The rhythm of the introduction is constructed from metallic clicking on a snare rim and cymbal stand, which is tapped out by drummer Jim McPherson.[3] The loud, distorted voice of Kim Deal at the beginning of the song was achieved by singing closely into a harmonica microphone, which can also be seen in most live performances.
The song opens with the distorted voice of singer-songwriter Kim Deal testing a microphone by intoning "Check, check, one, two" against hissing feedback and over similar distorted vocal harmonizing. The track's drum rhythm and trademark bubbling bass line signal the start of the song. A slithering guitar lick skips the above its rhythm section before being overtaken by the high, squealing feedback of crunching guitar. It is nearly a full minute into the song before the introduction of its vocal melody, with Deal slyly cooing humorous lyrics. The band pulls to a brief halt for Deal to proclaim the parent album's title: "I'm the last splash".[3]
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During the verses, Kim Deal recites repetitive lines with a seductive shyness.[3] They unleash layers of guitar distortion alongside Deal's distorted, transmitted vocals shouting: "Hey now, hey now/I want you Koo Koo, Cannonball".[3] Its musical arrangement features stuttering, start-and-stop transitions before evening out into an infectious, melodic hook layered with sweet vocal harmonies, with Deal and the band repeating the line: "In the shade/In the shade."[3] "Cannonball" employs a false ending, pausing for a whole measure and then crashing into its chorus and shifting in another full verse and chorus before coming to an abrupt halt.[3]
As the lead single from their second album, "Cannonball" went on to become the Breeders' biggest commercial success. NME,[9] Melody Maker[10] and The Village Voice's Pazz & Jop annual year-end critics' poll all named it best single of 1993, which helped propel the album Last Splash to platinum status.[3] AllMusic's Tom Maginnis complimented the single, writing, "the song conveys an effusive energy, balancing quirky hooks with a gushing power, supporting playful, goofball lyrics that perfectly deliver the song's sense of unhinged, freewheeling fun".[3]
The music video for "Cannonball" was directed by Kim Gordon and Spike Jonze.[13] It features the band in a garage, and the Deal sisters in what seems to be a dressing room trashed with clothes, sitting in a chair together. There are also shots of a cannonball rolling through Miracle Mile, Los Angeles, as well as a shot of Kim Deal singing underwater.
"Cannonball" was featured in a preview for South Park: Bigger, Longer and Uncut, the film Moonlight and Valentino, the start of A Walk to Remember as well as in the heist scene of Sugar & Spice. It was the original televised score to a skit on MTV's sketch comedy show The State, but due to music licensing issues had to be re-recorded with a sound-alike song for the DVD. The song was also featured in the third season in episode 3 in Misfits and in the season six finale of True Blood. The band Phish covered the song during their May 7, 1994, concert in Dallas, Texas, which was later released commercially as Live Phish Volume 18. In 2000, Nissan used the song in a commercial for the Sentra.[34] Courtney Barnett performed the song on The A.V. Club in 2014 for their Undercover live music web series and during her 2015 US tour. On The A.V. Club performance, Barnett stated "I chose it 'cause I love that album, and when we went to make [Sometimes I Sit and Think, and Sometimes I Just Sit] recently, I put that song on for the first day of recording - just to psych me up".[35]
Download P7913: Hunter carrying deer over his shoulder through snowy woods. George and Hazen did not carry their deer out of the woods this way. Instead, they would have cut it into smaller pieces and put it in pack baskets. (299 KB)
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George MacArthur's song, "The Wabassus Cannonball," is a musical parody of the well-known American folk song "The Wabash Cannonball." The original song is about a fictional train and MacArthur's tune tells the story of how he and a friend, fellow guide Hazen Bagley, outsmarted two wardens and a judge to avoid a conviction for poaching.
P7913: Hunter carrying deer over his shoulder through snowy woods. George and Hazen did not carry their deer out of the woods this way. Instead, they would have cut it into smaller pieces and put it in pack baskets.
3. Then I went over to old Third Lake to have a little cheer, I headed up to Slaughter Point to try and shoot a deer; The old buck came down Slaughter Point and he had no horns at all, His face was filled with buckshot by the Wabassus Cannonball.
4. The wardens came into our camp, they thought they had us beat, For cooking in an iron pot they found a little meat; And then they hauled us down to court but they had no case at all, And the both of them were beat to Hell by the Wabassus Cannonball.
It's apparently Unintentional Kim week here on the blog. Or maybe alternative rock queens named Kim who play bass just travel in packs. Either way, this song contains one of the most unexpected modulations in rock (in keeping with the irreverent early 90s).
