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.

Context? CDLXV

Although middle school students are unpredictable, I was still surprised during seventh grade Speech/Drama class when a student suddenly burst into a verse of "A Penny For Your Thoughts" by Tavares.  It was a decently sung version, too, with a better grasp of the high notes than most people have.

I still wonder what prompted that in the middle of class.  He didn't sing it to anyone in particular but apparently felt inspired to suddenly entertain the class with a hammy but generally on-pitch rendition.

The spirit sometimes moves us to act in odd, unexpected ways, I suppose.

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."