Atomic 7 ...Something for the Girl with Everything

Rush s/t

Carolyn Mark Nothing Is Free

Something old, something new, something reissued, and everything cool! To keep the spotlight on the Canadians, here are some thoughts and comments on each title...

Wes Dakus and the Rebels Volume 1 (Super Oldies)

This CD is a great collection of top-notch instrumental rock by Canadian combo Wes Dakus and the Rebels. The group were active during the initial heyday of instrumental rock (the late '50s and early '60s), although, like The Shadows and others, they also backed up vocalists, and some vocal tracks do appear on this CD. Despite being quite successful in their day, Wes Dakus and the Rebels have been largely forgotten, although their music has begun to resurface in recent years, thanks to efforts such as this one. I actually grew up in Canada, an eager young music fan, and I had never heard of Wes Dakus and his group until I chanced upon their recording of "El Ringo" on Bear Family's excellent Shakin' Up North – Canadian Rockabilly, Vol. 1 compilation. Hearing this track, a catchy, twangy instrumental in the spirit of Duane Eddy, The Shadows, or The Outlaws (later covered by The Fireballs), instantly made me a fan (all the more impressive when I read that it was recorded using one mic to a one track tape machine), and I tried to find more music by Wes Dakus. A few more songs surfaced on Sundazed's stellar Dancehall Stringbusters! guitar instros compilation, but Super Oldies delivered the motherlode with Volume 1, AND a subsequent Volume 2 (apparently a Volume 3 is in the works!). Both volumes are limited editions of 500, available online from Super Oldies, so if you're interested, get your hands on a copy before they're gone!

A bit more on Volume 1, the CD in the spotlight this time around (I'll review Volume 2 in a future posting). Super Oldies should be commended for gathering all of this rare material and making it available. Volume 1 is a mix of songs recorded in various radio station studios in western Canada (all based out of Edmonton), some of which were released as 45s, and some never before released. Quality records was behind the group for awhile, so some of these sides came out on Quality back in the early '60s. Additional material was recorded south of the border (notably at Norman Petty Studios), and released on American labels Gallio (a short-lived indie), and United Artists. The CD also includes some decent vocal cuts, unreleased versions of "That'll Be the Day", "You're So Square", "Matchbox", and more, with Barry Allen and Lennie Richards on the mic. These tracks offer a different perspective on the group, and give a bit of insight as to their live approach, which often incorporated a vocalist (the detailed liner notes discuss the various lineups that Dakus employed over the years). This is one of my favourite reissues of recent years, and Volume 2 is the perfect companion.

Ray Condo and His Hardrock Goners Party Favourites! (Crow-Matic Records)

Party Favourites! is a recently released "best of" compilation of music by Canadian rockin' hillbilly legends Ray Condo and His Hardrock Goners. I was really happy to get my hands on this CD (special thanks to DJ Rock 'n' Roll Jenny for getting me a copy!), being a fan of Ray Condo for years, but not really having a whole lot of his music in my collection. Former Ray Condo sideman Slim Sandy put this compilation together, and released it on his label Crow-Matic Records. It's a great primer for anyone looking to check out the crazed, hopped-up rockabilly/hillbilly/country sound that the Hardrock Goners did so well. Ray Condo passed away back in 2004, tragically, but not before leaving his musical legacy with the work of the Hardrock Goners, and later Ray Condo and the Ricochets, which delved into a more polished, but still rockin', country swing sound.

My first exposure to Ray Condo, surprisingly, was through seeing his music video for the song "Hot 'N' Cold" on Canadian music video channel MuchMusic. In retrospect, this seems almost unbelievable – the thought of MuchMusic airing a video by Ray Condo is not something that would ever happen in 2008, but back in the late '80s, the station did broadcast a fair amount of Canadian and independent content. At the time, I wasn't that into country music, although I did like rockabilly, and the song was instantly captivating, so I took notice. I heard more of Ray Condo's music on various It Came From Canada compilation albums (invaluable comps of Canadian underground garage/rockabilly/surf/punk/etc. music put out by Montreal's Og Records in the '80s), and his wild and crazy sound was always a standout. Finally, I found a copy of Ray Condo and the Hardrock Goners' album Hot 'N' Cold, which has been a favourite ever since. The album is a winner from start to finish, with such killer tracks as "Blast Off", "The Worrying Kind", "Lonely Wolf", "Wild Guitar", and the creepy instrumental "The Sinister Urge". As a DJ, I spin tracks from Hot 'N' Cold on a regular basis as part of my set. Four songs from this album appear on Party Favourites!,  along with 13 other songs from the Hardrock Goners era. While I eventually acquired some music by the Ricochets, I have been wanting to hear more of the Hardrock Goners stuff, so Party Favourites! was a welcome addition to my music collection. Condo's versions of "St. James Infirmary", "Ice Cold Water", "Sweet Love On My Mind", and the surf tune "Mister Who" are all fantastic – hell, it's all great stuff! You need this CD in your collection. It's crazy, man, crazy!

