Happy Halloween and 41st birthday, KCOU!

In honor of Halloween and KCOU's 41st birthday today, I offer this KCOU memory:

One night, upon entering the station, I was surprised to find all the lights turned off.  As I closed the door behind me, I heard a sinister voice say, "I know you."  I froze for a moment but soon realized that the Grim Reaper hadn't come for me.  Someone had left a Henry Rollins spoken word CD playing in the lounge.

To this day, I still love the timing of that incident and think it would work as the final scene before the credits in a sitcom.

Conjuring up the spirit of a graveyard

Two songs conjure up the spirit of a graveyard especially well to me.  "In Memory Of Elizabeth Reed" by The Allman Brothers Band has always been one of the strongest album rock instrumentals, in my opinion.  Inspired by an actual tombstone, the organ and guitar-based number establishes its haunting vibe right from the first note and never relinquishes it.  Not just any band can pull off such a feat for seven minutes.

Vocally, Hem's "Walking Past The Graveyard, Not Breathing" pulls off the impressive trick of sounding jaunty yet contemplative.  Thoughtful lyrics acknowledge the losses we have faced and will face in life while giving thanks for still having the breath to tell those we've lost how much we miss them.

Both songs fit the Halloween bill well, with depth to spare.

An "American Top 40" memory from 1979

When I was nine, and a friend of mine was eight, we had the following conversation while listening to "American Top 40:"

ME: Casey Kasem just said Kermit The Frog's "Rainbow Connection" is number 40 this week.
FRIEND:  Oh, good...So, that means it's the most popular song.
ME: Well, no.  It's actually the 40th most popular song.
FRIEND:  But it's called "American Top 40," isn't it?
ME:  Yes.
FRIEND: So, it's the most popular song.
ME: No, it's at number 40, so it's the 40th most popular song.  The most popular song of the week is the song at number one.
FRIEND:  Well, I don't know about that.

An anthem for the budding existentialist

"Dust In The Wind" by Kansas has always been one of my favorite songs.  In addition to using the violin so movingly, it has one of the best downcast sets of lyrics in any rock song.  Looking back, though, it amuses me that I latched onto the song at age seven.  While singing along with one's Snoopy radio at that age isn't unheard of, it's fairly unusual when you're that young to gravitate toward lyrics such as, "I close my eyes--only for a moment, and the moment's gone..." and "All your money won't another minute buy."  Also, although we didn't sing it, I thought it was funny that our sixth grade camp songbook contained a lot of folk songs--and, incongruously, "Dust In The Wind."  As thoughtful as the song is, I've never thought of it as campfire sing-along material.

Blind vs. conventional auditions

I have mixed feelings about blind auditions.  Although not knowing who is playing forces judges to evaluate a performance without preconceived notions of a player's ability clouding their judgment, there's something bizarre and artificial about walking into a sectioned-off cubicle to play Schubert excerpts.

I've only had two blind auditions, both for the same ensemble, when I was a teenager.  At the preliminary audition, I stood in a hallway while the orchestra director and section coach sat around the corner.  It was jarring to hear a disembodied voice say, "Just relax," before I began and equally disconcerting to hear the same voice say, "Thank you," from a distance.

Before I stepped onstage behind a partition to begin my final audition, the ensemble manager asked me if I had any questions.  I said, "Yes.  In this first excerpt, there are eight consecutive bars of rests.  Should I stand here silently for 32 seconds when those measures come up?  Should I skip them?  Should I start in a different place?  What should I do?"  She went to ask the judges.  When she came back, she told me the judges said I could start the excerpt after those eight bars.  To her credit, she also admitted that she had accidentally told them my name.  It might not have been a coincidence that I ended up with the same chair placement I had one year earlier.

Concerts and rehearsals take place in front of people, so playing before judges who can see you is a more realistic approximation of what it's like to perform.  Overall, though, I think blind auditions, when they're conducted properly, are fairer to the performers.

Favorite pairs of segues VIII

More pairs of songs that I think segue well:

   1.  I Feel Free-Cream
(Rest in peace, Jack Bruce.  Thank you to Peter Brown and you for crafting one of Cream's best, strong-right-from-the-opening-note songs.)
   2.  Help Me-Joni Mitchell
(One of Mitchell's best hit singles; the lyrics flow naturally with those in "I Feel Free.")
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   3.  The Island Groove-Sandy Owen
   4.  Treat Streat-Vince Guaraldi
(Behold the power of a well-played piano.)
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   5.  Tempted-Squeeze
   6.  Better After All-Jonatha Brooke
(The perils of being on either side of a rejection, conveyed in two similar melodies.)
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   7.  Machine Gun-The Commodores
   8.  Outa-Space-Billy Preston
(Two fun, of-their-time early '70s instrumentals.)
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   9.  Mr. Sunshine-Lori McKenna
 10.  Storm-Big Wheel
(Weather conditions conveyed lyrically as metaphors for people; what's not to like?)
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 11.  Warm Weather-Larry Coryell & Brian Keane
 12.  Almost April-Michael Manring
(Weather conditions conveyed instrumentally to evoke the feel of particular seasons; what's not to like?)
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 13.  Theme From "Lord Of The Rings"-Aragorn Ballroom Orchestra
 14.  Theme From "Flaregun"-Marshall Crenshaw
(Cool fast-paced instrumentals from distinctly different eras.)
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 15.  Train Ride In G-Mason Williams
 16.  The Train-Bobby McFerrin
(It's Self-Explanatory Theme Day at the ballpark...)
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 17.  Harold T. Wilkins, Or How To Wait For A Very Long Time-Fanfarlo
 18.  Rooftop-Lady Lamb The Beekeeper
(Similar era, similar feel...)
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 19.  The More That I'm Around You-Kelly Willis
 20.  Talk Of The Town-The Pretenders
(I'm surprised I've never heard these songs back to back, at least on a noncommercial station.)

