Insufficiently enthused?

At a radio station where I worked, a person formerly connected with the station entered the studio and asked if the DJ on the air after me would run one of his commercials.

The DJ replied, "OK."

The visitor said dejectedly, "Well, if you don't want to run it, then...," and left the studio.

The DJ and I looked at each other, perplexed.

The DJ asked me, "Did I say I didn't want to run the commercial?"

I replied, "I'm not sure why (the visitor) reacted that way, either.  Maybe he expected you to do cartwheels or backflips." 

You'd think saying, "OK," would be an affirmative way of agreeing to run a commercial. 

In memory of David Clayton-Thomas

Since reading this afternoon about David Clayton-Thomas's passing, I've thought about how well his vocals sell various Blood, Sweat & Tears songs.  These are my favorites, three of which were big hits in 1969:

• And When I Die (Although I think Laura Nyro's original version deserves more acclaim than it often gets, Clayton-Thomas really commits to the inevitability of life ending for everyone.  He cuts loose particularly effectively during the "Here comes the devil..." passage.)  
• God Bless The Child (Over time, this has become my favorite Blood, Sweat & Tears track from the Clayton-Thomas era.  Many artists have covered "God Bless The Child," but this is one of the best versions I'll likely ever hear, due in part to how the vocals segue into an uptempo romp for the piano and horns.) 
• Spinning Wheel (This oldie still gets played today.  That doesn't surprise me, as it doesn't leave a listener's mind easily.  Lyrically, it's a good, eccentric reminder that bleak situations can change for the better.)
• You've Made Me So Very Happy (The effective, suspenseful instrumental opening leads compellingly into lead vocals that, by Clayton-Thomas's standards, are semi-subtle at first before becoming more assertive.  That buildup serves the song well and demonstrates convincing showmanship.)

Online radio sampler highlights CCCII

Today's recommended selections:

KBLU (Logan, UT)

• Letting Go-Angie McMahon (Admirable lyrics about figuring out how to end relationships gracefully and learn from one's errors.)

KRVM (Eugene, OR)

• All Those Years Ago-George Harrison (This wasn't usually played on the radio after it was a hit, given how of its time it sounded.  Lyrically and melodically, this 1981 tribute to John Lennon was one of Harrison's best solo efforts, however, and was deservedly one of his biggest hits.)

WAJH (Birmingham, AL)

• Canadian Sunset-Richie Cole & Tony Monaco (I always enjoyed playing Hugo Winterhalter's version of this on WEW.  Cole and Monaco jazz it up with an appealing bounce on saxophone and organ, respectively.)
• Impressions (Live)-Wes Montgomery & Wynton Kelly Trio (A steeplechase in the best sense, with brisk, energetic guitar work from Montgomery and piano playing from Kelly.) 

WHDD (Sharon, CT)

• William Bolcom: Tabby Cat Walk (John Murphy, piano) (A self-assured ragtime melody.  I can imagine my tabby cat, Collette, washing her fur in time to this.) 

WMWV (Conway, NH)

• Yes To You-Susan Werner (Empowering lyrics against a backdrop of upbeat, bluesy instrumentation acknowledge that some relationships are best left dissolved.) 

Segue suggestion XVII

While listening to Downy Mildew's "Left Foot Down" yesterday, I had an epiphany.  I don't know how I didn't think of it earlier, but "Left Foot Down" would flow well into "Anywhere" by Ratboys.  The songs have compatible lyrics about pursuing someone rather insistently, set to catchy, uptempo rhythms.

One could argue that both sets of lyrics aren't far removed from stalking, but I'm choosing to overlook that and just enjoy the tunes. 

A function of age XLVIII

Although it doesn't affect the sound of the record, I was puzzled to see that the cover of my LP containing two Mendelssohn symphonies looked more worn and scuffed than I remembered.

I thought, "How can this be?  I just bought this album in--um, well, 1986--a 'mere' 40 years ago.  Actually, that's only recent geologically speaking." 

Context? CDXLII

I find it amusing and refreshingly honest that there's a radio retirement planning program called "Keep What's Yours."

It would amuse me even more if the show used "I Me Mine" by The Beatles as its theme song.

FM dial scan highlights CCCVII

Today's standouts:

WSIE 88.7 FM 

• Snake Bone-Lou Donaldson (This is one of the hippest late '60s instrumentals I've heard, and not just because of Donaldson's saxophone playing.  Charles Earland's organ playing is also essential in maintaining the groove, and every instrumentalist contributes something noteworthy to this tune's mood.)

KCLC 89.1 FM

• Don't Get Me Wrong-The Pretenders (Still one of the classier ways to say that someone has caught your eye.  The Pretenders have had a consistently impressive track record, which is why I've recommended them many times.)

KCFV 89.5 FM

• AA Is For Quitters-From Mars To Venus (I paid less attention to the lyrics and more attention to this tune's general vibe as I listened.  This is indie rock with an ear-catching Celtic swing.)

KWUR 90.3 FM

• Freda Swain: Concertino For Clarinet and String Orchestra. "Lumine naturi:" III. Allegro assai (London Mozart Players/John Andrews, conductor; Peter Cigleris, clarinet) (Impish, fluttering clarinet trills give way to gripping drama.  This is a compelling blend of clarinet and strings.)
• Alexander Scriabin: Piano Sonata No. 2 in G-sharp minor, Op. 19: I. Andante (Daria Vasileva, piano) (Lush and lyrical.  This movement is subtle initially but demands the listener's attention during its forceful passages.  Sidebar: I was disappointed to see that I was the only person listening online during this portion of "Musica esoterica."  The announcer said he was about to play some requested selections for another listener, though, so I trust that she was listening to the radio.)