Favorite music of 2015

2015, much like 2014, produced a good selection of releases across the genres.  My top 10 favorite songs of the year--at this moment--are:

  10.  Hylife-Marcus Miller
(A bass-anchored stew of saxophone, keyboards, and vocal punctuation that simmers.)
    9.  (No Place I'd) Rather Be-Kam Franklin
(As a rule, I don't usually seek out dance music.  This release got my attention, though.  Franklin's powerful voice is perfect for this genre, so here's wishing her a bright future.)
    8.  Unstoppable-Lianne La Havas
(Impressively jazzy, hypnotic vocals on this midtempo track from July.  Also recommended: "Midnight" and "Ghosts.")
    7.  Folhas Secas-Doug Beavers
(A sublime, elegant number for trombone and strings; it's one of the most beautiful instrumentals released this year.)
    6.  Waltz For Judy-Bob James & Nathan East
(More elegance--for piano, bass, and strings this time.  It's from one of this year's stronger jazz releases, "The New Cool."  Also recommended: "How Deep Is The Ocean," "Seattle Sunrise," "House Of Blue," and the title track.)
    5.  Crossing Muddy Waters-Sara Watkins, Sarah Jarosz & Aoife O'Donovan
(One of the most impressive triple threats in the singer-songwriter genre today; all three of them are strong artists individually, so it was a pleasure to hear them host "A Prairie Home Companion" earlier this year.  This track is a moving, straightforward story of one woman's hard life.)
    4.  Return To The Moon-EL VY
(Released in August, the song's cryptic lyrics are set to a backing track that's difficult to forget, especially in the chorus.  It contains one of 2015's catchiest hooks.) 
    3.  Brokedown Palace-Watkins Family Hour
(Sara Watkins and Fiona Apple are in excellent voice, as usual, on this impressive cover of a Grateful Dead tune.  Also recommended: "Early Morning Rain.")
    2.  Jackrabbit-San Fermin
(Charlene Kaye's strong lead vocals grab the listener immediately in this energetic title track from the band's indie release.  Adventurous instrumentation, particularly in the horn and string arrangements, dominates the song, as well.)
    1.  Home-The Boxcar Lilies
(The most beautiful, heartfelt harmonizing of the year, in my opinion.  This song has followed a trajectory in my rankings similar to my favorite song of 2005, Thea Gilmore's cover of Jimmy Cliff's "Sitting In Limbo."  The first time I heard each song, I thought, "That's well-sung from the heart."  I kept going back to each of these songs and elevating their rankings as the end of the year drew closer, until, finally, when the time came for me to compile my list, I thought, "Not only is this tune well-sung from the heart, it's my favorite song of the year."  Karla Bonoff's original version is moving, as well.)

Other noteworthy tracks from this year, listed alphabetically:

• Cardbord Castles-Dengue Fever (An infectious blend of swirling surf-style/spy movie theme guitar and catchy vocals; a 2015 standout track that sustains a compelling grove for five minutes.  Incidentally, that's not a typo; that's how "Cardbord" is spelled in the song title.)
• Circles-The Amazing (Airy vocals and guitar, with an appealing solo guitar playoff for the last minute and 40 seconds; a good, chill 2015 track.)
• Don't Dream It's Over-Sylvan Esso/Flock Of Dimes (A fine cover of the Crowded House tune, originally played on avclub.com, as it might sound if sung in outer space.  Its availability as a 45 is a nice retro touch.)
• Ghost Ship-Blur (Thanks to a strong synergy between the vocals and laid back instrumentation, this track holds up well on repeated listens.  Does the instrumental backing remind anyone else of George Benson's "Breezin'?")
• Little Steps-Beatrice Allunni & Marc Peillon (A good, contemplative piano/bass instrumental.)
• Morning Sun-Melody Gardot (Sung with Gardot's customary old soul charm.)
• Morning World-Teen Daze (A track that falls somewhere between indie and mainstream pop; its floating-in-space instrumentation meshes perfectly with its vocals.)
• The New Ground-Kristin Andreassen (A singer-songwriter highlight of 2015; pleasant vocals in a well-crafted song.)
• A Potter's Song-Maria Schneider Orchestra featuring Gary Versace (A strong track from Schneider's 2015 release, "The Thompson Fields."  Versace's accordion captures the essence of a compelling Toots Thielemans or Stevie Wonder harmonica line.)
• Real June-Seoul (It's good to know that two stations at 88.1 FM, in Columbia and St. Louis, have played one of 2015's most tuneful, seemingly Beach Fossils-inspired melodies.)
• Take A Little Time-Kathryn Calder (Calder's airy, well-produced vocals shine against an '80s-sounding synthesized arrangement in this fun track.  Watch the video, as well, to see Calder make it the through the rain and outrun various pencil-sketched creatures.)
• Understand The Problem-Quiet Company (A promising, well-sung, easy-to-relate-to track from the band's "Transgressor" CD.  Of all the songs on this list, this one rocks the hardest.)
• Up Above My Head-Rhiannon Giddens (A powerfully sung gospel track that would segue well with Patty Griffin's "Move Up.")
• Warrior-Laura Marling (Marling channels Suzanne Vega in this haunting tune.)
• Wherever Is Your Heart-Brandi Carlile (The theme of this song, "Wherever is your heart, I call home," has been paraphrased thousands of times in virtually every genre of music.  It still feels fresh in this track.)

