Persistent earworm alert CDXXXI

Since enduring a storm with loud hail this morning, "Popcorn" by Hot Butter, a synthesizer instrumental, has been on my mind.  Popcorn, to me, mimics the sound of hail, and Hot Butter's 1972 hit conveys the turbulence of a storm.  With an ominous forecast for mire stormy weather later today, "Popcorn" will likely park itself in my mind again for hours.

Incidentally, I don't think I've ever heard anyone play "Popcorn" outside of "American Top 40."  It's one of those set-firmly-in-its-time instrumentals that didn't make the jump to oldies radio rotations.

Segue suggestion XV

While listening to Bruce Cockburn's "Deer Dancing Around A Broken Mirror" recently, I realized how well it would segue with a comparable guitar instrumental, Leo Kottke's "The Fisherman."  The tunes could follow each other in either order, as both of them show how it's possible to be placid and uptempo.

Steering into the skid X

I'm not 100% sure, but I think I first heard Maura O'Connell's "Feet Of A Dancer" on the former KDHX show, "Blue Highways."  I've rarely heard it since then, but a few times over the years, I've thought of it when I've tripped and had to grasp onto a sofa or chair.  I've adjusted the opening lyric for those incidents by thinking, "I do not have the feet of a dancer..."

I've reminded myself that as long as I'm coordinated enough not to break any bones, an occasional fall is tolerable--provided there's a sofa, chair, or other soft landing option within my grasp. 

Community Radio St. Louis highlights IX

Five of the stronger tunes played today on crstl.fm:

Sweet Inspiration 

• Mental Revenge-Linda Ronstadt (It's interesting hearing Ronstadt in this 1970 context, with prominent fiddle backing, tempo shifts, and more of a country bent.  Lyrically, this is an honest way of saying, "I can't stand you," and it could be a companion piece with "You're No Good.")

Beyon' Cray

• Please Pardon Me (You Remind Me Of A Friend)-Rufus featuring Chaka Khan (With vocals and instrumental backing this strong and heartfelt, how was this 1974 track not a hit?)
• Cosmic Ray-Ray Charles & Milt Jackson (An enjoyably energetic piano-and-vibraharp instrumental.)

Dangerous Curves

• Drink The Ocean-Gabi Hartmann featuring Oracle Sisters (There's a relaxed, fanciful, floating vibe in the vocals and instrumentation.)
• No-Mina (Whether translating this from Italian to English or just listening to it in Italian, this is a pretty direct rejection of someone.)

Context? CDXXXV

A morning radio personality recently opined that "Todd Rundgren doesn't get enough credit."  I didn't hear what he said beyond that, but I agree.  When Rundgren crafts an excellent tune, it holds up decades later.  Five examples:

• Couldn't I Just Tell You? (This is one of many well-produced, well-played, and well-sung Rundgren tracks.  It sports a great sing-along hook and a guitar part that could make potentially great players resume taking lessons.  The perfect intro draws listeners then and keeps them there as the song picks up steam.)
• Hello, It's Me (It's not surprising that this was Rundgren's biggest hit.  It's a well-structured tune that builds to its chorus effectively with a hook that's not forgotten easily.  Seek out the full album version for its extended refrain, "Think of me...")
• I Saw The Light (In my view, "I Saw The Light" ranks up with "What A Fool Believes" by The Doobie Brothers as a perfectly constructed song.  Right from the intro, it stands out vocally and instrumentally among pop songs, and it's still one the best ways I've heard of saying, "You're the one for me.") 
• Property (The tune's robotic rhythm is hard to forget, which makes it good driving music.  Regarding the lyrics: If you're unmarried and nod in agreement with the viewpoint Rundgren espouses, marriage might not be for you.  Or, at least, you'd be wise to choose your spouse carefully.)
• Something To Fall Back On (Rundgren's layering of his own voice makes this overlooked tune stand out.  Since first hearing it, I've always thought it would make a strong theme for a quirky, underappreciated sitcom.)

