I’m working my way through all the episodes of “The Muppet Show” on Disney+ and I noticed that when a Muppet picks up a musical instrument, they almost always play left-handed. Kermit plucks banjo strings with his left flipper in “The Muppet Movie.” In The Electric Mayhem, Janice and Floyd hold their guitars like lefties, although Floyd’s sax grip looks like a rightie. (It’s tough to tell with drums and impossible with keyboards.) Scooter plays guitar to the left. Marvin Suggs plays the Muppahone with the mallet in his left hand. Even The County Trio – Muppets that look like, and are puppeted by, Jim Henson, Frank Oz, and Jerry Nelson – all play like southpaws.

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Last night, I was re-watching the first of Disney’s Dexter Riley trilogy, 1969’s “The Computer Wore Tennis Shoes.” If you haven’t seen it – or even if you have – Kurt Russell plays Dexter, a college kid who accidentally gets a punch-card mainframe shocked into his brain and uses all that new mental ability to … win a college game show. Dexter had accidents two more times in later movies – becoming invisible in 1972’s “Now You See Him, Now You Don’t” and eating super-vitamin cereal in 1975’s “The Strongest Man in the World.”

In the middle of “The Computer Wore Tennis Shoes,” I spotted a familiar face and heard a familiar voice. Olan Soule was playing a reporter, but you might know him as John Masters, choir director on “The Andy Griffith Show” – or as the timid professor or bank teller or clerk in a million shows. Here he is, using that face to sell the sexiest of products, prune juice.

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We’re all used to old TV shows getting cut up in reruns. The Carol Burnett Show got it worse than most. Not even the lawyers foresaw DVDs, let alone streaming, so no one figured out how to pay for all the songs in each episode.

Carol came from Broadway, so she’d often include big dancing and singing numbers. It could be The Jackson 5. It could be operatic soprano Beverly Sills. Syndicators cut down the hour-long “The Carol Burnett Show” into the music-free thirty-minute “Carol Burnett and Friends.” Carol would come out at the end with her autograph book, wearing a Bob Mackie-designed Sgt. Pepper costume. Bobbie Gentry, Phyllis Diller, and Gwen Verdon were there too … but no one would mention it. The whole five-minute song-and-dance medley was gone and “good night” was the only bit left.

Good news for us. You can now find (mostly) uncut episodes of “The Carol Burnett Show” on Amazon Prime and The Roku Channel and even officially licensed on YouTube. Give it a watch and come back…

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I was listening to Greg Proops’ podcast, “The Smartest Man in the World” (aka “The Proopcast”), and his wife, Jennifer, dropped in a bit of a recent Blue Note Records release from Dr. Lonnie Smith and Iggy Pop. I liked it and maybe you will too.

Dr. Lonnie Smith has been playing the Hammond B-3 organ since his teens. He started in a band with Grover Washington Jr., played as both a sideman and a band leader for decades, and now at 78, has released his 29^th solo album, “Breathe.” Smith is either called “Doctor” because he likes to “doctor up” melodies with improvisations – or maybe because he didn’t want to be confused with keyboardist Lonnie Liston Smith.

A lot of “Breathe” is 2017 live cuts, recorded about the same time as Smith’s 2018 record “All in My Mind.” The first and last tracks though are new studio work, both covers with Iggy Pop on vocals and Blue Note President Don Was producing. (Was also took that photo of the two up top.) A big part of the collaboration is that both Smith and Pop live in the Miami area now and Pop sat in on some of Smith’s live shows.

The first song on “Breathe” is Timmy Thomas’ “Why Can’t We Live Together.” Even if you don’t know the tune, it’ll sound familiar because Drake sampled it for “Hotline Bling.” Here’s the final track on the record, Donovan’s “Sunshine Superman.” Iggy Pop is in the crooner mode he’s progressed to over the last decade. The song’s not groundbreaking, but it’s a lot of fun.

It’s a rainy Sunday here in Orlando, so I’m staying dry, hunting for the cat when thunder hits, and diving into England Dan & John Ford Coley.  I think the song most folks know best is 1976’s “I’d Really Love to See You Tonight.” I’ll admit I was one of those folks who thought they were singing “I’m not talking ’bout the linen” even before screenwriter Shane Black called us out in  “The Long Kiss Goodnight.”

And to prove it, here’s a live version from “The Midnight Special” where you can clearly hear “I’m not talkin’ ’bout movin’ in.”

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