Apples and oranges: Determining song rankings

As I prepare to rank my favorite songs of 2015 in tomorrow's post, I identify with Rob's plight in the movie High Fidelity as he's ranking his favorite songs for a reporter--and calling her back, asking her to move one song up in the rankings and another one down.  I've approached song rankings that way before, thinking and rethinking them as though the fates of nations were on the line.  Ultimately, a person's favorite songs fall where they do in the rankings because of personal taste and other factors that can't be explained fully.  When I'm ranking a list of favorite songs for the year, though, the following factors typically come into play:

• How does the strong strike me?  What draws me to it?  Is it the tune's well-written, thought-provoking lyrics, well-sung vocals, and/or well-played instrumentation?  Or, does it just have a catchy hook?
• Do I truly like this song, or am I willing it to make my rankings because of my respect for the artist's prior work?
• If it's a live recording of a song the artist has released previously as a studio rendition, does the live version's quality equal or surpass the studio take?  Is it truly a strong live version, or am I letting my opinion of the studio version or the crowd's feedback in the live version cloud my judgment? 
• If it's a cover song, does its quality equal or exceed the original version's quality?  Does the artist bring something new and imaginative to the table, or is it a version that stays as close to the source as possible?  Depending on the song, either approach has its merits.
• How well does the song stand up to repeated listening?  A cerebral singer-songwriter might present a well-argued case in song, for instance, that climate change needs to be taken seriously.  While I might admire the heart and conviction behind the lyrics and might not be able to refute them, the song might not have much of a discernible, memorable melody.  On the flip side, a song might have an extremely catchy hook, but after three or four listens, I've had my fill of it because there's not much there. 
• Am I letting the fact that I first heard this song back in January or February cloud my judgment?  Does the song not seem as fresh to me now because I've heard it so often?  Or, has hearing it so often strengthened my conviction that it's excellent?  If I heard a song for the first time just two weeks ago, am I not giving it its due because it's still fairly new to me?  Or, do I like it because it just hasn't worn out its welcome yet?
• Is my current mood influencing where a song is ranked?  If I'm in an upbeat mood, am I not giving this subtle piano instrumental the credit it deserves?  Or, if I'm in a quiet, reflective mood, am I not acknowledging how good this uptempo track with a blistering guitar melody is?
• How do I rank one song against another when their genres are completely different?  As you may have noticed from reading this blog, I tend to favor singer-songwriter music, jazz, and power pop most often.  When I like two songs almost equally, what breaks the tie in my rankings?  That leads me into my final bullet point.
• Which songs have I listened to most?  I can talk about admiration and respect for a song or an artist all I want, but in the end, it comes down to this: What songs have made me listen to them--not out of any obligation, but simply because I like them?

I'll rank my favorite songs of 2015 in tomorrow's post and include a list of many honorable mentions.  We'll see how it turns out--and if I end up revising my choices later.

An apparently not-so-obvious disclaimer

Considering that some radio stations are having countdowns of 2015's most popular songs, I wonder if any of them will issue the disclaimer I heard one announcer make years ago.  After back announcing the titles, artists, and rankings of several songs in a countdown, he said, "Just a reminder that we can't play requests during the countdown.  During a countdown, we play the songs in the order they're ranked.  I've explained this to some listeners on the phone, and a few of you have said, 'Well, just play mine, then.'  Again, during a countdown, we play the tunes in the order they're ranked."

Only in college XII

One night, I was playing a set of soft, subtle music on KCOU.  As I was playing the theme from "The Young And The Restless" on the air, a listener called the request line.  "How long are you going to keep doing this?" she asked.  "I'd really like to hear more upbeat music."  "Is there any particular song you'd like to hear?" I asked.  "No," she replied. "I'd just like to hear something more upbeat."  Sensing an opportunity, I started the next set of music by saying, "A listener called in, wanting to hear more uptempo music.  I aim to please, so here comes some more uptempo music on KCOU, Columbia."  I then started playing The Brady Bunch's "Time To Change."

Only in college XI

An early '90s conversation in the cafeteria:

Student 1: What's your major?
Me: I major in communication with an emphasis on radio.
Student 1: So you can become a DJ?
Me: Yes.
Student 2 to Student 1, noticing him grinning and rolling his eyes: Well, someone has to do it!

Fortunately, there's always Bach...

Classical radio stations often play Johann Sebastian Bach's "Sheep May Safely Graze" on Christmas, but it's comforting to know that it's just as moving on any other day.  One caution, though: If you're listening to it while wrapping presents on Christmas Eve and getting frustrated at your inability to wrap them symmetrically, it's best to avoid shouting, "Arrrrrrggggghhhhhh!"  I did this two nights ago, and suddenly, the piece shifted into a minor key.  "Sorry, sheep," I said, when I realized what had happened.  "I didn't mean to startle you."  Fortunately, the piece then went back into its original major key.  Apparently, the sheep were content again.

FM dial scan highlights XLIX (Christmas edition II)

Christmas morning, 2015: Who says a cat and a mouse can't put aside their differences and enjoy Christmas music together?  Sylvia and her mouse have figured this out.

Merry Christmas to everyone who celebrates it!  Here are some of the Christmas gems I've heard on the radio since late last night:

KDHX 88.1 FM

• White Christmas-Otis Redding (Steve and Cat Pick are doing their usual reliable job of providing a mixed, varied Christmas soundtrack on "Sound Salvation."  Redding's emotive take on this carol is among the highlights so far.)
• God Rest Ye Merry Gentlemen-Kate and Anna McGarrigle (The McGarrigle sisters and special guests bring out this carol's serious nature vocally.)
• It Came Upon The Midnight Clear-Rosanne Cash (Steve Pick gave the "Acoustic Christmas" various artists compilation its due on the air and said that he keeps going back to this track every year.  That's understandable, as it's one of the most effective, intimately sung renditions.)

