Favorite trios of segues

Using the same principle as in my pairs of segues playlists, here are some of my favorite trios of songs:

  1.  Wake Me Up-The Rosemarys
  2.  Left Foot Down-Downy Mildew
  3.  Hideous Towns-The Sundays
(The first two tracks feature seemingly sunny lyrics.  On "Hideous Towns," Harriet Wheeler sings a negative set of lyrics in a disarmingly sunny voice, making the song segue somehow with "Left Foot Down."  "Reading, Writing & Arithmetic" still holds up,  front to back, as one of the strongest albums of 1990.)
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  4.  Gently Down The Stream-Hem
  5.  We Let The Stars Go-Prefab Sprout
  6.  I Go To Sleep-The Pretenders
("You can search this wide world over and never find meeeeeee," Hem sings to start off an endearing trio of songs that bring to mind waltzing into space, into the night, or off to sleep.)
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  7.  Not So (live)-The Spongetones
  8.  Stranger Things-The Sneetches
  9.  I Think About You-Scott McCarl
(Jangly guitars?  Check.  Accessible lyrics?  Check.  It's power pop time.)
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10.  It's Gonna Rain Again-The Persuasions
11.  Raindrops Keep Fallin' On My Head-B.J. Thomas
12.  Here Comes That Rainy Day Feeling Again-The Fortunes
(So, the theme of this set is one of the more obvious ones.  Not every theme has to be enigmatic.)
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13.  Sleeping Satellite-Tasmin Archer
14.  Fly Away-Paul Graham
15.  Understanding-Everything But The Girl
(Thoughtful lyrics for late-night contemplation.)
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16.  Because It's There-Michael Hedges
17.  Dans La Nuit, La Neige-Popol Vuh
18.  The Ecstasy Of Gold-Ennio Morricone
(Thoughtful instrumentals for late-night meditation.)

Serving the song: Melodramatic '80s vocals

Unlike a lot of '60s folk music or early '70s soft rock, '80s pop music wasn't known for its subtlety.  However, in some cases, a lack of nuance in the vocals actually made a song all the more memorable.  Three of the best examples:

• Gold-Spandau Ballet (The approach that worked on the band's hit, "True," returns with a self-esteem mantra of a chorus in a more urgent tempo.  Just try forgetting the lyrics, "Gold! Gold.  Always believe in your so-oul! You've got the power to know!  You're indestructible!  Always believe it!")
• The Look Of Love-ABC (The call-and-response in "The Look Of Love" is the song's melodramatic peak.  "Who's got the look?" "I don't know the answer to that question!" "Where's the look?" "If I knew, I would tell you!"  It's difficult not to drive a little faster or start making the car sway slightly when the song comes on the radio.)
• Too Young-Jack Wagner ("All I Need" was Wagner's big hit song.  His adult contemporary follow-up, "Too Young," surpasses it in emotional intensity, though, especially in the chorus, "I was too young!  But that's no excuuuuuuuse!")

Remembering Salt Of The Earth and Whizz Records

Although it's extremely convenient to buy music online today, I still miss the atmosphere of record stores.  The atmosphere of music fans selling music to other music fans and finding unexpected treasures can't be replicated online.  While going to college in Columbia, Missouri, I was a regular customer of Salt Of The Earth and Whizz Records, before it moved.  I always liked being one of only a few customers browsing through the stacks at both stores and running across rock and jazz finds I hadn't expected to snag. Once, after playing Grin's "White Lies" on KCOU, I went to Salt Of The Earth and found the Grin LP I'd been seeking.  The owner of the store, Eddie, remarked, "Cool...Someone who knows Nils Lofgren's music."  After tracking my purchase in a notebook, Eddie tallied my total on a calculator, while announcing the sales tax, "And 73 cents for the governor," as usual.  Another day, a Whizz Records clerk said that when he was in college, he would eat only a can of soup some days so he'd have more money for records.  No one can ever have or appreciate too much music, so I think both of those music fans had their priorities in the right order.

Memorable conversations with listeners

When you work on-air at a radio station, you never know who will call the request line.  Here are a few of my favorite exchanges with listeners:

LISTENER: I like that song you just played.  It's a good pop song, and I haven't heard a good pop song since "Winchester Cathedral."
ME: Wow, not since 1966, then...Glad you liked it.
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ME: So, Halloween's coming up.  Have you chosen a costume?
LISTENER:  Yes.  Iambic pentameter.
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LISTENER:  Hi!  You said it's 60 degrees where the station is?
ME: Yes?
LISTENER: Well, I'm calling from Chesterfield, and it's a nice, cool 58 degrees here.
ME: So, it's a pleasant morning, then.
LISTENER: Yep, it's a great day here in Chesterfield.  I'm just driving around Chesterfield, listening to the station, and I'm enjoying the music as I cruise around Chesterfield.
ME:  Well, that's great. Thank you for listening.
LISTENER:  Sure thing!  It's good to be able to hear the music here in Chesterfield.
ME:  I appreciate that.  Thank you for calling.
LISTENER:  You're welcome.  Talk to you guys later, from Chesterfield.