It used to be a novelty...

...when a radio station started playing continuous Christmas music before the day after Thanksgiving.  In 1983, KCFM 97.1 FM ran newspaper ads promoting its 25 days of Christmas music, running December 1-25.  At the time, it was highly unusual for a radio station to attempt this.  Since at least 2001, in order to boost ratings, it has been common for stations on the cusp of a format change to play continuous Christmas music.  In some instances, it even starts before Halloween.  Admittedly, Nat King Cole's version of "The Christmas Song" is stirring, and Bing Crosby's take on "White Christmas" has held up through the decades; still, Christmas music prior to Halloween is rushing things.

Days Of Sunshine Passed? On The Threshold Of A Storm?

I've always liked that my five-day Ambient weather forecast display screen summarizes the current day's forecast in easy-to-digest terms, such as "clearing" or "strong storms."  My favorite description of the weather, though, showed up yesterday.  The screen read, "times of clouds and sun."  That's poetic and lyrical--and sounds like the title of a Moody Blues album.

FM dial scan highlights V

Highlights from this morning's listening session:

KDHX 88.1 FM

• Anyone For Tennis-Stackridge (A quirky, old-time string arrangement with vocals that could have come from the vaudeville era; an interesting novelty number from 1972.)
• Cut It Out-Ray Paul (Constructive criticism set to a cool power pop beat.)

WSIE 88.7 FM

• Will Phoods-Ken Gioffre (Smart, driving saxophone that does Phil Woods proud.)
• Don't Go To Strangers-Tierney Sutton (From Sutton's intriguing 2013 tribute to Joni Mitchell, "After Blue."  Her version of "All I Want" is another highlight from the CD.)
• At La Carousel-Billy Taylor (This track's lineup of heavy hitters includes Billy Taylor on piano, Stanley Turrentine on saxophone, and Christian McBride on bass.  The result was bound to be excellent, by default.)

KCLC 89.1 FM 

• Good Day-Luce (I liked this song immediately when I was introduced to it years ago; the singer realizes how much good there is in the world around him, and the horns underscore the song's cloud nine feel effectively.)

WFUN 95.5 FM

• Love T.K.O.-Teddy Pendergrass (One of his best songs; Blondie performed an equally compelling version of it on "Saturday Night Live" in the early '80s.)

Time to pick up the cello again

I've always thought that the cello has the most pleasant sound of the stringed orchestral instruments.  Ironically, it was my rapid progress on it in sixth grade that convinced my orchestra director that I should switch to the bass.  He said I'd be doing him a favor, as there weren't any other bassists waiting in the wings for the high school orchestra.  I hesitated, reasoning, "The cello has such a great sound.  Besides, do I really want to lug a bass around?"  Although playing the bass for 10 years paid off in a number of ways--jazz band experience, good orchestra chair placements, getting accepted into several ensembles, rapid advancement, due, in part, to less competition than I would have had as a cellist or violinist, and a music scholarship--I still think sometimes about how my life might have been different if I'd stayed with the cello.  One piece that makes me wish I'd continued with it is Mark Summer's "Julie-O."  When I hear Summer's performance or The Turtle Island String Quartet's version of it, I think, "It's worth relearning to play the cello just so I can play this piece."  It's a striking, memorable, bowed and pizzicato melody that's challenging to play but well worth the effort.  It's no wonder that Summer smiles while he plays his own piece.

An ideal ringtone

I'm surprised that I've never heard anyone use Joy Of Cooking's "Hush" as a ringtone.  The opening five-note piano lick is nearly impossible to forget once you've heard it, and the lyrics, "Hush now...Somebody callin' me," are an ideal alert for phone calls.  "Hush" was a smart choice for the opening track of the band's self-titled 1970 album.  "Too Late, But Not Forgotten" and the piano interlude, "Dancing Couple," are other highlights.

How my radio career began

My radio career began in 1982.  At least, that's how I like to remember it.  On
February 22, 1982, I taped my first radio show for a station which couldn't be
tuned in on any radio dial.  CATZ (later KOOL) 105 FM was that station, and it existed only
on cassettes and on the notebook paper where I recorded my playlists.  I decided that an
adult contemporary format was the most listenable genre at that time and suited my voice
best, so I assembled a soft rock music library, comprised of 45s and LPs I owned, and supplemented temporarily at times with records my parents and brother owned and others
that I checked out from various county library branches.  While I enjoyed the prospect of
hearing myself "on the air," I was even more pleased to be able to set the musical agenda
of a station, even though its audience consisted of family members and a few friends who
would only hear bits of about every 50th show I recorded.

My playlist that first night included Olivia Newton-John's "Physical," "Working For The
Weekend" by Loverboy, "Lady (You Bring Me Up)" by The Commodores, the latest from
The Police, "Spirits In The Material World," and "Let's Groove" by Earth, Wind & Fire.
While taking a break from recording the music, I turned on WMRY and heard a CBS
Radio Mystery Theater broadcast in progress.  I impulsively decided that would give
my station some depth, so I waited until an appropriate pause in the story, announced
on tape, "Now, let's check in and see what's happening on Mystery Theater...," and
started recording WMRY.  I knew I'd have to leave soon for my weekly religion class,
so when one of the characters said, "I...know that...," I ad-libbed, "We'll see how well
she knows that tomorrow when Mystery Theater returns to CATZ 105 FM..." and ended
that night's show.