WSIE 88.7 FM

• White Christmas-Beegie Adair (Adair captures the essence of this carol on the piano with her customary elegance and taste.)
• Good King Wenceslas-Manfredo Fest (An uptempo, Latin-influenced highlight from the compilation, "A Concord Jazz Christmas 2.")
• O Tannenbaum (O Christmas Tree)-Bruce Barth (A cool piano-based rendition with a bounce.)

KCLC 89.1 FM

• Driving Home For Christmas-Chris Rea (Rea's rasp suits this tune that deserves more airplay well.)

KSD 93.7 FM

• Go Tell It On The Mountain-Little Big Town (Solid guitar, lead and backing vocals in one of the stronger renditions I've heard.)

KEZK 102.5 FM

• Santa Claus Is Coming To Town-Harry Connick, Jr. (A smart jazzy arrangement that brings to mind Raul Malo and Shelby Lynne's version of "It Takes Two To Tango.")

KLOU 103.3 FM

• Winter Wonderland-Andy Williams (One of the most optimistic renditions; if you listen closely, the bluebird comes back and decides to stay.)

W279AQ 103.7 FM, a.k.a. KLOU-HD2

• Celebrate Me Home-LeAnn Rimes featuring Gavin DeGraw (I think Kenny Loggins and Al Jarreau recorded the two best versions, but this rendition deserves its due, as well.)

K297BI 107.3 FM, a.k.a. KNOU-HD2 

• I Heard The Bells On Christmas Day-Harry Belafonte (Thought-provoking lyrics sung with the necessary gravity.)

Christmas Eve music and radio musings

2004: Serious Sammy assumes a serious listening post for Christmas music.

Some music and radio-related thoughts and observations on this Christmas Eve:

• The Radio Arts Foundation's station, K297BI 107.3 FM, started 48 hours of commercial-free Christmas music at midnight with "March Of The Toys."  Based on the sound of this uprising, the toys take time to celebrate Independence Day, as well.
• I always felt sorry for KFUO's announcers on Christmas Eve and Christmas Day.  While they got to enjoy the beautiful music that the former station at 99.1 FM played during "A Classic Christmas," they basically came into work on those days just to read weather forecasts, as there was no back announcing of the music, once the station posted its Christmas selections online.
• I don't think I've ever heard it on the radio, but Fats Domino recorded one of the coolest versions of "Jingle Bells."  "Jingle Bells" isn't one of my favorite tunes ordinarily, but Domino rocks its rhythm on the piano and vocally.
• Or, if an easy listening version of "Jingle Bells" suits you more, Paul Mauriat and his orchestra recorded perhaps the best, most spirited instrumental rendition.  
• For unusual yet endearing arrangements of Christmas favorites and some more obscure songs, let Kate Rusby's "Sweet Bells" CD win you over.  Her voice's angelic quality should make even the hardest-to-please listener come around.
• During a recent Pandora listening session, my brother and I heard "Driving Home For Christmas" come up more frequently, in different versions, than we ever had on the radio.  I remember WRTH playing Michael Ball's version of it frequently one year, but otherwise, that tune isn't usually played on St. Louis radio stations.  It fits the mood of the season, though, whether it's Ball's version, Chris Rea's rendition, or the Celtic-infused cover by The High Kings.
• Given its lyrical appreciation for Christmases past, present, and future, Glen Campbell's "There's No Place Like Home" is ideal for Christmas Eve.  It seems especially appropriate to listen to it on vinyl.

Here's wishing everyone who observes it a pleasant Christmas Eve!

Caroling in the gym before the break

I don't recall it happening every year, but for at least three years, my elementary school would have a round robin Christmas carol sing-along in the gym.  Near the end of the school day just before Christmas vacation, the vocal music teacher would play the piano as each kindergarten through fifth grade class sang a prepared carol.  Other classes were invited to sing along.  While this usually went off without too many hitches, a few thoughts come to mind:

• I imagine that "God Rest Ye Merry Gentlemen" isn't sung as often in public school as it was then.  I would guess that most public schools who still have these kinds of sing-alongs stick to secular tunes, such as "Winter Wonderland" or "Sleigh Ride."
• One year, our class sang "Have A Holly Jolly Christmas."  For some reason, a group of students must not have thought that the lyric, "And when you walk down the street..." sounded cool enough, as a few of them, despite the teacher's admonishments, insisted on singing, "And when you're walkin' down the street..."  
• More than once, I remember all-school sing-along of "The Twelve Days Of Christmas" turning into a fiasco.  Inevitably, one class would start shouting out the lyrics instead of singing them.  Another class would feel compelled to up the ante and shout the next verse even louder.  The next class would shout its verse even more obnoxiously; this would continue until the last class in the rotation would abandon any pretense of singing and simply scream, "AND A PARTRIDGE IN A PEAR TREE!"  Not surprisingly, Mrs. S. would call the sing-along to a halt and say, "Let's start again and just sing the verses this time."

Given that most kids' minds are already on the upcoming vacation just before it starts, why not spend the last hour before the break getting into the holiday spirit?

An overlooked (Christmas) cover tune XI

"I Wonder As I Wander" has never been one of my favorite Christmas carols.  Its typically dreary arrangement, although appropriate, doesn't strike me as very appealing.  One version of it, however, impresses me a lot.  Ordinarily, when a vocalist or instrumentalist attempts to sing or play "I Wonder...," it's in a somber operatic or orchestral style.  Brooks Williams, however, proves that it works better on an acoustic guitar with folk-style vocals that jump and skip.  Those aren't obvious choices for that carol, but Williams makes them work, resulting in the best rendition I've heard; I've never paid more attention to the lyrics of "I Wonder..." or found myself singing along without realizing it more than I have with his version.  Although most carols are best heard in their traditional arrangements, Williams shows how "I Wonder As I Wander" is an exception.