Favorite pairs of segues IV

Yet another list of my favorite song pairings:

   1.  A Beginning Dream-Triste Janero
   2.  Misty Morning Ride-Taj Mahal
(Triste Janero's track is fit for the transition time between starting to wake up and waking up fully.  Taj Mahal's song gets the day off to a promising start, as the instrumental arrangement suggests an optimistic outlook, despite the questions asked in the lyrics.  Both songs feature appropriately sparse vocals.)
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   3.  Learn How To Fall-Paul Simon
   4.  Postcard From A Dream-Poi Dog Pondering
(Falling doesn't have to be dire, at least according to the outlook conveyed in both of these tracks.)
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   5.  Rockin' Roll Baby-The Stylistics
   6.  Working My Way Back To You-The Spinners
(The Stylistics are known mainly for their smash hit ballads, such as "You Are Everything," "You Make Me Feel Brand New," and "Betcha By Golly Wow."  "Rockin' Roll Baby" provides a great driving rhythm, for a change of pace, and the singer's appreciation for his wife and young son shines through in the lyrics.  Rhythmically, The Spinners provide a smooth segue for those sentiments.)
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   7.  When One Door Closes (Another Door Opens Wide)-Carrie Newcomer
(A cheerful reminder of keeping things in perspective from a talented, singer-songwriter with a great alto voice.  Newcomer is one of the most consistent artists from CD to CD I've ever heard; if you like one of her CDs, you'll almost definitely like the others.  She has a knack for finding everyday stories in life and turning them into poignant lyrics.  Standout tracks include "Stones In The River," "Bare To The Bone," "The Love Letter," "Holy As A Day Is Spent," and "There Is A Tree."  Her '80s albums with her previous band, Stone Soup, are also worth tracking down.)
   8.  I Don't Make Promises (I Can't Break)-Shannon Curfman
(An impressive debut of powerful, belting pipes.  Curfman sings with conviction beyond her years; I would never have guessed, if I hadn't known already, that Curfman was a teenager when she recorded this.  Lyrically, this is a refreshingly cynical take on keeping one's expectations realistic.)
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  9.  Frozen Love-Buckingham Nicks
10.  Let's Get The Show On The Road-Michael Stanley Band
(Two sets of lyrics about wondering how to fix broken situations, and two compelling, long arrangements;  "Frozen Love" is by two key Fleetwood Mac members-to-be, and "Let's Get The Show On The Road" is by a band that isn't as acclaimed as it should be.)
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11.  Far More Blue-Dave Brubeck Quartet
12.  Grandfather's Waltz (live)-Stan Getz
(If you enjoy Brubeck's classic, "Take Five," you'll probably enjoy the similar feel of "Far More Blue."  "Grandfather's Waltz" furthers the blue-with-a-tinge-of-optimism mood.  Two of the best representations of early '60s jazz.)
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13.  Do Nothing 'Til You Hear From Me-Nat King Cole Trio
14.  Satin Doll (live at The Blue Note)-Duke Ellington
(One of Cole's smoothest vocals followed by one of Ellington's most elegant, enduring compositions.)
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15.  Silverwells-Natalie MacMaster
16.  When Sonny Gets Blue-Saint Louis Brass
(It's easy to imagine amber waves of grain at sunrise when listening to either of these instrumentals.  MacMaster provides stately fiddling, and Saint Louis Brass builds on the mood she establishes.)
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17.  Peace Train-Cat Stevens
18.  If I Had A Hammer-Trini Lopez
(Idealism with a catchy hook, in either case.)
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19.  Bravado-The Aqua Velvets
20.  Secret Agent Man-Johnny Rivers
(There's a similar goofy appeal to both of these tracks; The Aqua Velvets lay down a sense of urgency instrumentally, and Rivers socks it home vocally.)    

FM dial scan highlights

Here are some notable selections I heard this afternoon while scanning the FM dial:

KDHX 88.1 FM

• Como Vai, Vai Bem?-Joyce (Late '60s Brazilian music from early in Joyce's career; it's a fun prelude to Swing Out Sister's "Don't Give Up On A Good Thing."  Joyce has been one my favorite Brazilian singers since I first played her music on KCOU in the early '90s.  Two standout tracks of hers are "Caymmis" and "Arrebenta (Bursting.)"
• Don't Give Up On A Good Thing-Swing Out Sister (I praised Swing Out Sister in my September 8 post, "Remembering KNJZ."  This is yet another example of Corinne Drewery selling a song convincingly with strong vocals.)
• Summer Rain-Liam Bailey (This is new, although it sounds like it's from a much earlier era; raw vocals mesh well with polished instrumentals to create a throwback blend of cool R&B and rock.)
• Another Day-Jamie Lidell (Kudos to KDHX for another smooth segue; this track is from 2008, although it, like "Summer Rain," sounds like a throwback.  It features strong piano backing and Stevie Wonder-influenced singing.)

WSIE 88.7 FM

• Pop Goes The Weasel-Cory Weeds (A surprising choice for a jazz cover, at over seven minutes, but it works; Weeds turns a well-known tune for kids into a cool, recurring saxophone riff.  Harold Mabern, who released one of this year's strongest jazz CDs, "Right On Time," keeps the tune grounded with appropriate piano underpinnings.  Check out "Right On Time" for a strong cover of the Miles Davis classic, "Seven Steps To Heaven.")

KMJM 100.3 FM 

• September-Earth, Wind & Fire (One of the band's most infectious hits; great vocals and horns all around.  It's unlikely that any band could come close to matching Earth, Wind & Fire's recording, but Seven Handle Circus deserves credit for even attempting it.)

K297BI 107.3 FM, a.k.a. KIHT-HD2

• Benjamin Britten: Simple Symphony (English Chamber Orchestra/Benjamin Britten, conductor) (I've played this piece on the bass and recommend it as a starting point for anyone who wants to learn more about Classical music.  Each movement is memorable and accessible.  The second movement, with its plucked strings, stands out.)

The most somber pop song segue I've ever heard

I will never forget a segue between two somber, moving pop songs that I heard on WMRY 101.1 FM in the Spring of 1983.  "Old And Wise" by The Alan Parsons Project faded into Toto's "I Won't Hold You Back."  Both songs are moving lyrically and, in different respects, give people who are important in one's life their due.  It's not the easiest pair of songs to listen to back to back, but it's a pair of songs that will hit you in the heart, if you're really listening.  Both songs, especially "Old And Wise," have a funereal aspect to them, but if your heart can stand it, they're well worth a listen.