Atomic 7 ...Something for the Girl with Everything (Eleganza Records)

The third CD from this stellar T.O.-based instrumental trio is as great as their first two albums, but also represents a subtle shift in sound. Atomic 7 is fronted by Brian Connelly, best known for his work with Shadowy Men on a Shadowy Planet, and one of my all-time favourite guitarists and instrumental songsmiths. For this album, Connelly is joined by Mark Duff on drums, and Brad Keogan on bass guitar, both members of London, Ontario country outfit The Rizdales. This new lineup (each Atomic 7 album has had a different rhythm section) might account for the slightly more prominent country feel to ...Something for the Girl with Everything, but it's also just a natural progression for Atomic 7. Connelly has been a part of Neko Case's band in the past, and his other project, Ancient Chinese Secret, cover alot of country material, so he's certainly got an affection for country music.

...Something for the Girl with Everything was released on a very limited scale (ie. available only at live shows), which is a bit of a shame, because it is so damn good! Easily in my top 5 albums of 2007. Big, twangy Duane Eddy-esque guitars thunder and flash through a great set of original material, from spagetti western atmospherics ("Ivy Rocks", "The Whirly Girly Revue") to wonderfully melodic upbeat numbers ("Junior Miss Chop Shop", "Guilt Wears a Dazzling Chapeau"), shadowy faux spy movie themes ("Lava Devils!", "Thingmaker"), and some slow romantic pieces (in the tradition of Santo & Johnny's classic, "Sleep Walk"). All in less than 35 minutes! Classic Atomic 7, with a new twist. Shadowy Men fans won't be disappointed, and a couple of tracks in particular, "Glow in the Dark Underpants" and "Thingmaker", certainly hearken back to the otherworldly sound of Connelly's famous combo. Atomic 7 seem to be on hiatus – I haven't seen any indication that they have been active this year at all – but Connelly's other group, Ancient Chinese Secret, play regularly in Toronto, including a residency a the Cadillac Lounge. The good news is that the Atomic 7 website is now finally live, so you can order this hard-to-find CD on-line.

Rush s/t (Anthem Records)

What's Canada Day without a little Rush? And what better than to start at the beginning, with the powerhouse Rush album! Sure, I get grief about being a Rush fan, but who cares? If you like rock and roll, you can't argue with songs like "Working Man", "What You're Doing", or "Finding My Way". In fact, if Rush had only ever put out this one album, their place in Canadian rock history would have been secure. As it turned out, this was but an introduction to a long and vastly prolific career that continues to this day.

But the group's eponymous debut is unique in their catalogue for a couple of reasons. In some ways, it seems a quaint, innocent first statement from a power trio that would go on to pen such hefty prog-rock classics as 2112 and Hemispheres, and later delve into synth-heavy pop rock territory on albums like Signals, Grace Under Pressure, and Hold Your Fire. Rush is a straight-ahead early '70s hard rock album, a big, loud, gleeful burst of youthful energy, and really alot of fun. Back in my high school days, it used to annoy me when people would write off Rush as a Zeppelin clone band (I didn't like Zep in those days, although I eventually realized the error of my ways), but listening to early Rush now, the comparisons are pretty obvious. In fact, it would be great to hear Zeppelin take on songs like "Need Some Love" and "Working Man"! But Rush were also influenced by the likes of The Who, Cream, Blue Cheer, Buffalo Springfield, and many other artists (their 2004 CD Feedback pays tribute to some of these inspirations), and ultimately they forged their own sound, moreso as their career progressed.

On Rush, the songs are simple, riding on heavy guitar riffs, head-banging grooves, and lyrics typical of rock and roll. In retrospect, it's funny to hear Geddy Lee singing lyrics about things like lust and drinking beer, considering that Rush are known for their heady subject matter, sci-fi/fantasy song cycles, and sophistication within the rock world. That all came later, when original drummer John Rutsey was replaced by drummer/lyricist Neil Peart from the second album, Fly By Night, onwards. So, only on the album Rush will you find lyrics like: 

Hey, baby, it's a quarter to eight

I feel I'm in the mood

Hey baby, the hour is late

I feel I've got to move

(from "In the Mood")

or

Ooh, I need some love

I said I need some love

Ooh yes, I need some love

This feelin' I can't rise above

Ooh, yeah, yeah

(from "Need Some Love")

Go for it, Geddy!