A carol best heard sparingly

As I listened to John Denver and The Muppets sing "The Twelve Days Of Christmas" on KEZK this morning, I thought, "This is the only version of this carol I'd want to hear repeatedly."  Denver and The Muppets bring out the fun in it, but almost every other version of it is largely tedious. 

Hearing "...Twelve Days..." also reminded me of an assignment in my eighth grade English class.  "Choose a Christmas carol and revise its lyrics with a Halloween theme," the teacher said.  After hearing a few students murmuring possible lyrics such as "Twelve ghosts a-haunting" and "Eleven bats a-flying," she added, "The one restriction is that you can't choose 'The Twelve Days Of Christmas.'  It's too easy to write lyrics that are just random lists of Halloween-related items, so if you were going to choose that carol, please select another one instead." 

I still think that was a reasonable request.

FM dial scan highlights XLVIII (Christmas edition)

2003: Sammy the cat, who might or might not have been pawing at the Christmas tree in time to "Silver Bells" by Kevin Eubanks.

Standout Christmas selections heard yesterday and today:

KDHX 88.1 FM

• Winter Wonderland-Jerry Byrd (A laid-back instrumental rendition that lives up to its album's billing of "Christmas In Hawaii.")
• Light Of The Stable-Emmylou Harris (Harris brings to mind elements of Rosanne Cash and Joan Baez in compellingly sung lyrics about going to see the newborn Christ child.)
• Silent Night-Mayim (The a cappella harmonies from these three women coalesce extremely well.  Their CD, "Sacred Season," is strongly recommended.  Among its other highlights: "Angels We Have Heard On High," "Beside Thy Cradle, Here I Stand," "The First Noel," and "Lo, How A Rose.")
• The Holly & The Ivy-Loreena McKennitt (A somber rendition, sung with powerful, sweeping conviction.  I could imagine Mary Fahl singing it similarly.)
• Frosty The Snowman-Leon Redbone with Dr. John (Redbone's voice suits the tune especially well, particularly on the "thumpity thump thump"s, and Dr. John's vocals add grit.  It's a fun romp that commercial radio stations ought to play.)  

WSIE 88.7 FM

• Silver Bells-Kevin Eubanks (Eubanks ups the carol's tempo on guitar and includes subtle scatting for an effective smooth jazz take.)
• Winter Wonderland-Howard Alden & Ken Peplowski (A spirited, expansive rendition for guitar and clarinet.  Also recommended: Peplowski's take on "Have Yourself A Merry Little Christmas.")

WSIE 88.7 FM, WFUN 95.5 FM, and KEZK 102.5 FM 

• The Christmas Song-Nat King Cole (One of the most deserving of all Christmas perennials; a version this richly and elegantly sung should hold up through the decades, and clearly, it has.  It's not surprising that I'd hear it on three radio stations in one afternoon.)

Seeing a carol through to the end

I almost never turn the radio off in the middle of a phrase when listening to a song or piece that I like.  If it's a selection I like pretty well, I usually wait for a logical break in the song before turning it off.  If it's a selection I like even more, it's not unusual for me to wait in a parking lot, circle the block a couple of times, or drive down various side streets looking at Christmas lights until the song reaches its conclusion.  Once, as I listened to a strong choral rendition of "The First Noel," my instinct for knowing when a song ends was put to the test, unexpectedly.  I was about to park, thinking my pulling into a space would coincide perfectly with the carol's last verse.  It didn't work out that way, however.  Normally, I would expect "The First Noel" to end with the lyric, "Born is the king of Israel!"  This version, however, threw me for a loop by elongating that lyric, and tacking on the first of several false endings.  I thought it was about to end, when suddenly, I heard, "Nooooooellllllll!"  "OK," I thought.  "That must be the end."  I was wrong.  After a breath, I heard, "NOOOOELLLL!"  "There.  That's a logical place to conclude," I thought.  I started to turn the ignition off, only to hear the choir come roaring back in with "NOOOOELLLLLLLLLLLLL!"  "Surely, that must be the end," I figured.  Nope.  The choir, in an attempt to shatter the windshield glass of anyone listening in a car, belted out, "NOOOOOOOOOOOOOELLLLLLLLLLLLLLL!" even louder.  For good measure, there was a brassy instrumental finish on top of that.  About three years later, after I'd used the ATM, gone through the car wash, mailed a few Christmas cards, visited the recycling center, and helped utility crews restore power to three neighboring towns, the carol ended.  Or, at least, I think it did.  For all I know, as soon as I turned the radio off, the choir might have started singing a seldom-heard follow-up verse, "The second noooooellllll is the one that's not first..."

Energetic tinsel-throwing music

A memory from the '90s: My dad was explaining to my brother and me the best way to put tinsel on a Christmas tree.  I'd put on the CD, "Merry Christmas," by The Brothers Four.  As he began his explanation, the most unusual track, "The Night Is Christmas Eve," started playing.  While the CD consists of mostly familiar carols sung in a style similar to that of The Lettermen, the third track is a raucous standout with the chorus, "Ya, ya!  Ya, ya, ya, ya, ya!  Ya, ya, ya, ya, ya, ya, ya, ya!"  It was tempting to start throwing tinsel everywhere with reckless abandon, to coincide with the music.  I didn't do that, however.  After all, it wasn't my tinsel, and it would have been disrespectful.  Still, if you're looking for a high energy Christmas carol fit for a tinsel-throwing spree, you might seek out "The Night Is Christmas Eve."

Best to rephrase that "thank you..."

