Persistent earworm alert CDLVII

Tonight, my mind apparently wants to wind down, as I keep thinking of "A Slow Song" by Joe Jackson.  It's one of his more overlooked numbers that doesn't typically get radio airplay.  The piano intro draws me in, as it sounds like Jackson is about to sing a freewheeling version of Procol Harum's "A Whiter Shade Of Pale."

Segue suggestion XXI

After hearing The Chieftains perform "The Raggle Taggle Gypsy" this evening, I'm convinced that Altan's "Beidh Aonach Amarach (There's A Fair Tomorrow)" should be played after it.  That way, the listener remains in the same ballpark rhythmically while the mood is lightened after such an intense rendition.

Context? CDLXIV

It was refreshing to hear a listener seeking an aquarium call a radio station this morning and specify to listeners, "You can reach me by phone, not text."

I'm ambivalent at best about texting, so it's good to know I'm not the only one.

Context? CDLXIII

Because my baffling tactic of saying, "Oom-pah-pah, Oom-pah-pah!" didn't prompt my cat, Collette, to move out of the way in the hallway, I tried another tactic when she started scratching the clothes hamper yesterday.  Instead of exclaiming syllables suitable for marching, I told her, "Collette, I'd rather you didn't do that."

Amazingly, she stopped scratching the hamper.  Lesson learned.  When my cat's behavior goes awry, imitating the sound of a tuba doesn't work.  Speaking respectfully to her as an adult apparently does.

At least, that's what I'm choosing to believe.

Context? CDLXII

Although my cat, Collette, doesn't speak or understand English, it would have been logical for me to say, "Collette, please move," when I was trying to pass her in the hallway.  Inexplicably, though, I said, "Oom-pah-pah, Oom-pah-pah!"

I'm still not sure why I thought imitating the sound of a tuba would make Collette step out of the way.

SiriusXM highlights CLXXX

Nine recommended tunes heard today:

'70s On 7

• Day After Day-Badfinger (Music reviewers frequently cite Badfinger as one of the most influential power pop bands.  Of the band's three best hits, "Day After Day" tilts most heavily toward the singer-songwriter side but is no less of a sing-along track than "No Matter What" or "Baby Blue.")

Acoustic Guitar Instrumentals

• Bicycle Day-A.B. Chediski (A melody fit for trundling aimlessly down a secluded road.  I'd play Davey Graham's "Forty Ton Parachute" after this.)

Alt R&B

• Sunshine-Jungle (This August release has an appealing '70s dance throwback feel.)

Luna

• War Of The Flutes-Frank Emilo (The piano is essential in keeping this melody percolating.)

Real Jazz Just Music

• Carefree-Billy Childs (A classy stroll of a piano melody.)

The Village

• Raised On Robbery-Twisted Pine (Vocally and instrumentally, this captures the energy and spirit of Joni Mitchell's original version.  It's fun hearing this melody with a bluegrass twist.)
• Snow-The Staves (Sometimes, relationships end...just because.)

Watercolors Instrumental

• High Heels-Lisa Addeo (Uptempo smooth jazz piano and saxophone synergy.)

Yacht Soul

• Got To Be Real-Cheryl Lynn (I've come close to including "Got To Be Real" in these highlights posts several times, so it's time I finally acknowledge how well this groove has held up since the '70s.)

Online radio sampler highlights CCCXI

Six intriguing selections heard today on five radio stations I haven't sampled before:

KBVR (Corvallis, OR) 

• Spring (Live)-Shaene Marie Pascal (Endearingly sincere, quiet vocals.)

KCWU (Ellensburg, WA)

• Shelter-Sadie (I don't always like it when vocals are manipulated with studio wizardry, but they work well with this beat.)

WBJC (Baltimore, MD)

• Claude Debussy: Suite Bergamasque: III. Clair de Lune (Jaime Laredo, violin; Margo Garrett, piano) (Both instrumentalists, especially Laredo, wring every possible drop of lyrical resonance from the melody in this rendition.)

WSRN (Swarthmore, PA)

• Going Home-Alice Coltrane (This dramatic instrumental underscoring is tense and heroic.  The harp and orchestral strings give the melody a reassuring undercurrent.)
• La ville, Pt. 2-Ahmed Malek (This '70s instrumental sports a "Theme From 'Shaft'" influence.  The saxophone stylings are avant-garde yet accessible.)

WUVT (Blacksburg, VA)

• Dusty Eyes-Bedouine (Sensitively written and sung lyrics about the impermanent nature of a meaningful relationship.)