The Rush album rocks, and Rush rock. In fact, I saw them live last September, and they are still a force to contend with. Check out their recent live album, Snakes & Arrows Live, if you don't believe me. Geddy can still hit the high notes on songs like "Freewill", and the band are loud and rockin' in their 5th decade, moving forwards despite the odds. Sadly, original drummer John Rutsey passed away in May of this year. His memory will live on for fans in the grooves of Rush's debut album for a long time to come.

Carolyn Mark Nothing Is Free (Mint Records)

The last album on the playlist for Canada Day is the most recent from Victoria, B.C.'s lovely songstress Carolyn Mark. It's been pretty much a boys club so far, but Ms. Mark weighs in for the ladies with a nice set of songs that highlight her songwriting and vocal skills. My wife loves Carolyn Mark's music and wit, and I've grown to quite like it as well, won over by her obvious charm and wicked sense of humour. And while most of her CDs to date have been filled with a mix of rollicking party sing-alongs and lovelorn laments (her first album was titled Party Girl, after all), Nothing Is Free is a change of pace. The boozy good-time girl persona has been put aside in favour of a more intimate approach, and the result is an album that allows Mark's songs to shine outside of the usual gimmicks and saucy wordplay.

Nothing Is Free is not an immediate album, it's a grower. The clever instrumental hooks and unexpected twists and turns of previous albums have been somewhat supplanted by a more folky approach. While her sound is generally a mix of country, folk, cabaret, jazz, and rock, often stumbling over each other in a ramshackle hootenanny, the instrumentation on Nothing Is Free leans towards the acoustic – guitar, bass, mandolin, violin, and pretty vocal harmonies. Mark has captured a coffee house vibe this time around, rather than a late-night booze can feel. I must confess, the first few times I heard the album, I was a bit underwhelmed. Those unruly songs loaded with bad girl punchlines that I've grown to expect from Carolyn Mark were somehow missing, and it almost seemed like she was trying to sell herself as a serious singer/songwriter this time around. Sure, there were some pleasant sounds to be heard, some nice melodies, a great twangy guitar line on "Happy 2B Flying Away", and Mark's wonderful voice and delivery. But was this her sober album??

I'm happy to say that, as with many albums, Nothing Is Free does benefit from repeated listening. In fact, it doesn't become apparent how good the songs are until you let them sink in after a few listens. I hesitate to call this a "mature" Carolyn Mark album (can that word be used in reference to Carolyn Mark's music?), but it does present a more serious and sensitive side to her work, and moves in a promising new direction. The lyrical content is still very much front and centre, and even without the sensationalistic stories about the night before, she still manages to muster up some evocative tales, and lace them with tasty one-liners throughout. "The 1 That Got Away (with it)", "Get Along", and "Honest Woman" are classic Carolyn Mark songs, while "The Business End", "Happy 2B Flying Away", and "Point of View" are more reflective, observational, melodic offerings. One real surprise is the closing song, "Destination: You". This track is at odds with the rest of the CD, a foray into electronica with a haunting, nocturnal feel, reminiscent of Vancouver's Perfume Tree. An odd way to finish off the album, but Carolyn Mark is full of surprises, and I get the feeling that she has lots more to come. Her last two albums, Just Married: An Album of Duets (2005), and The Pros and Cons of Collaboration (2004), each presented Mark within the context of highly collaborative work, and she clearly works well in a group situation. But Nothing Is Free is an album that allows the listener to simply enjoy Mark's voice, lyrics and songs with the minimum of outside influence. It's a great, pastoral, late summer album, so find yourself a copy and enjoy. You don't even need a drink to go along with it.

That's it for this year's Canada Day listening. Until next July 1st, keep listening to Canadian music!

Mysterious Pages – the hardboiled thrills of Hard Case Crime

My last two postings on this blog have touched on the topics of music and film, so it seemed only appropriate that this post should be something book-related, to round out the content of the blog. Music, film, and books being the main subject matter of The Mysterious Vault, after all. In selecting exactly what to write about this time around, the most obvious choice was to discuss the last book that I'd read; this option proves very fitting, as it ties into a larger subject which I'd planned on covering. The book is entitled Straight Cut, an unusual crime novel by Madison Smartt Bell, which is an enjoyable read, and an original, nuanced approach to the crime thriller/noir genre (usually lumped into the "Mystery" category in your local bookstore). Straight Cut is published by the Hard Case Crime imprint, a relatively new publisher in this field who have really impressed me with their offerings over the past few years, giving new life to the pulp paperback.