Foreground vocals, background instrumentals

One of the best compliments you can give a group is that its music makes you stop what you're doing and pay attention.  To this day, I find that instrumentals work better than vocals for one's comprehension while reading.  This was the case when studying for tests in school, and it's still the case when trying to concentrate on a book.

For background music, I find that an album of consistent, contemplative instrumentals, such as Liz Story's "Solid Colors" or George Winston's "Autumn," works best.  You're able to appreciate the piano arrangements while comprehending what you're reading. 

Using vocals as your background music, however, challenges you not to pay attention to the lyrics or start singing along.  I've found I've had to read some of the same material at least three times to remember it when I've listened to well-sung vocals.  If I don't stop and actually listen to the music, I'll find myself thinking later, "How much of a tax increase did that report say it was going to be?  When is that road construction going to start, again?  What's tomorrow's predicted high temperature?  I know I just read it, but I've forgotten it."   Such was the case recently when I listened to the "40 Days" CD by The Wailin' Jennys.  Throughout all of their incarnations, The Wailin' Jennys have maintained a great blend of moving harmonies.  Try catching up on the news while listening to such standout tracks as "One Voice" or "Something To Hold Onto."  Your ears will likely tell you to give your full attention to Cara, Nicky, and Ruth's voices.

I went back to the news as I listened to various violin instrumentals by Annbjorg Lien.  I can still remember the energetic melody of "Iriandia" while also retaining that tomorrow's predicted high temperature is 78 degrees, and no rain is expected.

1971: Music that holds up

Yesterday, I listened to "American Top 40" from September 18, 1971 and was struck by how many songs from that week hold up and deserve repeated listening today.  Among them:

• Ain't No Sunshine-Bill Withers (One person's absence leaves a huge hole.  Withers drives the point home effectively.)
• Beginnings-Chicago (From a band that got off to a strong start...What other band has enough quality material in its arsenal to release three double albums in three years?  Chicago had the necessary ingredients for success, starting in 1969--multiple lead singers with distinctively different vocal ranges and songwriting perspectives, a great horn section, and a collective ear for music the public would buy and appreciate.  Lyrically and instrumentally, "Beginnings" hits the perfect midpoint between sensitivity and confidence.)
• If Not For You-Olivia Newton-John (Her first hit single, a solid cover of a Bob Dylan tune; George Harrison's cover of it also holds up well.)
• If You Really Love Me-Stevie Wonder (After hearing Casey Kasem say this was Wonder's 25th chart hit, it was difficult not to feel like an underachiever.  One of many great hits of his during his best decade.  It's not at all surprising that he has been recording for over 50 years.)
• Mercy Mercy Me-Marvin Gaye (Who isn't moved by the plight of animals and humans in a damaged ecology?  At least, the ozone layer is improving, according to recent reports.)
• So Far Away-Carole King (It's no wonder that King's album, "Tapestry," was such a huge success.  Well-written, well-played, and sung with sparkling sincerity.  Her lyrics express a sentiment of longing and distance that stands up in any era.)
• Spanish Harlem-Aretha Franklin (An appealing blend of genres mesh in an effective cover.  The lead and backing vocals are sung with the conviction of a much larger gospel choir.)
• The Story In Your Eyes-The Moody Blues (One of the band's strongest hits; the lyrics say all they need to say in a fast-paced three minutes.)
• Superstar-The Carpenters (Unless you're composed entirely of granite, it has to tug at your heartstrings at least a little when Karen Carpenter sings, "Don't you remember you told me you loved me, baby?"  I've always thought the word, "baby," when referring to anyone, should be used sparingly in lyrics--and in life, for that matter--but, in this case, it works.  You know the story won't end well, but it's hard to stop listening.)
• Sweet City Woman-The Stampeders (This is a more subjective choice.  I have to put it on the list, though, because it uses the banjo in possibly the best way of any pop song.  Besides, what other band can execute a lyric such as, "And she feeds me love and tenderness and macaroons," so convincingly?)
• Take Me Home, Country Roads-John Denver (Longing for home, expressed honestly...Nothing wrong with that...)
• Uncle Albert/Admiral Halsey-Paul and Linda McCartney (Name another pop song that pulls off this many stylistic transitions with ease.)
• Wedding Song-Paul Stookey (A moving guitar arrangement and heartfelt singing that does justice to timeless, beautiful lyrics.)
• Won't Get Fooled Again-The Who (Still one of the strongest album rock tracks about the dangers of not learning from history.)

Refreshingly honest concert banter

One of my favorite, refreshingly honest admissions by an artist takes place on the CD, "Live," by Alison Krauss and Union Station.  After she sings a strong rendition of "Baby, Now That I've Found You," Krauss tells the audience, "We are lookin' forward to playing some music for you tonight...because that's our job."  The way she says that and laughs good-naturedly afterwards endears her to the audience.  Not every performer can pull off being that honest and self-deprecating.

Favorite pairs of segues III

More of my favorite song pairings:

   1.  I Think I'll Call It Morning-Gil Scott-Heron
   2.  Walking Man-James Taylor
(For years, I've played these songs back to back during Autumn.  Both sets of lyrics give convincing reasons to appreciate what's around you.  "Walking Man" is particularly Autumn-centric in its references and came to mind today as I saw the first signs of yellow leaves outside the living room window.)
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  3.  Super Blue-Freddie Hubbard
  4.  Wow!-Barbara Dennerlein
(Dennerlein approaches the organ on "Wow!" in the way Hubbard approaches the trumpet on "Super Blue."  Neither artist is afraid to be as expansive as necessary in keeping a vibe going.)
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  5.  The Soundtrack Of Your Life-A Girl Called Eddy
  6.  The Edge-Michelle Malone
(Both artists show that a melancholy state of mind doesn't make concerned, somewhat downcast lyrics any less appealing.)
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  7.  Drowning In Your Eyes-Ephraim Lewis
  8.  Hackensack-Fountains Of Wayne
(Instrumentally, these tracks have a similar feel.  Interestingly, though, the outlooks conveyed in the lyrics differ; "Drowning In Your Eyes" is hopeful, while "Hackensack" has a more tempered wistfulness.)
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  9.  (Keep Feeling) Fascination-The Human League
10.  Der Kommissar-After The Fire
(Two of the most memorable synthesized pop hits of 1983; if you gravitate toward '80s music, you probably smiled upon reading at least one of those titles just now.) 
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11.  The Littlest Birds-The Be Good Tanyas
12.  If You Want To Sing Out, Sing Out-Cat Stevens
(Two more songs about appreciating what's around you...The Be Good Tanyas encourage us to notice life's sometimes overlooked simple pleasures; Cat Stevens encourages us to acknowledge them.)
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13.  Medley: New York State Of Mind/Return To The City-Mark-Almond
14.  Big Apple-Kerry Hallam
(I've never been to New York, but if the atmosphere these songs conjure up of the city is accurate, maybe it's time to visit.)
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15.  Sleepin' Bee-Johnny Hartman
16.  (They Call It) Stormy Monday-Lou Rawls with Les McCann Ltd.
(Two of the best versions of these standards; the performances resonate with equal measures of class.)
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17.  Breathing Underwater-Metric
18.  Rotten World Blues-Eels
(Because life is like this sometimes...)
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19.  The Lighthouse's Tale-Nickel Creek
20.  Planets-Kate Rusby featuring Sarah Jarosz
(Lost your way?  Experiencing grief?  In an uncertain transitional state?  You're not alone in these respects.  The lighthouse understands; so do a lot of people around you.)

Thinking beyond "Monster Mash"

While you can't go wrong with certain excellent Halloween standbys, such as Vince Guaraldi's "The Great Pumpkin Waltz" or Bach's Toccata and Fugue in D minor, there's a world of just-as-suitable Halloween music that isn't heard as often. Although none of the following songs were recorded or marketed specifically for Halloween, all of them are haunting and compelling enough to be played on October 31:

• Hypnotized-Fleetwood Mac (One of the most offhandedly eerie sets of lyrics about paranormal phenomena ever recorded and one of Bob Welch's strongest contributions to Fleetwood Mac.)
• Labyrinth-Kerri Anderson (One of the two most obscure tracks on this list, Anderson's low, smoky vocals carry the listener through the minefield of the heart.)
• Moon Over Bourbon Street-Sting (An appropriate match of haunting vocals with understated instrumentation.)
• Raven In The Storm-John Gorka (A foreboding set of lyrics, sung with convincing warning.  The double-tracked vocals on "I'm the baby's cry that isn't..." might well linger in your mind long after you've listened.)
• Spooky Room-9353 ("The room in question's located at the top of the stairs..." To hear the rest of the story, seek out this obscure song; it's one of the most fitting indie rock tracks for Halloween.)
• Stratosfear-Tangerine Dream (A fast-paced, spacey instrumental that brings to mind someone pedaling a bicycle as fast as possible to escape something undefined.)
• Watcher Of The Skies-Genesis (An instant dark, stormy night atmosphere, right from the opening Mellotron chords; a key Peter Gabriel-era Genesis track.  In keeping with the spirit of the song, Gabriel used to wear bat wings when the band performed it in concert.)

Cover tunes: Two contrasting approaches

Whenever I hear that an artist has recorded a cover of a song I know well, I'm always curious to know if (s)he has pulled off a version that's faithful to the source or one that takes the song in a different direction, enhancing it.

On the faithful-to-the-original side, Mini Skirt Mob's "Be My Baby" does the original version by The Ronettes justice.  The band clearly knew the song well and didn't need to alter its arrangement substantially.

On the different, enhanced front, Neil Finn recorded a strong live version of "There Is A Light That Never Goes Out" by The Smiths.  By lowering the key and singing with absolute conviction, Finn makes the protagonist's cry for help all the more gripping and convincing.

Two covers, two different approaches...Both are worth a listen.

Favorite pairs of segues II

As I mentioned in my September 3 post, over the years, I've made many mix CDs, culled from my CDs, records, and iTunes purchases, for myself.  More often than not, these have been pairs-of-segues compilations.  Each pair of songs usually has a similarity in style, feel, or lyrics, resulting in a smooth transition; in some cases, however, I've paired songs together because of their deliberate, contrasting outlooks.  Here are more of my favorite pairings:

  1.  Early In The Morning-Peter, Paul & Mary
  2.  Come The Day-The Seekers
(Have you had your rise-and-shine folk music fix today?  If not, there's always tomorrow.)
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  3.  Astrud-Basia
  4.  All Would Envy-Chris Botti with Shawn Colvin
(These two songs segue naturally, thanks to similar vocal stylings and attitudes.)
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  5.  The Orange Autumn Days-Sean Watkins
  6.  One Winter's Night-Strength In Numbers
(Two beautiful, seasonal instrumentals that flow...)
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  7.  Godchild-Miles Davis
  8.  Euphoria-Charlie Ventura
(Two smart, crisp jazz tracks, going all the way back to 1949.)
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  9.  Ren-Hiroshima
10.  Out Of A Movie-Joyce Cooling
(Contemplation time...)
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11.  Blow Away-George Harrison
12.  Thinking Of You-Loggins & Messina
(Proof that lyrics don't have to be esoteric to be effective.)
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13.  Pu'olo Point-Cindy Combs
14.  Nantucket Island-Willie Wright
(Two relaxing ways to enjoy your island of choice--with Hawaiian slack key guitar and laid-back singing that should have garnered more success in the '70s.)
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15.  Just A Job To Do-Genesis
16.  Stephanie Moore-Erin Bode
(Genesis kicks the energy level into the stratosphere on "Just A Job To Do," and Erin Bode builds on the '80s Genesis feel in "Stephanie Moore."  Appropriately, both songs clock in at the same time of 4:47.)
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17.  Positively Lost Me-The Rave-Ups
18.  Train In Vain-The Clash
(Two well-captured lemonade-from-lemons scenarios...The protagonist in each song turns a loss into a memorable hook.)
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19.  Last Date-Floyd Cramer
20.  Bring It On Home To Me-Sam Cooke
(Listen to how "Last Date" ends; then, listen to the beginning of "Bring It On Home To Me."  I played these songs back to back on WEW and was pleased by how well they fit together.)