Although I'm sure Band Aid's "Do They Know It's Christmas?" is well-intentioned, the lyric, "Tonight, thank God it's them instead of you," doesn't sit quite right.  It's great to be thankful for the blessings you've received, but I'd like to believe that no one would phrase his or her thankfulness that way.

Online radio sampler highlights XXIX

Some late-night listening highlights:

KUAZ (Tucson, AZ)

• Blue N' Boogie-The Dizzy Gillespie All-Star Big Band (I kept thinking of Charlie Ventura's "Euphoria" as I listened.)
• Wilpan's Walk-Chico Freeman (Sax, trumpet, piano, bass, and drums come together to pull off this fast romp.)

KWMU-3 (St. Louis, MO)

• Winter Wonderland-Hampton String Quartet (From the cleverly executed concept CD, "What If Mozart Wrote 'Have Yourself A Merry Little Christmas?'"  Other standouts: "Do You Hear What I Hear?" and "Frosty The Snowman.")
• The Boar's Head Carol-Robert Shaw Festival Singers (My brother's observation about this carol, "It sounds as though Eric Idle should be singing," is accurate.  Nevertheless, this version is sung with appropriate force.)

WBER (Rochester, NY) 

• New York, New York (Live)-Ryan Adams (It's good to hear that this track, with its lyrics of resilience in times of adversity, works so well as an acoustic tune.)

WEKU (Richmond, KY)

• Tenderly-Whitney James (Engaging vocals with subtle piano and trumpet accompaniment.)
• Central Park West-Matt Ray (An elegant, sublime piano instrumental played at a reflective, in-its-own-good-time tempo.)

WKZE (Red Hook, NY)

• When The Time Comes-Jess Klein (Commendable lyrics about taking a leap, sung energetically against a brassy backdrop.)
• It's Beginning To Look A Lot Like Christmas-The Sweetback Sisters (A surprising instrumental arrangement of the tune that channels Johnny Cash by way of The Ventures.)

A favorite Christmas mix tape label

A favorite inscription that a radio friend wrote on a Christmas mix tape label she sent me in the '90s: "What the...?  This egg nog expires Dec. 21?  How festive is that?!"

Surprisingly downcast Christmas shopping music

During a recent grocery shopping trip, I was surprised to hear Michael Jackson's "Little Christmas Tree" over the sound system.  Stores generally play upbeat Christmas music, such as "Deck The Halls" or "We Need A Little Christmas."  It was unusual, while shopping, to hear Jackson's tale of feeling rejected at Christmas, much like the lonely Christmas tree he sings about.  If I hear "What Do The Lonely Do At Christmas?" by The Emotions in any store, I'll be even more surprised.

Three quirky, welcome Christmas selections

Ten years ago, if you listened to KEZK for any length of time on or shortly before Christmas, you probably heard "The Bell That Couldn't Jingle" by Herb Alpert & The Tijuana Brass.  It's not the most obvious choice for a commercial station, but KEZK played it frequently that year.  As I listened to Alpert's Christmas album this morning, I thought about what a heartwarming song it is, given its happy ending.  Thanks to Santa Claus and Jack Frost, the sleigh bell that can't jingle ends up jingling again.  I'm guessing the tune must have caught a lot of kids' ears when it was released in 1968.  It would be refreshing if any radio station here starts playing it again. 

It will also be impressive if any station here plays Alpert's version of "Sleigh Ride," which has a "Laugh-In" Christmas special vibe in its brass arrangement, or his respectful rendition of "Jesu, Joy Of Man's Desiring."  Christmas is the season when soft rock stations and stations preparing for a format change are able to play more easy listening arrangements than they ordinarily would, which often increases the number of listeners and results in a ratings spike.  At this time of year, there's room for all three of these distinctly different selections on the radio.

FM dial scan highlights XLVII

Standout tracks heard today:

KDHX 88.1 FM

• Profoundly Blue-Duke Robillard featuring Jay McShann (An easy-going instrumental for guitar and piano that would segue well with Hot Club Of Detroit's "Patio Swing.")

WSIE 88.7 FM

• You're My Thrill-Freddy Cole (As usual, Cole sings warm sentiments with the perfect amount of restraint.)

KCLC 89.1 FM

• Eet-Regina Spektor (Endearing vocals and piano from 2009.  Apparently, the protagonist would like to return to a simpler time in life--childhood, perhaps.)

KEZK 102.5 FM

• Do You Hear What I Hear?-Bing Crosby (One of the most authoritative voices carries this carol more effectively than almost anyone.)
• Sleigh Ride-The Ronettes (It's easy to start tapping your toes, moving your head, or singing along with this version--without even realizing it.)

KLOU 103.3 FM

• Don't Bring Me Down-ELO (Jeff Lynne has few rivals in creating big walls of sound and maintaining them.  Hippo Campus sings an impressive cover of this on avclub.com.) 

K297BI 107.3 FM, a.k.a. KNOU-HD2 

• Peri's Scope-Bill Evans Trio (Ear-catching piano that perks and swings; it's one of many highlights from the "Portrait In Jazz" album.)

Annual Christmas cheer revisited

I wrote last year about the calls I've made to dial-a-carol services.  After making my annual call today, I thank the carolers who conquered my request, "Angels We Have Heard On High," so smoothly and confidently.  Not everyone can navigate the range required on the "Gloria in Excelsis Deo" refrain, but those singers nailed it.  Given my limited singing range, I'm impressed when any vocalist comes remotely close to staying in tune through the entire refrain.  Here's wishing those singers and other vocalists with that degree of courage and confidence many more successfully fulfilled caroling requests.