Anyone who is into mystery, detective, crime, or noir fiction, as I am, will no doubt have noticed the arrival of Hard Case Crime titles on their local bookseller's shelves. I was immediately struck by the design of these paperbacks, being a sucker for a great book cover (or record sleeve). Hard Case Crime created something unique and "new" by going back to the look of classic pulp paperbacks from the '40s and '50s. Their books are small and very portable, which is the essence of the pocket book (I love trade paperbacks, but they don't fit in your pocket, which is very handy when you commute to work every day like I do). And the covers of their books all feature wonderful paintings in the tradition of pulps and early crime paperbacks – lusty, scantily-clad femmes fatales and damsels in distress, action shots, moody noir-esque urban street scenes, and lots of imagery of gambling and guns to add spice and danger. Alot of care has gone into these covers, and bios of the cover artists (including the formidable Robert McGuinnis, William George, and other acclaimed illustrators, painters, and comic book artists) are included on the Hard Case Crime website. The design of the books is very slick and uniform, and hey, they even have a cool flashy logo!

In hearkening back to something old, Hard Case Crime have managed to jump out of the crowd, their covers alone being distinctive in an era where the bulk of covers are highly digital creations. I love it when someone does something right, really well, and it doesn't happen very often. Hard Case Crime hit the hardboiled nail right on the head – I was sold before I even read a word. So far, they've been running strong for almost four years (their first title came out in September, '04), and I'm hoping that their run continues for a long time to come. Right now, they have titles listed on their site going into Spring, 2009, so that's a good sign. Now, back to the book that prompted this post...

Straight Cut is the third Hard Case Crime novel that I've read, all three so far being quite good, and very different from each other. The first two were Stephen King's The Colorado Kid (2005), and Ed McBain's The Gutter and the Grave (2005), King's contribution being the lesser of the three (pretty much a glorified novella, but still ok). Straight Cut is not a murder mystery, a cop or P.I. novel, or a typical gangster or crime story. The main character, Tracey Bateman, is a film editor who has on occasion gone over to the dark side, collaborating with his film-making partner Kevin on elaborate drug running schemes. Tracey & Kevin have a love/hate relationship, stemming from some shady dealings in their past, complicated by an unusually intimate three-way relationship involving Bateman's estranged wife, Lauren. 

The storyline follows Bateman on an international journey, from New York City, where he is drawn back into Kevin's deceptive web, to Rome, where he accepts a film editing job that turns out to be a front for a dangerous drug trafficking deal. Lauren is inadvertently involved in the proceedings, and consequently reunited with Bateman, who takes on the burden of completing the deal. The action moves across the continent, from Rome to London, then Brussels, and finally back across the ocean to New York City. Danger and suspense slowly build throughout the novel to an unpredictable climax, but Straight Cut is not your typical action-packed, fists swinging, guns firing, bodies piling up knockout of a crime novel. The book is full of internal and interpersonal struggles and conflicts, and while there are a few incidents of actual violence (and some amusing Bulgarian heavies, by the names of Yonko and Grushko), an atmosphere of escalating tension and impending doom is sustained throughout the book without resorting to the standard heavy-hitting plot devices. Straight Cut is not your typical thriller, but an original take on the genre, well worth the read. I'd never read anything by Bell before, so this was a nice introduction to the author's work.

A few final words about Hard Case Crime. As a publisher, Hard Case Crime is both an outlet for old and new books, preserving a past legacy with an eye to the future. While they have unearthed forgotten hardboiled and pulp noir novels, they are also bringing new work in this tradition to print, a welcome addition to mystery bookshelves everywhere. I was impressed to see titles by revered authors such as Mickey Spillane, Cornell Woolrich, David Goodis, Robert Bloch, and Erle Stanley Gardner in their catalogue. Hard Case Crime are A-OK in my books, and I will post reviews of other Hard Case Crime titles on The Mysterious Vault as I read them, so you can expect this to be an ongoing topic on the blog. I encourage lovers of this kind of fiction to visit the Hard Case Crime website and check out their impressive catalogue. For the true enthusiast, there exists a Hard Case Crime Book Club, whereby the newest books in print will be automatically shipped to your door every month. Who could ask for a more tempting offer?

The Big Apple on the Big Screen

For my first foray into the world of film on this blog, I've selected a rare title that is truly suitable for The Mysterious Vault. The film is entitled Only One New York, a documentary about New York City made in 1964 by obscure French director Pierre-Dominique Gaisseau. This lost gem was screened in Toronto last week courtesy of local film collector Dion Conflict, as the main attraction of an evening billed as "Midweek Mondo Madness". I hadn't heard of Only One New York before this screening came up, but that's not really too surprising. The film is not available on home video, and it apparently hasn't been shown for decades. In fact, according to Dion, his print may be the only copy in existence, so it is a true obscurity.