No faster way to feel like a slacker

Although I like to think that I made strong progress on the double bass from middle school through college, NPR's "From The Top" usually makes me feel otherwise.   I admire the dazzling performances on that program by musicians who are accomplished beyond their years, but a typical biography on "From The Top" sounds like this to me:

"Young John (or Jane) began playing violin in the womb and furthered his or her studies at Juilliard three days after birth.  The soloist composed his or her first concerto at the age of six weeks and first symphony at the relatively advanced age of 10 months."  

When I hear that, I feel as though I've gotten no further than mastering "Chopsticks" on the piano.  I'm sure I have company.

Good intentions, but...

One of the strangest school assemblies I ever attended was in fifth grade.  Although I'm sure the theater troupe's performance was well-intentioned, its closing number was a bit odd.  As I recall, all of the cast members wore a brown tarp during the finale and sang a rather repetitive song.  My recollection of it is somewhat hazy after all these years, but as I recall, it went like this:

"Mud. Mud. Mud, mud, mud, mud, mud, mud, mud, mud, mud."

Around the middle of this avant-garde demo, the dismissal bell rang.  Those of us who had to catch a bus started to fidget, knowing that we'd have to make a mad dash for the parking lot soon or risk being stuck at school.  We stayed put, however, because as any etiquette columnist will tell you, it's impolite to get up and leave before your guests have finished singing about mud.

In memory of Joe Sample

I was saddened to hear of longtime jazz musician Joe Sample's death Friday at 75.  His many decades on piano as a member and composer for The Jazz Crusaders, shortened in the early '70s to The Crusaders, along with his work as a solo artist and session musician, produced countless hours of captivating music.

The first jazz album I ever checked out of the library in grade school was a Crusaders album, "Rhapsody And Blues."  At the time, my knowledge of jazz was fairly limited, but as I looked at the many Crusaders albums available, I thought, "There must be a reason why this band has been around so long and has released so many albums."  "Rhapsody And Blues" turned out to be a rewarding first choice and is still one of my favorite albums.  In addition to his solo albums, which are well worth many listens, some of Joe Sample's most compelling compositions for The Crusaders are:

• Chain Reaction (This is the title track of one of the group's strongest albums.  Each band member is in top form.  The band turned in some of its best fusion on this album.)
• Don't Let It Get You Down (A memorable, infectious, of-its-time hook, carried home by Sample's keyboard, Wilton Felder's tenor sax, and hand claps.)
• Jazz! (The band roars in with a track that lives up to its name and incorporates a "Twilight Zone" riff, as needed.)
• Last Call (One of the strongest tracks on the "Rhapsody And Blues" album; a great workout for piano, sax, and drums.)
• Listen And You'll See (A somewhat more low-key, midtempo groove, in which each lead instrument gets a chance to shine.)
• Put It Where You Want It (One of the band's most well-known melodies; another of-its-time melody in the best possible sense.)
• Rhapsody And Blues (One of the group's most elegant, orchestral compositions, suitable for quiet contemplation or drifting off into slumber.)
• A Search For Soul (I first heard this on a small AM station, KIRL, in the early '80s, and was transfixed.  Sample's piano riff takes its time, draws you in, and keeps you primed for the influx of trombone-saxophone punctuation, courtesy of Wayne Henderson and Wilton Felder.)
• Snowflake (A melody with a suitable title, particularly as a snowfall starts to pick up.)
• Soul Shadows (An overlooked track that pays tribute to several jazz greats, with Bill Withers giving appropriate gravity to the vocals.  Co-composed by Will Jennings.)

Five strong Dylan covers

A wise person once told me she thinks that, as accomplished as Bob Dylan is as a songwriter, most people who cover his songs sing them more effectively than he does.  Five Dylan covers that I think illustrate this best are:

• Percy's Song-Fairport Convention
• Shelter From The Storm-Cassandra Wilson
• Tomorrow Is A Long Time-Nickel Creek
• Tonight I'll Be Staying Here With You-Erin Bode
• You're Gonna Make Me Lonesome When You Go-Shawn Colvin

20 tracks for treadmill walking

As I started to walk on the treadmill more frequently in July, I decided I needed uptempo music to keep exercising from becoming mundane.  The pairs-of-segues playlist I assembled:

  1.  Second Chance-Paul Anka
(This is not the "Put Your Head On My Shoulder" sound of Paul Anka.  This is from his '83 comeback album, "Walk A Fine Line."  If you were listening to KYKY around that time, you probably heard this song.)
  2.  One Evening-Feist
(One of 2005's most memorable, low-key grooves; it still holds up.)
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  3.  Almost-Sarah Harmer
  4.  Crime-Real Estate
(One of the best hooks of 2014.)
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  5.  Gotta Get Up From Here-Ellie Lawson
  6.  Just A Ride-Jem
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  7.  Morning Star-Kool & The Gang
  8.  Skyscrapers-Sunlightsquare
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  9.  Always There-Ronnie Laws
10.  Wind Sorceress-Incognito
(One of this year's best smooth jazz tracks; in some respects, it sounds like an updated version of "Always There.")
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11.  Crazy-The Manhattans
(This song deserves more airplay than it received in the '80s...Universal sentiments in a song that's great for driving.)
12.  Midnight Key-The Neville Brothers
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13.  Only For A Moment-The Sneetches
(From a power pop band that deserves wider acclaim.  The Sneetches recorded a truckload of songs in the '80s and '90s that are infectious and radio-friendly.)
14.  Footprints-Squeeze
(An appealing way to transition from Summer to Fall...)
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15.  Echo Box-David Poe
16.  1901-Phoenix
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17.  Silent City-Matthew Sweet
18.  We Don't Talk Anymore-Cliff Richard
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19.  My Favorite Mistake-Sheryl Crow
20.  Blue Sky-Patty Griffin
(Two songs with more moderate tempos that segue well.  "Blue Sky" deserved to be as much of a hit as "My Favorite Mistake.") 