A favorite musical Christmas train wreck

I remember my high school jazz band as having a lot of talent scattered throughout the ensemble.  For some reason, however, our rehearsals of Christmas carols were often somewhat anemic.  One rehearsal from November 1987 stands out.  During our first run-through of "The Christmas Song (Chestnuts Roasting On An Open Fire)," several brass players missed the coda designation in the music, causing about one-third of the band to play a different verse than the coda.  Hearing two clashing verses at once made Mr. B., our director, bring things to a halt.  "Here's the coda, for those of you who don't know what that is," he said.  "Coda, please...Ready?"

The next attempt was still somewhat lackluster; on the second go-around, at least, everyone played the same verses at the same time.  I remember thinking, "It's a good thing we still have several weeks before the concert."

"Dash from your car into the building, if you can."

Years ago, I was excited about the prospect of starting on-air work at a radio station.  Learning the station's address compromised my enthusiasm, however.  I asked a broadcasting school instructor, "How safe is that neighborhood?"  After a pause, he replied, "Well...Just don't use the ATM there."  I stayed with the job but thought, "'This could be the death of me' isn't a recurring thought you should ever have when driving to or from work--or anywhere else."

Reflections on John Lennon's passing

Thirty-five years after John Lennon's death, I still have many of the same thoughts I had decades ago.  Obviously, above all else, my main recurring thought is, "How does anyone ever have the audacity to kill another person with absolutely no justification?"  In addition:

• So much has been written about Lennon's standout Beatles and solo tracks.  "Across The Universe," in my view, deserves a special mention.  Its unusual structure and lyrics that stay on the same chord for a good, long while and keep building without a breath make it a refreshing, unusual, and difficult-to-sing highlight of his career.
• One of Lennon's most infectious melodies, to my ears, is "The Ballad Of John And Yoko."  Vocally and instrumentally, it's among his best uptempo efforts.  Although it might sound like an odd segue, I paired it with a Lucinda Williams track, "Big Red Sun Blues," on a mix CD I made for myself years ago.  Listen to those tunes back to back, and you'll hear a melodic similarity.
• It's reassuring to hear so much of John's voice in his son, Julian.  This is especially apparent on Julian's hit, "Valotte." 
• George Harrison's "All Those Years Ago" is a well-written and compellingly sung tribute to Lennon.  It's not the kind of hit you hear on the radio today, as its sentimentality, nostalgia, and mention of God in the lyrics are very of their time, but it still deserves airplay today.  In my opinion, it's one of Harrison's strongest solo tracks.
• I remember finding it ironic that my fourth grade teacher was the first authority figure to break the news of Lennon's death.  At the time, I was in private school for my one and only semester, and I thought, "If the next equivalent of John Lennon is sitting in a classroom like this, at a school that doesn't value the arts all that much, (s)he might still be successful.  If (s)he is, however, it will be in spite of the arts education here, not because of it."  The school had no instrumental music program, no art teacher, unless you counted each homeroom teacher who periodically assigned projects involving construction paper, and a vocal music teacher with no classroom of her own, who wheeled her supply cart from class to class and would sometimes say at the end of class, "Stand up and say thank you to me!"

It's reassuring to see that after all these decades, the general public still appreciates the vast Lennon-McCartney canon and likely will for decades to come.  Many singer-songwriters affect listeners emotionally, but very few ever have (or likely will) resonate with listeners on the scale that John Lennon and Paul McCartney have.  I write this, knowing that these are two of the safest statements I've penned on this blog so far.

Ideal Christmas walking music

I was irked, at first.  One December night eight years ago, I was unable to find a parking space near home, so I left my car in a nearby parking garage.  I ended up being glad I did that, however, because walking over to the garage later that evening gave me the chance to appreciate the snowpeople that parents and their kids had created and an excellent version of "The Holly And The Ivy," played on church bells.  I still don't know which church had the good taste to let that carol resound through nearby streets; I was glad to have that rendition as my accompaniment, though, as I walked to my car, no longer irked.

Bass on ice: A turtle's tale

It was a nice way to earn some extra money shortly before Christmas.  During my freshman year of college, the bass player in a community orchestra was unable to play Handel's "Messiah" in concert at a local church and asked if I'd like to fill in.  I agreed to step in, despite having only 24 hours to learn the music before a rehearsal.  I picked it up faster than I'd anticipated, so I felt on top of the world.  On the night of the concert, however, there was one obstacle I hadn't taken into account.  I had planned to walk from campus to the church with my upright bass.  I didn't realize, however, that getting from campus to the church without breaking my neck would be harder than I'd expected, given that the sidewalks were all coated with ice.  I was lumbering along with the bass at a glacial pace when two orchestra players drove by and offered to drive the bass and me to the church.  So, all these years later, I want to thank Antoinette and David, once again, for saving me from a possible concussion and a splintered bass.  For any double bass, cello, tuba, harp, timpani, xylophone, or piano player who might end up in this predicament, here's hoping your own equivalents of Antoinette and David are there for you.  For that matter, here's hoping the sidewalks aren't icy on the night of your concert.

An atypical standout VI

Best known for its folk rock, Fairport Convention took some interesting turns on its somewhat overlooked "Nine" album.  While the band recorded a lot of its best work early in its career, such as "Meet On The Ledge," "Now Be Thankful," and a strong cover of Joni Mitchell's "Eastern Rain," "Possibly Parsons Green" is an atypical standout.  Trevor Lucas sings lead on the tune that could have passed for an American country rock hit.  Sandy Denny recorded many of the best vocals during her years with the band, but Lucas deserves credit for pulling off the unusual "Possibly Parsons Green" just as well as more traditional numbers, such as "Polly On The Shore."