I watched this music video the other day and it make me so grateful for the music I grew up with. All the talk I heard throughout the 90s, before I knew any better, was older folks berating the music of my generation. And now, in every corner of the internet, 90s music (of nearly every genre) is hailed as the golden standard.
I'm not here to say that the music I grew up with is technically superior to that of any other decade. (Newsflash: it's not.) I'm just so grateful that it shaped me as it did, and that women like Kim & Kelly Deal and Tanya Donnelly (in any number of bands) exerted such influence on my childhood.
Check out Airbnb's 30 second TV commercial, 'Categories: Cannonball' from the Websites industry. Keep an eye on this page to learn about the songs, characters, and celebrities appearing in this TV commercial. Share it with friends, then discover more great TV commercials on iSpot.tv
Two words best encapsulate the music of alto saxophonist Julian "Cannonball" Adderley: "joy" and "soul." It's those two qualities that helped make it possible for Cannonball's music to bridge the post-bop of the 1950s and '60s and the jazz fusion of the '70s and beyond.
As well as leading his own groups, he was part of the group Miles Davis used to record the landmark Kind of Blue. Later, as Adderley perfected his own blend of bebop, funk, soul and R&B, he worked with future members of Weather Report like percussionist Dom Um Romao and keyboard player Joe Zawinul. Through it all, he also worked almost constantly with his brother, trumpeter and composer Nat Adderley.
When Cannonball Adderley arrived in New York in 1955, not long after the death of Charlie Parker, he was an immediate sensation. During that summer, he recorded material for three albums. "Cannonball" comes from a session he did with another up-and-coming jazz powerhouse, composer-arranger Quincy Jones. This song features a Cannonball solo which announces his arrival on the scene, but brother Nat and pianist John Williams do some fine soloing, as well. They're joined by J.J. Johnson (trombone), Cecil Payne (baritone sax), Paul Chambers (bass) and Kenny Clarke (drums). Even in this illustrious company, Cannonball soars with the freedom of a young bird on its first flight.
By 1960, Cannonball was firmly in control of the soul-jazz sound that would define him, leading a quintet that featured his brother Nat on trumpet, as well as Bobby Timmons (piano), Sam Jones (bass) and Louis Hayes (drums). Though Cannonball did a fair amount of composing, he made a point of working with musicians who were also superior songwriters. Timmons contributed several classics to the quintet's repertoire, as did Nat. "Work Song," now firmly embedded in the jazz canon, is Nat's composition.
This song is the best example of Cannonball's habit of hiring band members who were also good composers. "Mercy, Mercy, Mercy" was written by Adderley's pianist at the time, Joe Zawinul, and is one of the few original jazz compositions to also become a popular hit record. The Adderley Quintet recorded it in '66; it reached the top of the Billboard charts in early '67. Cannonball's earlier work with Miles Davis on Kind of Blue helped him gain the attention of jazz lovers, but "Mercy, Mercy, Mercy" is the song that introduced him to the rest of the world. Along with Nat and Joe Zawinul, this group also featured drummer Roy McCurdy and bassist Victor Gaskin.
The success of Mercy, Mercy, Mercy didn't seem to go to Adderley's head. Even though he continued to experiment with funk and R&B elements in his music, he never lost his love for playing bebop or jazz standards, as evidenced by this lovely version of Hoagy Carmichael's "Stardust." You get a clear sense in this live recording that Adderley is having a great time with Zawinul.
Although Cannonball did the majority of his recording and touring with his quintet, he also enjoyed collaborating on projects with other artists, as well. In this session from 1962, we hear his joyous alto sax in a Brazilian setting, with a group featuring pianist Sergio Mendes and future Weather Report drummer Dom Um Romao.
However, by 1993, Pixies singer/songwriter Black Francis had broken up the band by fax, so The Breeders were no longer a side project. Deal was in San Francisco recording Last Splash when her twin sister Kelley told her the Pixies had broken up.
The first railroads traveled through Wabash, Ind., in 1856, linking the city with Toledo, Ohio, and points east. Various trains running busy Midwestern routes took the name of Wabash Cannonball in the heyday of passenger railroading, the late 1800s and early 20th century. In 1950, the name was revived for the Detroit-to-St. Louis run, a 489-mile trip taking about 10 hours. The Wabash Cannonball made its final run on April 30, 1971, when the new Amtrak system dropped it from the new national rail network. 152ee80cbc
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