Sorrowful music for a sorrowful day

It's extremely appropriate that many memorial services for the victims of the September 11, 2001 atrocities feature a performance or recording of Samuel Barber's Adagio For Strings.  Few pieces convey such a sense of heartrending grief from the first note. 

I will never forget playing Adagio For Strings with the University Philharmonic during my first year of college.  The piece was added to a concert that first semester in memory of a respected cello instructor who had just died.  During the concert, I caught a glimpse of one of the cellists who'd had her as a teacher.  I still remember the tears streaming down her face as she played; the pain of that image is just as moving to me now as it was 25 years ago.

Another piece of music that is sadly appropriate for acknowledging grief is "Darkness" by The Police.  It, too, conveys sadness and sorrow from the first note.  The song's structure is unusual, as it has no true chorus.  That unconventional arrangement makes the song all the more gripping, giving the listener a strong sense of the singer's despair.  "I wish I never woke up this morning," as Sting sings it, is likely to stay with you for a while after you've heard it.

Five inspiring Classical movements

Here, in my opinion, are five of the most inspiring Classical movements:

• Beethoven: Symphony No. 7 in A major, Op. 92, first movement, Poco sostenuto-Vivace. (It's no wonder this movement accompanied Snoopy delivering eggs in "It's The Easter Beagle, Charlie Brown." It evokes a powerful, seize-the-day attitude.)
• Debussy: Nocturnes, second movement, "Festivals" (An intense workout for strings, winds, and brass.  Power and bombast, as they ought to be conveyed.)
• Schuman: New England Triptych, third movement, "Chester" (A majestic movement suitable for Independence Day.)
• Respighi: Pines Of Rome, fourth movement, Pines Of The Appian Way (Fit accompaniment for marching into battle when your side's victory is imminent.)
• Brahms: Serenade No. 1 in D, Op. 11, fifth movement, Scherzo. (A movement appropriate for welcoming Spring with joyous brass and winds.)

14 tuneful covers

One of the best albums of cover tunes I've ever heard is "Songs Of The Open Road" by The Kennedys.  Their blend of jangling guitars and endearing harmonies serves every track well; everything comes together especially well on "Gypsy Rose," "Jasmine," and "Late Night Grande Hotel."  The Kennedys cover a wide range of sources, from Mahalia Jackson to Bob Dylan, with equal ease.

The photos on the CD insert and back cover also illustrate one aspect of a strong, healthy relationship--being comfortable posing with your spouse while wearing touristy hats.  Isn't that what we all desire?

Remembering KNJZ

On this day in 1995, KNJZ 100.3 FM switched from smooth jazz/R&B to a classic R&B format.  I had an enjoyable time on the air there from June 1994 to September 1995.  Looking back, I especially miss filling in as the host of "Lights Out, St. Louis."  To his credit, Ted, the program director, allowed the announcers to choose the music for that show and play listeners' requests.

Two sample hours of my programming from "Lights Out, St. Louis:"

Sunday, August 13, 1995
 1.  I've Got You Under My Skin-Renee Rosnes Trio with string orchestra
(Elegance with a capital E...This is one of my favorite instrumentals from an outstanding, classy CD, "Without Words.")
 2.  These Foolish Things-Aaron Neville (*)
(Thank you to the listener who requested this version, as it set up my next track seamlessly.)
 3.  Spring Can Really Hang You Up The Most-Ellis Marsalis
(A thoughtful, contemplative piano instrumental take on a frequently covered tune.)
 4.  Chase The Clouds Away-Chuck Mangione
 5.  A Nightingale Sang In Berkeley Square-The Manhattan Transfer
 6.  Stockholm-Avenue Blue (*)
 7.  Hands-DeZona (*)
 8.  Trust-Boney James
(This title track from the CD, with its winding saxophone, is a natural for the smooth jazz format.)
 9.  Long Ago And Far Away-Earl Klugh
(A pleasant guitar instrumental version of a James Taylor song.  From one of Klugh's best albums, "Finger Paintings.")
10.  Each And Every One-Everything But The Girl
(One of many moving, well-produced tracks from EBTG.  Tracey Thorn's voice is in fine form, as usual.  Other recommended tracks by EBTG: "One Place," "Driving," and the acoustic version of "Downtown Train," played to excellent effect during the Ted-meets-Tracy scene in "How I Met Your Mother"'s finale.)
11.  My Cherie Amour-Marion Meadows
12.  Love Shoulda Brought You Home-Nick Colionne (*)

Sunday, September 3, 1995
 1.  Letter Perfect (live)-Al Jarreau
(Great scatting and spirit captured in concert.)
 2.  Lovely Day-Bill Withers
(It's surprising that this wasn't a bigger hit.  The lyrics are universal, and the groove is comfortable.)
 3.  Lonely Weekend-The Yellowjackets (*)
 4.  Look What We Started Now-George Duke (*)
 5.  Easy Goin' Evening-Stevie Wonder
(One of about 12,000 great tracks on Wonder's stellar album, "Songs In The Key Of Life."  A thoughtful harmonica groove that's perfect for late in the evening.)
 6.  Blues Bird-Larry Carlton
 7.  Heart For Hire-Swing Out Sister
(Best known for the catchy '80s hit, "Breakout," there's a lot to recommend by this group, including "Let The Stars Shine," "Butterfly," and the Taj Calder instrumental mix of "Now You're Not Here.")
 8.  Strollin'-Gene Harris Quartet
 9.  Chris-Pat Metheny (*)
10.  The Rose-Urban Knights with Grover Washington, Jr. & Ramsey Lewis
11.  What A Wonderful World-Lionel Hampton

(*) indicates a listener's request.