Christmas narration and guitar for kids

If you're lucky enough to work at a freeform radio station and want to remember what it feels like to be a really young child at Christmas, play "Santabear's First Christmas" by Kelly McGillis and Michael Hedges.  McGillis narrates the tale endearingly, and Hedges provides captivating guitar accompaniment.  You'll make some kids happy and keep them listening, potentially, for over 23 minutes.

Reeling in listeners with breakfast pizza

I've never seen much of a point in morning radio announcers having restaurant representatives plug their (usually non-breakfast) foods on the air.  Often, they'll bring in free samples, and the DJs will wolf down such non-8 a.m. foods as burgers, steaks, and pizza.  DJs or their restaurant guests will often ask, "Doesn't that look delicious?"  I think a former co-worker had it right; he said he feels like responding, "No, it looks like a radio!"

Curbed road rage, thanks to Christmas music

The frustrated driver started growling and snarling, wondering why it was so difficult to find a way out of the parking lot.  After what felt like an eternity, he pulled off into traffic, wondering why all those other cars had to be there at the same time he was.  As traffic started to move, he realized he'd been listening to "Jolly Old St. Nicholas" the entire time--and started to laugh at the contrast between the music and his excessive grumbling over nothing.

If only we could all catch ourselves that way before letting road rage get the better of us...

Persistent earworm alert XV

Let's see...I've got my track shoes on, so I'll just get a good running start...

...OK, now that I'm far enough away, where no one can throttle me, here's today's persistent earworm...

...It's "We Are Santa's Elves" from the "Rudolph, The Red-Nosed Reindeer" soundtrack.  I've had it stuck in my mind since last night...

...There I go--dashing away, advisedly...

...One more thought, though: Do assembly line workers ever sing this ironically?

FM dial scan highlights XLVI

Standout selections heard today:

KDHX 88.1 FM

• Are You Gonna Miss Me, Too?-Anna Fermin's Trigger Gospel (Sincere, melodic vocals, with just the right hint of a twang.  I remember buying the CD, "Oh, The Stories We Hold," at Webster Records and wishing that someone would play it on the radio.  Finally, someone did.)
• Ye Mele-Papudinho ("Radio Rio" got off to a strong start today, thanks to Andrea's choice of this vocally and instrumentally lively track.)

WSIE 88.7 FM

• The Very Thought Of You-Nancy Wilson (Polished, elegant vocals on this well-covered standard.  I also recommend two piano renditions of it, by Liz Story and Billy Taylor.)
• Grantstand-Grant Green (This title track from a strong 1961 album features Grant's fast, breezy guitar in a mood that's sustained for nine minutes.)

KEZK 102.5 FM

• Caroling, Caroling-Nat King Cole (A somewhat overlooked carol that gives credit to Christmas bells for their melodious ringing.  The Manhattan Transfer's version is also recommended.)

KLOU 103.3 FM

• Minute By Minute-The Doobie Brothers (A great keyboard fade-in and smooth, subtler-than-usual vocals from Michael McDonald; I hear why R&B stations play it, as well as oldies stations.)
• In Your Eyes-Peter Gabriel (Arguably, this is Gabriel's best hit, thanks to a powerful performance of universal, heartfelt lyrics.) 

W279AQ 103.7 FM, a.k.a. KLOU-HD2

• Frosty The Snowman-The Ronettes (The Ronettes sing "Frosty..." with a light, uptempo touch that works.  I never hear America's rendition on the radio, but the band behind such hits as "Ventura Highway" and "A Horse With No Name" also recorded a strong, uptempo rendition worth hearing.)

K297BI 107.3 FM, a.k.a. KNOU-HD2 

• Christmas Time Is Here (instrumental)-Vince Guaraldi Trio (This picked up my spirits on this rainy morning, and I imagine it had the same effect on others in traffic.  As endearing as the vocal rendition from "A Charlie Brown Christmas" is, the instrumental rendition sets the mood for Christmas just as well.  Fifty years ago, Charles Schulz's imaginative characters met Vince Guaraldi's imaginative music for the first time in a half-hour special.  What a perfect match that was--the best jazz accompaniment you could ask for and the most thoughtful comic strip writing brought to life.)

Sarcastic opening ahead...

It's the most natural thing in the world for a bunch of introverted high school musicians--raising funds for an orchestra's trip to another city or simply to keep the ensemble alive.  My memories of fund raising experiences:

• My high school orchestra director demonstrated what he thought was the best way to approach potential buyers of candles, ornaments, and trinkets.  "Don't stand there, staring at the ground with the catalog closed.  Instead, look up, step forward with the catalog open, and say, "Would you like to buy...?"
• This same director also advised us not to argue with anyone who clearly wasn't interested in buying anything.  "If a customer looks at the catalog and says, 'I don't want any of this crap,' just close the catalog and say, 'Thank you.'"  "Say, 'Thank you,'" he repeated.
• One year, the distribution company ran out of bear ornaments.  "So," the orchestra director updated us, "they're providing mice ornaments instead.  Be sure to tell your customers who ordered bears."  I still wonder if any of the customers who were informed of this broke into a fit of white hot fury.  (i.e. "Arrrrrrggggghhhhh!  I have an all-bear theme established on and around my Christmas tree, and they think I'll just compromise that and accept mice?!  Grrrrrrrr!!!!  What kind of world do we live in these days?!  What happened to the days when bear-ornament distributors honored their contracts?!")
• If you participate in enough music program fund raisers, you'll eventually encounter at least one parent who's a little too caught up in the whole process.  (i.e. "Now, be sure to fill out your pizza sales tracking form!  That's how we know how much everyone has sold and how much we still have to sell to meet our goal!  Think how exciting it'll be and how accomplished you'll all feel if we break the sales record this year!")  I used to think, "I'm just here to play the bass.  The skills needed to play this instrument are completely different from the skills needed to sell to family members and friends, let alone strangers.  If the orchestra needs to rely on sales of pizza made by people who don't make pizzas for a living, isn't that a rather precarious means of existence?"
• One year, the conductor of one of my ensembles generously offered to buy a pizza from everyone in the orchestra.  The well-meaning stage manager followed up, "I'll leave it up to all of you, then, to solicit him on your own."  "For pizza," the conductor clarified quickly.
• I still wonder how many people got food poisoning the year that large stacks of pizzas were left in the hallway outside the rehearsal room, not frozen or refrigerated, for a disturbingly long time.
• As obvious as it sounds, it's best to sell items that people want.  Ask orchestra members to vote on potential designs for ensemble logos and then sell t-shirts and/or sweatshirts with the most popular logo(s.)  A memory about group order forms for shirts: I remember, in college, each orchestra player signed up to order a sweatshirt with the ensemble's logo.  By the time the order form reached the bass section, nearly everyone had signed up.  Interestingly, every single person, up to that point, had ordered an extra large sweatshirt, even though the musicians ranged in height from approximately 4'10" to 6'6".  There's an interesting psychological undercurrent at work there.