I didn't use Mystery Theater again on my station, but my attention to detail on other
fronts grew all-consuming.  I was determined to have flawless segues from one song
to the next with no dead air or stop button clicks.  This required playing the beginning
of each record at least a few times before taping, memorizing the position of the label
when the song began and starting to record ever so slightly before that point.  Also,
because I taped my shows in the early days by placing a recorder next to a stereo
speaker, I had to tiptoe back and forth across the room when recording and try my best
to refrain from breathing.  Every once in a while, one of my family members would
have the temerity to open the door just to tell me something inconsequential, such as,
"Dinner's ready," or start the washer or dryer just outside the playroom where I
recorded my shows.  I'd try to communicate with my eyes that I was recording
and that all other facets of everyday living had to cease immediately.
This regimen prepared me well for being on the air for real in the '90s; before I became a DJ at KCOU in Columbia, Missouri, I thought, "I don't know exactly what all the technical requirements are for putting a show together there yet, but they can't possibly involve memorizing where a record starts, recording a segue 23 times, if necessary, until it's flawless, tiptoeing across the room after each song intro and tiptoeing back near the end of the song, all the while trying to ward off even the slightest hint of background noise.")

In late '82, I decided that my station could use some gravity, in addition to
the news and music, so I added a prerecorded radio science show to the mix,
even though my interest in science was lukewarm, at best. I noticed that the
Headquarters County Library stocked a lot of "Man And Molecules"
tapes, so I started checking them out by the armload.  One of the benefits of
making up all the rules for a station that no one could hear was that I could
record at 7:00 at night and say that my show was intended for 1:00 the next
afternoon.  Thus, I pretended that "Man And Molecules" aired at 1:00 each
weekday afternoon.  This resulted in some incongruous segues.  (i.e. "Be sure to tune
in tomorrow afternoon at one when Doctor Beckton Dynamic discusses vision and
Vitamin A.  That's tomorrow at one on Man And Molecules.  Now, Kenny Loggins starts
off another 30 minutes of continuous music with his latest, 'Heart To Heart,' on CATZ
105 FM.")

The incongruity between prerecorded content and music surfaced again in
the Spring of '84, when I checked out a boxed set of "The Shadow" programs
and segued from the news to "The Shadow" to music sweeps of Carole King,
America, DeBarge, and Chicago.  In all likelihood, my station was likely the only
one in history to go from a '40s radio show outro, "Crime does not pay...The
Shadow knows...," into "I Feel The Earth Move."

In the Summer of '83, my parents bought me a stereo with a microphone,
which meant the end of tiptoeing back and forth, and allowed me to talk more
comfortably over the music.  (At some point in 1985, the stereo stopped
receiving a signal from the mic, which resulted in my taping all the sets of music
in advance, placing a boom box near one speaker to record, and going back
to tiptoeing.)

That same Summer, I decided that the portfolio of playlists I compiled should
have some sponsors.  After all, I played commercials on my station, so
why not have the official station portfolio reflect that?  Schnucks sold Dr. Pepper
stickers, so I bought some of those and affixed them to some of the playlists.
It occurred to me, however, that some of my imaginary listeners might prefer diet
sodas, even though, at the time, I thought such sodas tasted like flavored gutter
water.  (The heftier me of adulthood no longer thinks this way.)  Thus, one Summer morning, I walked from my house to the grocery store in 95-degree heat, just to photocopy a Diet Coke ad from Broadcasting Magazine to use in my portfolio. After all, a dedicated
program director, even when working for a station that only he can hear, has to know
when to broaden the bases demographically.

WMRY, with its jazz/pop leanings, continued to influence my programming
decisions, in part, so in the Fall of '83, I added a Sunday morning jazz
program to my station.  At the worldly ages of 12 and 13, I introduced selections
from Grover Washington, Jr., Chuck Mangione, and Spyro Gyra.
My influence there was WMRY's consummate evening jazz show host and
record collector, Leo Chears.  It astounded me, even then, that a commercial station
would be open-minded enough to allow someone to choose music entirely
from his own record collection--which, I read then, was around
25,000 albums--and play it on the air.  It was radio the way radio should
be done--a knowledgeable announcer sharing the most tasteful selections
from his expansive music collection with the audience.  Amazingly, WMRY
employed Leo Chears and publicly supported the jazz format for over 10 years.
It helped considerably that the owners were the Missionary Oblates at The
Shrine Of Our Lady Of The Snows in Belleville, Illinois rather than a huge
corporate conglomerate. 

One habit I maintained throughout my station's run: I would sometimes check
out and even buy songs whose appeal to me was fair, at best.  After all, I
reasoned, a good program director plays music that he knows will appeal to
his audience, even when said audience doesn't exist and he's indifferent to
the song.  Case in point: "C'est La Vie" by Robbie Nevil, which I learned, to
my surprise, peaked at #2 on the Billboard charts in 1986.  Not
much depth there, lyrically..."C'est La Vie, C'est La Vie...That's just the way
it goes--sometimes..."  It was a hit, though, and to be true to my format
and my imagined audience, it deserved the airtime.

From 1986 until my departure for college in 1989, I recorded radio shows
only sporadically.  My desire to shape a station's--or at least, my show's--
musical agenda only intensified, though, and prepared me for some of the most
fun I had in college, at KCOU.  There's something inherently satisfying about discovering music that not everyone has heard, sharing it with the listening audience, possibly
increasing a band's reach and sales, and doing it while surrounded by some of the
quirkiest, most interesting people of like minds.  My passion for broadcasting first
manifested itself 32 years ago, and I suspect it will surface again in a format I
can't yet determine.  My advice to anyone who has ever wanted to expand
his or her base of musical knowledge and share it with the world: Find your
station.  Get on the air however you can--now, even if it's an online station that has only three listeners.  You will get to hear a plethora of compelling music, from all sorts of genres, you might never have heard  otherwise.  Stay with it; it will give you ever-increasing confidence to communicate with an audience, as well as a million stories to tell. If nothing else, you'll get to play some of your favorite music--without having to tiptoe back and forth.