Online radio sampler highlights CCXCVI

Eight of the better tunes I've heard today:

KMNO (Wailuku, HI)

• Rhythm Of The Rain (Live)-Dan Fogelberg (Fogelberg was in strong voice when this was recorded, and his slowed down cover of this oldie by The Cascades is appropriate for lamenting a breakup.)
• It's A Lovely Day Today-Jo Stafford (A pleasant, on-the-surface way of encouraging someone to make the most of a positive day.  If I'd thought to play it on WEW, I wonder what similarly sunny segue I'd have used.  Peggy Lee's "It's A Good Day," perhaps?)

KMRE (Bellingham, WA)

• Blues On A Sunday-Ronnie Earl (A long, unhurried guitar-and-organ blues instrumental--fitting for Sunday contemplation, as its title implies.)

KPUP (Patagonia, AZ)

• Gotta Get Back-Shelby Lynne (Lynne's catchiest track, vocally and rhythmically.  It's equally at home in an uptempo adult contemporary playlist or an AAA station's rotation.  The opening note grabbed my ears years ago and still does years later.)
• Falling-Mindy Smith (It was a pleasant surprise to hear this after not hearing it on the radio since its year of release, 2004.  Smith sings this with endearing sincerity.  Lyrically, it's an honest admission that even the best partners drive each other crazy at least occasionally but are always glad they come back to each other.)

WESM (Princess Anne, MD)

• Soul Serenade-King Curtis (Resonant saxophone and a melody that sounds poised to launch into "King Of The Road" at any moment.)

WFIV (Knoxville, TN)

• You Can Do Magic-America (Sometimes, constant radio airplay can prevent listeners from appreciating a well-crafted pop tune.  In 1982, I remember hearing "You Can Do Magic" frequently on St. Louis's plethora of soft rock stations.  I never disliked it, but I appreciate its sing-along quality more today, now that it isn't played so often.  Santana's "Hold On" also falls into this category for me.) 

WZBT (Gettysburg, PA)

• Other People's Bands-Kathleen Edwards (A lyrically sound way of nudging someone to show gratitude.)

Fingers crossed for official releases

After attending Erin Bode's concert at Kirkwood Performing Arts Center this morning, I'm hoping she'll eventually release these four cover tunes she sang today:

• No Moon At All (KPAC's house band of keyboardist, bassist, and drummer accompanied Bode throughout the concert smoothly, but it would have been interesting to hear "No Moon At All" with Spanish guitar backing.  I've come to look forward to this rendition at Bode's concerts, as her voice suits it well, and rhythmically, I think it could segue with Swing DeVille's "Only Fools Are Positive.")
• Pick Yourself Up (Who doesn't feel better after hearing this standard's bouncy, encouraging lyrics?  I enjoy hearing Bode sing it in her lower register.  I last saw her perform this outdoors in 2019, where her band and she had to compete with police car and fire engine sirens for the audience's attention.  It was better this time to see a respectful audience at KPAC's indoor venue give her rendition its due.)
• Quiet Nights Of Quiet Stars (If you like the feel of Antonio Carlos Jobim's "The Girl From Ipanema," you'll probably like this similar-sounding tune of his, as well.  Its subtle, heartfelt elegance is why I've never heard a subpar rendition of it.  Just by selecting this tune, a vocalist is already halfway home with an audience.)
• You're Driving Me Crazy (This was a fun, unexpected way for Bode to close today's concert.  Not having a sore throat, as she did at last December's concert, allowed her to belt this out, and the song's cold, declarative ending was a satisfying way of conveying, "See?  What did I tell you?  You're driving me crazy!  So there!"  I understand why Bode said this song comes to mind when she's in traffic.)

It was gratifying to see a full house turn out for an enjoyable, confidently performed set list of nearly all covers and standards.  Here's hoping Bode chooses to release these four tunes on CD and/or digitally.