- to +

Until two and a half years ago, WXPN in Philadelphia allowed listeners to submit a Select-A-Set, i.e. three favorite songs tied together by a theme, during its weekday morning shifts.  Of the four Select-A-Sets I submitted, this is the one I was most pleased to hear on the air.  The theme I came up with was "shifting from a negative attitude to a positive one."  The three songs I requested were:

• Looking Forward-John Gorka
• Weight Of The World-GrooveLily
• This Side-Nickel Creek

It's always life-affirming to hear lyrics that show a person's transition from despair and gloominess to happiness and optimism.

Pavlov's musicians

Today, it would be called product placement.  At each rehearsal, my middle and high school orchestra director would place a can of Crush soda, usually orange, on top of the piano before playing an A on the piano and announcing that it was time to tune our instruments.  To this day, whenever I hear a prominent A in any piece, I feel compelled to drink an orange Crush.  Pavlov would be proud, I suspect.

Where will I hear this next? At the car wash?

While record shopping about four years ago, I did a double take as I flipped through the 45s.  I thought, "Surely, that label doesn't say what I thought it said."  Sure enough, as I flipped back to it, there it was--"Bach Minuet In G" by Willie Nelson.  It's the flip side of Nelson's "Living In The Promiseland" and was such an unlikely find that I bought it.  Nelson's take on it is impressive, especially as it becomes progressively faster.

Shortly after this, I went to a Chinese restaurant I'd visited many times.  To my surprise, as I opened the door, the new doorbell went off--playing a substantial portion of Bach's "Minuet In G!"  Within a week, the restaurant switched back to its previous two-tone doorbell.  Although the simpler doorbell was probably less intrusive for the customers and staff, I was slightly disappointed.

You just never know where you'll find a surprisingly good cover.

Why commercial radio playlists are predictable

Dialogue with a listener, recalled by a DJ and former program director with whom I worked:

LISTENER: Why do so many commercial radio stations play most of the same songs over and over?
DJ/PD: Well, why do you listen to the radio?
LISTENER: To hear my favorite songs.
DJ/PD: There you go.

Favorite pairs of segues

Over the years, I've made many mix CDs, culled from my CDs, records, and iTunes purchases, for myself.  More often than not, these have been pairs-of-segues compilations.  Each pair of songs usually has a similarity in style, feel, or lyrics, resulting in a smooth transition; in some cases, however, I've paired songs together because of their deliberate, contrasting outlooks.  Some of my favorite pairings:
 
 1.  There's Nothing Like This-Omar
 2.  Midnight And You-Stanley Turrentine
(If I ever get to program a Quiet Storm format, these songs will have to follow each other.)
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 3.  Just Once More-Dressy Bessy
 4.  The Sympathy Song-The Greenberry Woods
(Catchy indie rock..."The Sympathy Song" picks up where "Just Once More" leaves off.)
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 5.  Algo Contigo-Maria Creuza
 6.  So Many Stars-Sergio Mendes & Brasil '66
(A compatible, late-night Brazilian pairing...)
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 7.  Solsbury Hill-Peter Gabriel
 8.  Keep On Going-Fleetwood Mac
(These tracks provide an interesting contrast between moving on and staying on the same path.  "Keep On Going" comes from "Mystery To Me," the strongest Bob Welch-era Fleetwood Mac album, and has an unusual feel for a Fleetwood Mac track; Christine McVie sings Bob Welch's lyrics, and the orchestral accompaniment gives the proceedings added gravity.)
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 9.  Hazy Jane II-Nick Drake
10.  Seasons-Neil Halstead
(It still puzzles me that Drake's thoughtful, introspective music wasn't known more widely during his lifetime.  Halstead conjures up Drake's spirit convincingly on "Seasons.")
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11.  Bells & Loaves & Letters-The Kennedys
12.  New Day-Mike Levy
(Two inspiring ways to approach a new day--or a new life...Maura Kennedy's pleasant voice brims with optimism, as usual, and Mike Levy's more controlled delivery reminds the listener that a bright future might be just around the corner.)
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13.  Rotunda-McCoy Tyner
14.  Blues For Anne-Straight Ahead
(Captivating jazz with minimalist vocals in just the right places...)
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15.  Bad Time-The Jayhawks
16.  Say Oh Say-Courtney Jaye
(A strong cover of a '70s Grand Funk Railroad tune followed by a song from last year that sounds like a '70s throwback...As in tracks 3 and 4, these are two effective point-counterpoint sets of lyrics between genders.)
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17.  Far Celestial Shore-Mavis Staples
18.  Castles In The Air-Don McLean
(A positive rendering of the afterlife followed by a rendering of one's imperfect life on Earth; the same opening chords unite these tracks.)
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19.  Out In The Park Til Dark-Rohn Lawrence
20.  Quiet Afternoon-Stanley Clarke
(Setting the scene for a relaxing day at the park...)
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Shopping in style?

Five years ago this month, a well-known grocery store here moved across the street into a newly built, expanded location.  To go along with the store's new upscale image--expensive wine and cheese offerings, subdued, elegant lighting, and overly fancy uniforms for its workers--the piped-in shopping accompaniment for the first year was all lounge music.  While there's nothing wrong with perusing the produce while Frank Sinatra's "Saturday Night (Is The Loneliest Night Of The Week)" plays, I couldn't help but think, "Isn't this overkill?  This is the same frozen lasagna they offered across the street."  The customers must have agreed, because one year later, the music was changed to the likes of Blondie's "Rapture" and Steely Dan's "Do It Again."

