Persistent earworm alert CDXLIII

I'm not sure what triggered Richard Marx's 1987 hit, "Don't Mean Nothing," to lodge itself in my mind tonight.  Soft rock stations played it frequently when it was a hit, but I don't hear it often today.  I'm not sure if I'm responding to the lyrics subconsciously about thinking in bottom line terms and not trusting anyone too easily.  Most likely, I'm just trying to stay alert by thinking of the tune's assertive rhythm.

An appealing directive

Dr. E., who administers botox injections in my vocal cords, told me recently that he'd spoken with a singer from the band The 11th Commandment.  He said that according to that singer, the 11th commandment is, "Thou shalt rock out."

I replied, "Considering that the actual 10 commandments are matters of common decency or common sense, it's refreshing to have one commandment that promotes self-expression."  

Context? CDXLIII

I did a double take after hearing a radio talk show host say recently, "Getting away from the topics of cheerleading and peaches..."

I suppose that's not unusual on a talk show, however.  With so much time to fill, hosts can easily drift from carpet cleaning to increased grocery prices to what it was like attending a baseball game.  Talk show topics are often derived from what's going on in the hosts' lives, after all, so you can't expect all topics to be related. 

A function of age XLIX

Twice in recent days, I've had the unpleasant experience of realizing that two cassettes are in precarious condition.  As the tape in one of them started wobbling recently, I thought, "Why is this happening?  This is a type IV metal bias cassette, which was the highest quality cassette one could buy--in 1991, just a mere 35 years ago."  Then, on a different tape recorder, it took forever to rewind a different cassette just so I could hear one song.  Eventually, I had to rewind the cogs by hand to get back to the song's intro.  I thought in jest, "Why is this tape so sluggish in its rewinding?  This album was just released on cassette in 1993.  Granted, that was 33 years ago, but it's more recent than 1991.  Oh, well.  It'll take about three days to rewind the tape if I ever want to hear this song again, but the sound quality has held up, at least." 

Not surprisingly, no one has accused me of recency bias lately.

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.)