Retro FM dial scan highlights VII: 10/6/91

Sigh...Didn't I turn 21 just yesterday?  Well...No.  That was 35 years ago.  Today, as I turn 56, I'm looking back on my FM dial scan from October 6, 1991:

WFUN 95.5 FM

• The Magic Cookie-Cookie Monster (For those who don't know, WFUN used to have a "Planet Fun" format aimed at kids.  Cookie Monster sounds surprisingly subdued at first about the prospect of obtaining everlasting joy and happiness.  Unsurprisingly, his interest increases significantly when he's given the alternate option of a cookie.  I won't spoil the ending for you, but I suspect you can guess the path he chooses.) 

KRJY 96.3 FM

• Rhythm Of The Rain-Dan Fogelberg (Fogelberg's slowed down cover of this oldie by The Cascades is appropriate for lamenting a breakup.)

KHTK 97.1 FM

• Enjoy The Silence-Depeche Mode (The vocals and instrumental backing could easily pass for a 1984 new wave track, so I have to remind myself this song is from 1990.  Lyrically, this holds up as a reminder that silence truly is golden sometimes.) 

WFXB 101.1 FM and KFXB 105.7 FM

• Lake Shore Drive-Aliotta Haynes Jeremiah (The sing-along-on-a-road-trip vibe of this tune makes it a staple cut of album rock stations even now.  In 1991, it was simulcast on two frequencies during the mellow rock days of "The Fox."  Also recommended: "Slippin' Away.") 

KLOU 103.3 FM

• Come A Little Bit Closer-Jay & The Americans (When a member of the band is warning you to exit before the person inviting you to "come a little bit closer" gets her way, it's wise to retreat and avoid encountering her jealous ex.) 

KMJM 107.7 FM

• Emotions-Mariah Carey (Carey's strong vocals are in the glass-shattering stratosphere here.  Between the driving rhythm and her demonstrably wide vocal range, it's no wonder this was a chart-topper.) 

Online radio sampler highlights CCCXII

Today's standouts:

KEBF (Morro Bay, CA)

• Even The Sparrow-Kelly Hunt (An impressive blend of bluegrass and Classical influences in the instrumentation underscores these confidently emoted lyrics.)

KTRU (Houston, TX)

• Hello From Everywhere-The Drift (This is one instance in which a plodding rhythm isn't a bad thing.  The harmonica gives this deliberately repetitive instrumental riff some spice.  As I listened, I wondered what electronic effects The High Llamas might have added if they'd composed this.)
• Seoul-Amiina (A long, fanciful instrumental fit for an ambient music box.)

WCRI (Block Island, RI)

• Franz Schubert: Allegretto in C minor, D.915 (Alfred Brendel, piano) (Sorrowful and intense.)

WDCE (Richmond, VA)

• Last Train To London-ELO (Despite being ELO's best hit, in my opinion, this track barely grazed the charts in 1980.  The memorable opening hook and siren caught my ears immediately, as did the sing-along chorus when I first heard it.  Rhythmically, the tune is of its time in the best way, and yet, I've hardly ever heard it on the radio.)

WSGE (Dallas, NC)

• Maggie-Cassandra Coleman (Sometimes, friendships just fade with time, not because of anything someone did, but just because adulthood comes with a lot of time-sapping responsibilities.)
• Smokestack-Valerie June (Blistering blues-rock guitar and vocals.)

WZZJ (Pittsburgh, PA)

• Hittin' Twelve-Count Basie (This raucous big band arrangement could segue with Basie's "Jumpin' At The Woodside.") 
• Whispering-Nino Tempo & April Stevens ("Deep Purple" is this duo's go-to track, in my opinion, but this follow-up tune has a similar feel.)

Positive perspective VI

Following up on yesterday's free concert from a distance: I opened up a living room window to hear a couple of the bands performing at Kirkwood's Fall Fest yesterday.  For a moment, based on the semi-faint instrumental strains I heard, I thought a band was starting into one of ELO's best hits, "Can't Get It Out Of My Head."  I turned closer to the window when the vocals came in and recognized that it was actually John Lennon's "Imagine."

When only hearing muffled strains of a concert, it's likely the only time anyone would mistake John Lennon for ELO.  Since last night, however, I've realized that there's more common ground between those two melodies than I realized.

Positive perspective V

I'd forgotten that Fall Fest is today in downtown Kirkwood.  Several musical acts are performing, and I can hear them pretty well from where I live.  Some people might see this as a distraction, but to me, it's a free concert from a distance, and it sounds pretty good.  Time to open a window or step outside for a bit...

Persistent earworm alert CDLVIII

I haven't heard this late '80s hit recently.  Its subject matter has no relevance to my life.  It's a song I don't own and have never gone out of my way to seek out.  Why, then, is Martika's "Toy Soldiers" stuck so firmly in my mind this morning?  I like to know the logical thread between a song and how it got stuck in my mind, but in this case, I just don't know.  

I'll just have to endure the march-like rhythm of its chorus a while longer, I presume.

Community Radio St. Louis highlights XV

Seven Thursday morning standouts:

The Mix-Up

• Righteously-Anna Ash (A bass line this strong usually sets the stage for a solid groove.  Here, it's strong underpinning of confident lyrics such with quiet self-assurance.)
• Red Onion-Richard "Groove" Holmes (Holmes turns in reliably rhythmic jazz organ performances consistently, but every instrument is essential in giving this groove its funk.)

Memphis To Manchester

• Pin A Rose-Kim Richey (Good lyrics acknowledge that people sometimes pursue the wrong people for them--even when they've been warned.)
• Future 40s (String Of Pearls)-Syd Straw (This track has an appealing energy, and there's a nice vocal--including whistling--blend between Michael Stipe and Straw.)

Pop! The Beat Bubble Burst

• There's A Kind Of Hush-The New Vaudeville Band (I was surprised to hear the original version of this on crstl.fm--or anywhere, for that matter.  While this version is enjoyable, I hear why Herman's Hermits had the hit version of it.  Vocally and instrumentally, this rendition has more of a novelty lounge feel to it.  The vocal phrasings on the Herman's Hermits take are more natural and accessible, and the instrumentation has a more overt pop sensibility.)
• Frosty-Albert Collins (Ringing, upbeat blues guitar; that's no surprise for an artist who pulled off the impressive consistency of the "Truckin' With Albert Collins" album.) 
• This Lens-The Morning Line (This February release is one of 2026's stronger power pop tunes.  To me, a song is already halfway there with this jangly guitar style.  "This Lens" cements my approval of it with honest lyrics about how we sometimes hold onto rose-colored impressions of those we like.)

Only in college CXX

Practicing in the music building's double bass room was an especially comforting aspect of my freshman year in college.  College comes with its share of adjustments, but I always thought, "I've been playing the bass since 1983, and I know what I'm doing.  Even when other facets of college seem tentative or uncertain to me, I know I can spend time in this room, practicing pieces that the orchestra will play for the next concert, playing exercises for the next bass lesson, or going back to pieces I've played in previous years."

Not every piece of ground on which you stand in college is solid--but, at that time, that one was.  Other bassists in the orchestra apparently had the same routine.  When I'd call ahead to see if the bass room was in use, I always liked it when another bassist would answer the phone, "Good evening.  Bass room," or "Greetings from the bass room."  Even when it meant I had to postpone my practice time until a later time or a different day, I liked knowing that the other bassists also saw the room for the oasis that it was.