In memory of Tim Hauser

In memory of Tim Hauser, founder of The Manhattan Transfer, who passed away at 72 on Thursday, here are some of the most stellar Manhattan Transfer selections:

• Birdland (A great match of lyrics with Joe Zawinul's Weather Report classic.)
• Caroling, Caroling (One of the best vocal renditions of this carol; four voices pack the same punch as a full choir in this case.)
• Four Brothers (One of the group's strongest efforts; an impressive take on a Woody Herman tune, with each of the four members taking the part of a band member brother.)
• Java Jive (A rare tune that works in four-part harmony as well as it works for a solo vocalist or instrumentalist.)
• A Nightingale Sang In Berkeley Square (One of the group's slower, more contemplative covers.)
• The Offbeat Of Avenues (A good early '90s track showing off the group's range.)
• On The Boulevard (It's no wonder that the group chose this as its leadoff track on the "Mecca For Moderns" album; it's a strong uptempo number that starts the album off on a brisk, positive note.)
• Shaker Song (An interesting marriage of lyrics with one of Spyro Gyra's best-known jazz melodies.)
• Sing Joy Spring (Beautiful harmony on this track; Ron McCroby's whistled version of it is also worth seeking out.)
• That's The Way It Goes (Please see my October 17 post about songs that say all they need to say in less than three minutes.)
• Trickle Trickle (An excellent team effort with a bounce.)

Kudos to Tim Hauser for having the vision to put together a vocal ensemble that has radiated class, excellence, and professionalism throughout its entire career.

Favorite pairs of segues VII

More pairs of songs that, to my ears, segue well...

   1.  Angel Mine-Cowboy Junkies
   2.  123-The Mayflies USA
(Two good tracks about staying together and seeing past someone's imperfections.  Margo Timmins sings quietly and effectively on "Angel Mine."  Other recommended Cowboy Junkies tracks: "Sweet Jane" and "To Live Is To Fly.")
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   3.  Love Throw A Line-Patty Griffin
   4.  One Way Out-The Allman Brothers Band
(A similar rhythm unites these tracks across a 32-year time span.)
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   5.  Manteca-Dizzy Gillespie
   6.  El Nino-Michael Brecker Quartet
(Jazz that demands the listener's attention, through sheer power of performance.)
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   7.  Time Will Reveal-DeBarge
   8.  Slow Jam-Midnight Star
(Two of the better, from-the-heart slow jams of the '80s.)
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   9.  Shameless ("Live From 6A: Late Night With Conan O'Brien" version)-Ani DiFranco
 10.  Beauty And The Mess-Nickel Creek
(Two captivating performances that spit fire.  "Shameless" has a strong set of lyrics about hiding out of sight; "Beauty And The Mess" is about hiding in plain sight.)
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 11.  Save It For Later-The English Beat
 12.  Streets Of Your Town-Ivy
(A stylistically similar feel carried through from the '80s to the '00s.)
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 13.  Couldn't I Just Tell You-Todd Rundgren
 14.  Both Of Us (Bound To Lose)-Stephen Stills
(Sometimes, it's best to have your say.  It might not elicit the result you want, but at least, you'll have spoken your mind.)
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 15.  Volunteers-Jefferson Airplane
 16.  My Country-Midnight Oil
(For times when the general political climate isn't to your liking.)
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 17.  Slack-Cruiserweight
 18.  Murder (Or A Heart Attack)-Old 97s
(Two cases in which attacking a song with full conviction works.)
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 19.  Train Of Glory-Jonathan Edwards
 20.  Lonesome Road Blues-Etta Baker
(Two ways of conveying the same general, hopeful vibe, vocally and instrumentally.)

Saying it all in less than three minutes

Here are five of the best songs whose lyrics, in my opinion, say all they need to say in less than three minutes:

• Depending On Gravity-Pierce Pettis (This is possibly the best set of love-as-a-tightrope lyrics I've heard, as they're brave, concise, and honest.  i.e. "I could fall for you, depending on gravity.")
• She Had To Fly-The Family Tree (Despite her leaving, the singer hopes for his beloved's return, inviting her to "come on home."  From the easy, sunny groove established, you get the feeling that she'll probably return.)
• She May Call You Up Tonight-The Left Banke (The Left Banke is best known for its strong hit single, "Walk Away Renee," but deserves just as much acclaim for this great blend of piano and vocal harmonies.)
• That's The Way It Goes-The Manhattan Transfer (Four stellar voices in top form; seek out the group's concert performance of it with The Boston Pops, conducted by John Williams.  That version is even more captivating than the studio version, which is saying a lot.)
• Where Is The Love-Roberta Flack & Donny Hathaway (If you don't pay attention to the lyrics, the song's breezy arrangement might make you think this is one of the happiest tales ever told; it isn't, by any means, and that makes the dichotomy of the song's arrangement and its lyrics interesting.)

FM dial scan highlights IV

Standout selections from an FM dial scan yesterday afternoon:

KDHX 88.1 FM

• Only You (live)-The Nth Power (Smooth, jazzy R&B sung from the heart.  Glad to hear them perform live at KDHX...)

KCLC 89.1 FM

• I Want The World To Stop-Belle and Sebastian (One of the more energetic songs, with a memorable chorus, about stepping off the merry-go-round of life.)

WFUN 95.5 FM

• Reasons-Earth, Wind & Fire (One of Philip Bailey's highlights as a soaring vocalist with considerable range.)

KIHT 96.3 FM

• Head Over Heels-The Go-Gos (Although some of the band's hits have worn thin, "Head Over Heels" and "Turn To You" are its two best, well-crafted power pop tracks.  Sidebar: While working at a sports data-gathering company, I intercepted a women's soccer roster that was submitted with four bogus names; the last four players on the list, who had been assigned jersey numbers, were actually four of the five members of The Go-Gos.  Fortunately, I spotted this and prevented those names from being published.  Who would think that kind of musical knowledge would come in handy in such an unlikely setting?)