I've known Dion since the early '90's, and we've worked together on numerous projects and screenings over the years. He's been collecting unusual and neglected film and video for longer than I've known him, and he's developed a bit of a reputation for his oddball film nights, selecting strange trash and treasures from his "Conflict Archives". These screenings range from feature length films, such as Only One New York, to programmes of short subjects, such as his infamous "Hunka Junk" series (a mix of vintage educational films, commercials, trailers, shorts, etc.), "Trailer Trash" (film trailers), and "Christmas Kitsch-A-Roo" (bizarre Christmas films). As a graphic designer, I've put together posters and promotional material for quite a number of Conflict Archives screenings, and I was asked to help out with a poster for "Midweek Mondo Madness" (see below). It turned out quite well, despite the tight deadline.

"Midweek Mondo Madness" took place at my neighbourhood repertory movie theatre, The Revue Cinema. The evening opened with a short performance by local paranormal sensation Mysterion the Mind Reader (adding to the thrill-seeking "Mondo" vibe), followed by some shorts, and then the feature. Before I get into the film, I should just note that Mysterion's big stunt for the evening involved the potential risk of hanging himself by the neck, unless he could use his mental powers to select the one "safe" noose from a group of lethal ones. Needless to say, he is still with us – the show must go on...

Only One New York is a joyful and entertaining film to behold, a time capsule that transports the viewer to another era, a somehow more optimistic and simple time. Indeed, there is almost a naive quality to some of the voice-over narration in the film, but this is also a product of the time, which adds an element of humour for present-day audiences. While Only One New York is perhaps loosely associated with the whole "Mondo" film sub-genre, the similarities are mostly on a surface level. Mondo films are generally more lurid and sensationalistic, offering a glimpse into the unusual and shocking (Mondo Cane, Mondo Topless, etc.). Only One New York is quite tame by contrast, being more of a look at the great metropolis and its people from the point of view of a fascinated outsider, as opposed to a thrill-seeking celluloid joyride.

What emerges in Only One New York is a portrait of both the physical structures of the city, and a sampling of the many diverse cultures living within the great melting pot. As someone who loves New York City, I am always happy to look at images of the city on film, and there were a great many stunning shots throughout Only One New York to please any viewer. The buildings of downtown Manhattan are presented in long, poetic shots, filmed at odd angles and gracefully edited to some great swingin' Hammond organ music. The glass fronted skyscrapers are awe-inspiring spectacles on the big screen, reduced to almost abstract dancing geometric shapes by the inspired cinematography. The physical structure and architecture of NYC is one theme running through the film, and scenes of buildings being constructed and demolished provide some memorable imagery. The narrator reflects, "How beautiful these shining towers are. Architecture expresses an attitude. It reveals the psychology of the builder. It occurs to me that people who expect a bomb to fall don't build their walls of glass. A city of glass is like a declaration of peace." These words certainly possess an unintentional poinancy for a post-9-11 audience.

Within this considerable setting, the viewer is taken on a multi-cultural journey, and a portrait of the residents of NYC is painted, captured on film for future generations to look back on. For the most part, different ethnic groups are shown in some sort of distinctive celebration or gathering. Several weddings, parades, banquets, and religious ceremonies are shown, along with more candid and intimate footage. Hence, the Irish St. Patrick's Day parade, a religious gathering in Harlem complete with gospel choir, a Japanese Buddhist celebration, a gypsy wedding, a traditional Jewish meal and religious practises, Ukrainian sword dancing, a voodoo ceremony, and much more along these lines. This study in cultural diversity is balanced out by some other colourful footage – Playboy bunnies playing football (and a glimpse inside the famed Playboy nightclub), a parade of elephants walking down the street, native Indian construction workers relaxing at their local watering hole during their off-hours, an art world happening (complete with action painting), and more.

In retrospect, it all seems a bit wide-eyed and overly optimistic (particularly in a post 9-11 world), but perhaps this is part of the charm of Only One New York. The world is a much smaller place in 2008, thanks to advances in transportation and communications, and the 'Global Village' is in a way almost a worldwide equivalent of the metropolis presented in Only One New York, although certainly not living in harmony. This celebratory survey of one of the world's greatest cities is something of a breath of fresh air in today's cynical, war-torn, scandal and disaster ridden world. Sometimes the past looks brighter than the future, even in black and white.