Singing the praises of WEW

Very rarely do commercial radio announcers get to program their own music.  Fortunately, in 1996, thanks to Maria, a very open-minded program director, I was allowed to choose the music I played on WEW 770 AM.  At the time, WEW had a big band/jazz/oldies format.  (The station still plays three hours of this type of music on weekdays but now airs mostly international programming.)  I was allowed to choose any appropriate track in the station's library and bring in my own selections from home.

As much as I enjoyed setting the musical agenda for the hours I was on the air, I kept in mind that a large percentage of listeners was at least three times my age and expected to hear certain key artists, such as Nat King Cole, Frank Sinatra, Tony Bennett, and Peggy Lee.  My approach to programming was to blend familiar artists with less familiar ones.  At a commercial station, the objective is to get ratings by playing the music the majority of the audience wants to hear.  When done skillfully, however, there's a way to introduce listeners to unfamiliar music; as long as you give listeners a reasonable number of familiar hooks, they will be more primed to keep the radio on for unfamiliar music that's compatible with their favorite songs.

Here, for instance, is my playlist for the 6-10 a.m. shift on Saturday, August 17, 1996:
 1.  Since I Fell For You-Vince Guaraldi Trio
 2.  How High The Moon-Erroll Garner
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 3.  On The Boulevard-The Manhattan Transfer
 4.  Something's Gotta Give-Buddy Greco
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 5.  Fascinating Rhythm-Antonio Carlos Jobim
 6.  The Girl From Ipanema-Stan Getz & Astrud Gilberto
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 7.  I Can't Begin To Tell You-Bing Crosby
 8.  A Sunday Kind Of Love-Claude Thornhill and his orchestra with Fran Warren
 9.  Love Won't Let Me Wait-Nancy Wilson
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10.  (Last Night) I Didn't Get To Sleep At All-The 5th Dimension
11.  Till There Was You-The Beatles
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12.  September Morn-Neil Diamond
13.  Mission Bell-Fleetwood Mac
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14.  Sleepy Lagoon-Harry James and his orchestra
15.  Wish You Were Here-Michael Feinstein
16.  When You Wish Upon A Star-The Lettermen
17.  Willow Weep For Me-Helen Merrill
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18.  Love Walked In-Charlie Watts Quintet with Bernard Fowler
19.  Just One Of Those Things-Dionne Warwick
20.  Penthouse Serenade-Bobby Short
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21.  Sentimental Journey-Tony Bennett
22.  Straighten Up And Fly Right-Natalie Cole
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23.  I Get A Kick Out Of You-Mary Martin
24.  From Here To Eternity-Frank Sinatra
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25.  These Foolish Things-Les Brown
26.  More Than You Know-Toni Tennille
27.  In The Still Of The Night-Johnny Mathis
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28.  Do Nothin' Till You Hear From Me-Duke Ellington Orchestra
29.  Sail Along Silvery Moon-Billy Vaughn and his orchestra
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30.  It's Only A Paper Moon-Nat King Cole
31.  At The Jazz Band Ball-Louis Armstrong with Bing Crosby
32.  Bicycle Bounce-Erskine Hawkins
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33.  Coquette-John Pizzarelli
34.  Lost And Found-Michele Shaheen
35.  Cab Driver-The Mills Brothers
36.  The Best Things In Life Are Free-Jo Stafford
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37.  Baby, You've Got What It Takes-Brook Benton & Dinah Washington
38.  Fools Rush In-Keely Smith
39.  Someone To Watch Over Me-Linda Ronstadt & The Nelson Riddle Orchestra
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40.  It's A Good Day-Peggy Lee
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41.  It's Been A Long, Long Time-Keely Smith
42.  Hobo's Blues-Paul Simon with Stephane Grappelli
43.  Summertime Dream-Gordon Lightfoot
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44.  It's Alright With Me-Harry Connick, Jr.
45.  Everybody's Boppin'-Lambert, Hendricks & Ross
46.  Flying Home-Doc Severinsen & The Tonight Show Band
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47.  Strike Up The Band-Rosemary Clooney
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48.  Canadian Sunset-Hugo Winterhalter and his orchestra
49.  How Little We Know-Joey DeFrancesco
50.  Love Is Here To Stay-Dinah Shore
51.  Twilight Time-The Platters
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52.  Sleepytime Gal-Glen Gray
53.  Jamaica Farewell-Harry Belafonte
54.  Stranger On The Shore-Richard Clayderman
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55.  Mr. Lucky-Henry Mancini
56.  Love's Theme-Love Unlimited Orchestra
57. (CLOSING THEME) Closing Time-Tom Waits
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--- indicates a short break for a slogan and time check or a longer break for back announcing the music.

Neil Diamond's "September Morn" is a well-known soft rock hit, for example, while Fleetwood Mac's "Mission Bell" isn't.  When those songs are paired together, however, listeners can hear their lyrical compatibility.  That's the philosophy I used when programming, and I think it served the audience well.

I was especially pleased that Maria and her successor, Rich, endorsed my choice of "Closing Time" for the last song of each of my air shifts.  It's a compelling throwback of an instrumental and made a classy lead-in to the top-of-the-hour news. 

For anyone reading this whom I've never met, welcome to my blog.  My name is Drew, and music is one of my main reasons for living.  As a DJ, programmer, and bassist, I've had the honor of playing and programming music from Bach and Duke Ellington to Digable Planets and Suzanne Vega.  For the indefinite future, I plan to blog here about music, in different ways.  Some days, I might post a playlist from a radio show and comment on it.  Other days, I'll comment on a favorite artist or album.  Other posts might be about a memory in which music is critical to the story.  In any case, music and/or broadcasting will be the common threads in all of my posts.  Thank you for reading.  We'll see where the muse takes me tomorrow.