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

• John Corigliano: Lullaby For Natalie (London Symphony Orchestra/Leonard Slatkin, conductor; Anne Akiko Meyers, violin) (A beautiful, moving showcase for violin.)

Overlooking the obvious

I'd like to believe that my memory is generally good and that I usually remember to take care of my most important obligations.  One night when I was in high school, however, I drove off to jazz band rehearsal, making a detour at the library first.  I'd been so determined to return several books on time that I'd been reminding myself of it all day.  After turning the books in, I headed to school.  When I got there, I opened the trunk of the car--and realized that I'd forgotten to bring my upright bass.  Anyone who has ever seen upright basses knows that they're bulky and nearly impossible to forget; somehow, that night, I was so focused on returning library books that I neglected to put the bass in the car.  Luckily, the jazz band director laughed it off and said it was fine for me to go home and get the bass.  His one piece of advice?  "Maybe, leave a note on it next time."

No fear? Well, not exactly...

To prompt his orchestra to play with confidence, my college orchestra director would often say to his musicians, "No fear!"  Although the intention behind that direction is noble, that admonition isn't that far removed from telling someone who is going through a tough time to "get over it."  In both cases, you feel however you feel.  You can't just flip a switch to stop fearing something or get over it.  Besides, as a perceptive violist observed, "There is fear in this (rehearsal) room!"

Bridging the generation gap?

During late-night sessions when we'd finalize the latest edition of the high school newspaper, it was common for someone to play a mix tape.  The music usually remained in the background without incident until one night.  This was our newspaper adviser's reaction upon hearing a Pink Floyd song with profanity:

MR. H.: What kind of music are we listening to here?  Why doesn't anyone play some music by Billy Joel?  I like Billy Joel!  Or Air Supply!  Why doesn't anyone play music by Air Supply?  What I'm hearing now is some of the worst music I've ever heard in my life!

(Right on cue, Pink Floyd segued into Led Zeppelin's "Black Dog.")

MR. H. (after hearing the opening lyrics:) Good grief-a-Gertrude, I sound better than that!  I'd better start recording.

I wonder if anyone else has ever had that verbatim reaction when listening to Led Zeppelin.  Then again, Mr. H. once commented on a Talking Heads album review by quoting lyrics from "(Nothing But) Flowers:"

MR. H.:  "This was a discount store; now, it's turned into a cornfield.  Don't leave me stranded here; I can't get used to this lifestyle."  These lyrics make no sense.
 
Fortunately, other tracks by Steppenwolf, Toto, and Chris De Burgh went over better with Mr. H.  I don't remember, though, if anyone ever played Billy Joel or Air Supply during future late-nights.

Cautious Disclaimer Central

Seen on the sheet music of a piece I played with my high school jazz band: "For best results, a rehearsal prior to playing in concert is advisable."

Favorite pairs of segues VI

Another helping of song pairings that I believe segue well:

   1.  "My So-Called Life" Theme
   2.  In A Daydream-The Freddy Jones Band
(The live-for-today attitude of the theme from a TV show that should have lasted more than one season flows right into the live-for-today attitude of a band that conveys an equally sunny side.)
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   3.  Moanin'-Lambert, Hendricks & Ross
   4.  Walking Tall-Lyle Lovett
(So, there's really no hope.  On second thought, maybe there is.)
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   5.  Friendly Pressure-Maysa
   6.  Back To Life-Soul II Soul featuring Caron Wheeler
(Two tracks about not getting too relaxed...)
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   7.  Rose Room-Ray Anthony Orchestra
   8.  More Than Likely-Wes Montgomery with Joe Williams
(Strike up the big band--or the combo with the rare pairing of this renowned guitarist and vocalist.)
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   9.  Shimmer-Fuel
 10.  Wishing Well-Free
(Typically, when I make a mix CD for myself, there's at least one track that rocks harder than any of the others.  These are two such tracks.)
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 11.  Life Is Just Like That-Nikki Meets The Hibachi
 12.  Charmed Life-The Orange Peels
(So, life doesn't always go the way we wish it would.  If nothing else, this might inspire you to work through--or at least acknowledge--your anguish in song.)
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 13.  Doorbell-Sam Pacetti
 14.  Joyful Joyful-Brooks Williams
(Two upbeat instrumentals from guitarists whose music deserves more notice.  It doesn't hurt that Williams derives "Joyful Joyful" from solid source material--Beethoven's "Ode To Joy.")
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 15.  Sunrise Over Haleakala-Merl Saunders with Jerry Garcia
 16.  Morning With The Roses-Richard Dworsky
(Thoughtful, greet-the-day instrumentals.)
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 17.  Bombshell-Sierra Hull
 18.  Jefferson-Sara Watkins
(Impressive mandolin playing from an artist with a bright future, followed by impressive fiddling from one of Nickel Creek's standout members.)
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 19.  Intro-Zachary Breaux
 20.  Home Song-Courtney Pine
("Home Song" strikes me as a great saxophone sign-off piece for a radio or TV station concluding its broadcast day.  "Intro" works as a prelude to it.) 

Two favorite songs about nostalgia

With my high school class reunion on the horizon, I'm thinking today about two favorite, nostalgic sets of lyrics.  Chicago's "Old Days" appeals to me with its optimistic melody and specific imagery.  (i.e.  "Summer nights and streetcars take me back to a world gone away.")  It also does an effective job in showing how the past feels like it was so long ago and yet so recent.  Al Stewart's "Time Passages," in contrast, conveys a wistful sense of loss in its lyrics.  (i.e.  "There's something back there that you left behind.")  At the same time, however, it's comforting to hear Stewart sing, "I know you're in there; you're just out of sight."  It brings to mind George Eliot's quote, "Our friends are never dead to us, until we have forgotten them."  It's a great way to think and live, actually--honoring the memory of the dearly departed by keeping the good memories alive and reminding ourselves that whatever positive attributes they brought to our lives can still be recalled and practiced today.

FM dial scan highlights III

Some ear-catching selections I heard while scanning the FM dial this afternoon:

KDHX 88.1 FM

• This Will Be Our Year-The Zombies (Suitable lyrics for New Year's Eve, especially if you've had a turbulent year; as the chorus says, "This will be our year, took a long time to come."  The vocals, piano, and trumpet all point to a more promising year.  Check out the "Zombie Heaven" box set for mono and stereo mixes of this track, as it's one of many worthwhile Zombies power pop numbers.  Casual listeners tend to think of "Tell Her No," "She's Not There," and "Time Of The Season" in connection with the group, but "This Will Be Our Year," "Brief Candles," "Care Of Cell 44," "Changes," and "If It Don't Work Out" are just as (or even more) noteworthy.)
• That's When I'll Stop Loving You-Belita Woods (A pleasant R&B vocal with a backing seemingly inspired by Sly & The Family Stone's "Hot Fun In The Summertime."  This version of it deserves to be better known.)

WSIE 88.7 FM

• Most Like Lee-Lee Morgan (Strong, driving trumpet bop, backed by a powerful ensemble, from 1965.  Another recommended powerful Morgan track: "A Lot Of Livin' To Do.")

KCLC 89.1 FM

• Tree By The River-Iron & Wine (A reliable source with a keen ear for introspective music furthered my interest in this group.  "Tree By The River" is a bit more produced than some of Iron & Wine's other work, but that doesn't detract from Sam Beam's thoughtful lyrics about appreciating a moment in retrospect.)

WFUN 95.5 FM

• Forget Me Nots-Patrice Rushen (A staple cut of early '80s KMJM, and understandably so; the rhythm and the voice have held up over the decades.  Also, check out the instrumental version of "Number One" to be transported back to 1982.)

KLOU 103.3 FM  

• Misunderstanding-Genesis (The second of two songs on this list with a backing track reminiscent of Sly & The Family Stone's "Hot Fun In The Summertime," albeit slowed down. This is one of the more endearing, enduring Phil Collins-era Genesis hits.)

Feeling down?

When you have the blues, there's a great way to gain some hope and perspective.  Listen to Larry Long's version of Pete Seeger's "Well May The World Go."  In addition to doing Seeger proud by conveying the right amount of optimism and conviction, the track contains excerpts from an interview Long conducted with Seeger.  Pay particular attention to the section in which Seeger responds to those who claim there's no hope for the human race.  His "Did you expect..." questions and the conclusion he reaches are moments of beauty.  The world lost a great, idealistic realist in Seeger on January 27.

Favorite pairs of segues V

More pairs of songs that I think segue well:

   1.  Ray Ray Rain-Bettie Serveert
   2.  All Come True-World Party
(The '90s meet the '80s in a compatible pairing.)
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   3.  Good King Bad-George Benson
(If "Saturday Night Live" had debuted in the morning, "Good King Bad" would have made a good opening theme.  Benson has been recording for 50 years, and his guitar instrumentals are just as commendable as his vocal standouts, "This Masquerade," "On Broadway," and "Turn Your Love Around.")
   4.  Miss U-Victor Wooten featuring The Lee Boys
("Miss U" builds on the energy level established in "Good King Bad.")
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   5.  Alberta Bound-Gordon Lightfoot
   6.  Big Wheel-Jim Croce
(Songs for hittin' the road...)
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   7.  But It's Alright-J.J. Jackson
   8.  Part Of Me-Tedeschi Trucks Band
("Part Of Me" builds on the strong riff that "But It's Alright" lays down and would also segue well with Sam & Dave's "Soul Man."  Susan Tedeschi's "Little By Little" also deserves a listen for its strong resemblance to Bonnie Raitt's most powerful vocals.)
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   9.  I've Just Seen A Face-John Pizzarelli
 10.  Sonny's Step-Alan Broadbent Trio
(Pizzarelli's brisk Beatles cover segues naturally with "Sonny's Step"'s jazzy piano.)
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 11.  After The Fall-Incognito
 12.  Tell Me The Truth-J. Thompson
(Smooth-to-the-point-of-slick soft jazz instrumentals.)
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 13.  Space Oddity (Live)-Natalie Merchant
 14.  Wise Up-Aimee Mann
(I never would have guessed that Merchant would cover a David Bowie tune, but it suits her voice well; Mann's direct request is an appropriately somber follow-up.)
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 15.  Jimmy Mack-Laura Nyro and Labelle
 16.  Born To Hum-Erin McKeown
(Nyro and Labelle pull off a strong cover tune; McKeown picks up its bounce and skips with it.)
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 17.  Stolen Car-Beth Orton
 18.  Tongue Behind My Teeth-The Staves
(Both tracks turn turbulent situations into memorable hooks.)
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 19.  Yesterday Girl-The Smithereens
 20.  That Voice Again-Peter Gabriel
(Two of the stronger uptempo '80s tracks.  Gabriel's "So" album includes so many standouts that are still played today--"In Your Eyes," "Big Time," "Sledgehammer," and "Red Rain."  Consequently, radio stations often overlook "That Voice Again," even though, lyrically and instrumentally, it deserves to be in that group of standouts.)

Then, after graduating from college...

...and having to leave KCOU and go back home to St. Louis, I considered taking an on-air job with an oldies radio station.  I considered it largely because it was in semi-relative proximity to Columbia, Missouri, the town I'd just left.  Granted, the town to which I would have moved wasn't all that close to Columbia, but it was closer to it than St. Louis was.  However, after visiting the town and hearing the station, I thought, "No. Just...no."  The moment that sealed my decision for me was hearing a DJ on that station back announce a song this way: "Levi Stubbs and his Four Tops!  'Ain't No Woman Like The One I've Got!'  Huh!  Gonna trade her in!"  Again, just...no.  As I went back to St. Louis, I thought about how it was ill-advised to consider a job based on its proximity to another town.  After all, I wouldn't go into a store and think, "I should be able to pay for this 20-dollar item with a one-dollar bill.  This one-dollar bill is next to the 20-dollar bill in my wallet.  Therefore, it has the same purchasing power." 

KCOU memories: Concerts, countdowns, and a TV show parody

Expanding on my last two days of posts, here are five other memories I have of KCOU 88.1 FM:

• Big Star, a respected power pop band that elicited positive press but relatively modest record sales during its initial run in the '70s, reunited after not playing together for 18 years, and played at KCOU's Springfest in 1993.  Jon Auer and Ken Stringfellow of The Posies joined original members Alex Chilton and Jody Stephens for a great finale to Springfest.  "Back Of A Car" and "I Am The Cosmos" were among the highlights captured on the CD, "Columbia: Live At Missouri University."  Thanks to Jeff and Mike for making this happen.  How many other college students have sparked a band of Big Star's stature to get back together?
• Big Wheel performed "Down The Line" at Springfest in '93; the song's chorus, "Somewhere, down the line, we'll all meet and listen to the songs we used to listen to," describes what I'd like to believe a KCOU reunion--or, really, any other enjoyable reunion would be like.
• The Starkweathers turned in a strong in-studio performance in December 1992, capping it off with a cool romp through "Deck The Halls."  Spirited fiddling, complete with "Take it on down!" shouts, made it a memorable performance.
• I wonder how "Columbia 65201," DJ Matt's inspiration as a radio parody of "Beverly Hills 90210," would have panned out if it had seen the light of day.  I'd been cast as the father in the parody and was one of the writers.  After the first writing session, however, the project was scrapped.  Although "...90210" was never one of my favorite shows, "...65201" would have been an interesting change of pace for the station if it had aired.
• The annual top 88.1 songs countdown, as voted on by listeners and DJs, always made for interesting listening each November.  Because KCOU played such a vast array of music, and voters were asked to simply list eight songs, I always suspected that it was possible for a song with just two or three votes to make it into the lower rungs of the countdown.  Nevertheless, I was pleased that two of my choices, "Give It Up" by Hothouse Flowers and XTC's "King For A Day," made it into the 1992 countdown.  Per tradition, just one-tenth of the song that finished at 88.1 was played each year.  This was a shame in '92, as the song at 88.1 was a good Beatles cover, Overwhelming Colorfast's version of "She Said She Said."

Thank you to the KCOU staffers, the artists and bands who made the station what it was, and everyone who listened to and liked what KCOU did from 1991 to 1993.  Thank you for making those two years so enjoyable.  I'm thankful that I got to know so many interesting people and that we gave air time to so many artists who needed and deserved it.  As KCOU has shown for many years, a good noncommercial radio station is a valuable resource for any community.

KCOU memories: The people

Continuing the theme of yesterday's post, what was KCOU 88.1 FM like during the two years I worked there?  Among other things, KCOU during that time was...

...Amy, going cheerfully against the general alternative/indie/modern rock grain of the station by playing New Christy Minstrels and Spanky & Our Gang on the air.

...Jenni and me trying to figure out how to pronounce a Spanish song title in pre-Google days.  

...Laura, whose first impression of KCOU was that "it seemed like my kind of place.  It reminded me of home.  It was dirty, dank, and covered in posters."

...Liz, who recalled the necessity of having to become Spiderman and climb through a window when the station was locked and no one was there to let you in.

...Mike reading excerpts from the phone book's introductory pages on-air in the guise of a sportscast.  After reading the section about avoiding phone installation and delivery charges by doing the work yourself, he remarked, "Sounds like the phone company is trying to slough off some of their work on you."

...Neil and Jon having the following exchange on a night when the featured artist was a band called God:

NEIL: Here's a question.  If we're having God's Favorite Band (at our annual Springfest concert,) does that mean it's the favorite band of tonight's featured artist?
JON: And God's coming, too, right before Easter; it's sort of like one of those promises that Isaiah spoke about.

...Paris, reacting to the lyrics of Jim Croce's "One Less Set Of Footsteps" as I played it on-air, "This guy is not into giving of himself."

...Paul recording station breakers to be played between songs, such as, "That's right, folks.  KCOU plays your kinda music.  No matter what kind of music you like, we probably play it!  In fact, we probably play music that you've never even heard before!  But, we trust that you'll like it--because down at KCOU, we play every kinda music.  And we're not gonna stop until you like it all! Wah, ha, ha, ha, ha, ha, ha, ha!"

...at least five DJs responding in unison, after being warned by a former chief announcer/DJ about the importance of taking an FCC test seriously, "This will go on your permanent record!"

You don't get that type of atmosphere just anywhere, which is why I enjoyed being at KCOU so much.  More memories to follow tomorrow...

KCOU memories: The music

On this day, 23 years ago, I completed my demo tape for KCOU 88.1 FM.  To me, the idea of getting to be on the air, choosing all of the music from a multitude of formats, in two-to-four-hour increments, was extremely enticing.  I'd been recording my own practice radio shows on tape since age 11, so the chance to be on an actual station that listeners could hear was not one I took lightly.  I was slated to be on the air from 5 to 6 a.m., and I'd planned portions of my set lists weeks in advance.  Although there weren't likely a lot of listeners tuning into a low-power campus station at that hour, I was determined to play a wide variety of music, ranging from B.B. King to The Sneetches, and to treat the whole experience as if I'd been entrusted with state secrets.

The hour went well, although listening to it now, I sounded more subdued on the air than I would become.  I made sure there were CDs in both players and records cued up on both turntables at all times, so there would be no dead air between songs, and I made my segues as smooth as possible. "Quarter-turn counterclockwise," I kept reminding myself.  To cue up a record, I had to remember to listen to the record in cue off the air, find the first note, stop the turntable, and turn the record back a quarter-turn to give the record player time to get up to speed before the song started.

Mostly, I let the music do the talking.  Miles Davis, who had died less than a week earlier, was the station's featured artist that week, so I made sure to play a track from him.  I also made sure that I grouped my segues together in ways that made musical sense.  Just as you wouldn't program "Frosty The Snowman" next to Black Sabbath's "War Pigs," I made sure not to play any two songs back to back that were jarring to the ear.  I also made sure, after I finished my shift, to note on current albums, as required, which tracks I'd played.

At the end of the hour, I retrieved my tape and left it for Dan, the chief announcer.  Within a few days, he told me, "You're ready to go on the air."  Thus began an enjoyable two years at KCOU.  From 1991 to 1993, I played some of the best jazz, indie rock, album rock, blues, R&B, reggae, power pop, international, dance, metal, country, and folk music that I've ever heard and got to know some of the most interesting people.  I had the pleasure of being the station's jazz director for most of my time there, reviewing current jazz CDs, placing them in format, and giving feedback on new releases to record labels.  Although I enjoyed hosting and programming "Jazz Odyssey" and the oldies show, "Kruzin' Music," regularly, and filling in on "Blues 101," "Retro 88," and "Country Brunch," I enjoyed the general on-air shifts just as much.  During those shifts, I could program a jazz track next to a blues track, segue it with an R&B track, back that up with a local band track, and pair that track with an album rock selection.  When you have a blank playlist to fill for two to four hours, you draw on every bit of musical knowledge you have, and I was always up for the challenge.

Musically, what did KCOU sound like during those years?  Some sample sets from my playlists:

   1.  I'm Falling Down-The Waking Hours
   2.  Wanted-The Cranberries
   3.  Joy-The Sundays
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   4.  You Move Me Like A Slug-The Boorays
   5.  Swampabilly Hop-The Aqua Velvets
   6.  Pebblefytzer Rag-Mason Williams
   7.  Bourgeois Boogie-Ornette Coleman
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   8.  Harbour Shark-The Wailing Souls
   9.  Blue Yes-Chucho Valdes
 10.  Early Morning Blues-Nat King Cole
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 11.  Arise And Shine-Vanessa Rubin
 12. & 13.  Carpe Diem-Maurice Jarre, mixed with The Adventures Of Tom Bombadil-J.R.R. Tolkien
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 14.  Narrow Your Eyes-They Might Be Giants
 15.  I Don't Wanna Know About It-Uncle Green
 16.  Love's Got A Line On You-Scandal
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 17.  Off The Top-Jimmy Smith
 18.  Shakill's Warrior-David Murray
 19.  Samba De Be-Bop-Phil Woods Quintet
 20.  All Of A Sudden-Rebecca Coupe Franks
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 21.  Orange Blossom Special-Johnny Cash
 22.  Wheels-Flying Burrito Brothers
 23.  Wayfaring Stranger-Emmylou Harris
 24.  Wrong Side Of Memphis-Trisha Yearwood
 25.  Bye Bye Blackbird-Rickie Lee Jones

Musically, KCOU provided something for just about every listener.  In a separate post, I'll elaborate on some of the people that made KCOU what it was during those years.  Stay tuned.

As the sky darkens and the storm clouds gather...

...I'm reminded of my favorite rain-related instrumental, Lee Oskar's "Before The Rain."  Oskar was the harmonica player from War and released this gem of a track in 1978.  For more than eight minutes, Oskar settles into an unhurried, cross-categorical groove that never feels too long.  One testament to the song's appeal is that its last 30 seconds consist entirely of recorded rain, and it doesn't come across as a cliche.  I've only heard it on the radio once, years ago, and it surprises me that jazz stations don't program it regularly.  Oskar's smooth jazz instrumental, "More Than Words Can Say," is another laid-back, overlooked gem.

FM dial scan highlights II

Memorable selections I heard while scanning the FM dial this afternoon:

KDHX 88.1 FM

• Waterfall-Jimmy Cliff  (An appealing, almost bubblegum track not far removed from Gary Puckett & The Union Gap's sensibilities.  As Cliff is one of reggae's most acclaimed artists, there's no shortage of his songs to recommend--"Sitting In Limbo," "Many Rivers To Cross," "I Want To Know," "Money Won't Save You," "You Can Get It If You Really Want...")

WSIE 88.7 FM

• Our Delight-Regina Carter (Swingin' violin for steppin' out on the town.  I'd recommend any of Carter's CDs, but "Paganini: After A Dream" is especially elegant; her version of "Cinema Paradiso" is worth the cost alone.)

KCLC 89.1 FM

• Happy-Pharrell Williams (Seven months after its release, "Happy" can still make you want to "clap along if you feel like that's what you want to do."  For times when nothing can spoil your good mood...)

WFUN 95.5 FM

• Mister Magic-Grover Washington, Jr. (One of the artist's most enduring performances.  A recurring guitar lick and saxophone chorus, sustained for a good long while.)

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

• John Barnes Chance: Variations On A Korean Folk Song (Illinois State University Wind Symphony/Stephen Steele, conductor) (An interesting piece that's anthemic yet experimental.)