For anyone who is stuck raising funds for an orchestra, band, or choir, here's wishing you well.  Actually, here's hoping you find a way out of selling anything, as it's not really your responsibility.  If that's not possible, though, here's hoping you at least get to sell some surefire winners, such as chocolate bars, quickly.

Giving "God Rest Ye Merry Gentlemen" its due

It took me a while to appreciate "God Rest Ye Merry Gentlemen" as a Christmas carol.  Although I never disliked it, it wasn't one of the first carols I used to seek out.  Over time, I came to realize that its minor key isn't a detriment; it's perfectly fitting for the holiday's sacred aspect.  Chet Atkins recorded an effective, low-key rendition on guitar.  Barenaked Ladies and Sarah McLachlan gave it a kick it hadn't had before, and their version is as impressive now as it was initially.  At the perfect midpoint between reverential and cool, however, is Lou Rawls.  His baritone voice gives the carol its due while injecting it with just the right amount of jazz.  For a reverential yet cool Christmas, the version on his "Christmas Will Be Christmas" album is one to seek out.

Persistent earworm alert XIV

Not so long ago, you'd hear today's persistent earworm fairly often on oldies radio stations.  In recent years, however, oldies stations have dropped a lot of their '60s oldies in order to play more '70s and '80s hits.  A big hit from 1963 was once a staple cut on those stations, however.  Once its vaguely vaudevillian melody seeps into your mind, expect it to take root.  The song?  Bobby Vee's "The Night Has A Thousand Eyes."  That song has been lodged firmly in the back of my mind for at least six months, and I have no idea why.  It stands on its own as a tune you might seek out when you're in a carefree mood, or I can imagine it being interpreted literally with 1,000 eyes in a Muppets sketch.  The lyrics are a reminder from one significant other to another to stay faithful and not lie.  As off-putting as that might sound out of context, the song works largely because it's instrumentally catchy, and Vee sings it without even a hint of nagging or scolding.  That's an impressive feat, considering the subject matter.

Online radio sampler highlights XXVIII (Thanksgiving edition)

Among the best Thanksgiving-related selections I've heard this morning:

KWMU-3 (St. Louis, MO)

• Aaron Copland: Simple Gifts (London Symphony Orchestra/Aaron Copland, conductor) (A piece that's equally fit for Thanksgiving and Christmas; it's good to hear Copland direct his own work.)
• Jay Ungar: Thanksgiving Waltz (Jay Ungar, fiddle; Molly Mason, guitar) (If ever a fiddle could make you picture amber waves of grain at Thanksgiving...) 

WUMB (Boston, MA)

• Thank You-Bonnie Raitt (Excellent bluesy, soulful, and heartfelt vocals from early in Raitt's career; the keyboard, guitar, and flute arrangements sound like 1971 in the best sense.)
• Alice's Restaurant-Arlo Guthrie (It's an obvious choice, yes, but who else would have crafted a Thanksgiving monologue about the chain reaction that results from taking garbage to the dump?)

WXPN (Philadelphia, PA)  

• I'm Going Home-Regina Carter (Over seven minutes of low-key, contemplative violin; if you listen closely, you might hear a melody that, every so often, brings to mind the hymn, "Were You There?"  WXPN deserves a lot of credit for digging so deep into its music library.  Each Thanksgiving, the station plays so many gems about home, family, friends, and the general nature of the holiday.)
• Old Friends-Sara Lov (A spacy, moving interpretation of the Simon & Garfunkel tune; I could imagine Feist covering it similarly.)
• Home-The Boxcar Lilies (Beautiful harmonizing.)
• Amber Waves Goodbye-Michael Gulezian (One of many strong acoustic guitar pieces from a consistent album, "Distant Memories And Dreams.")
• Friends For Life-Phyllis Chapell (Pleasant alto vocals, with appealing Brazilian instrumentation.)

Thank you to everyone who enjoys reading this blog, likes the music cited on it, and offers me positive feedback!  I appreciate it, and I look forward to posting on this site every day.  Thank you for giving me the incentive to write 452 consecutive posts so far.

"We gather together" for four good renditions...

Although Thanksgiving has considerably less music associated with it than Christmas, "We Gather Together" is one of its most compelling melodies.  To my ears, four of its best renditions are performed by:

• Sally Harmon (This piano-anchored arrangement is tasteful, and the violin and whistle augment it compellingly.)
• Julia Lane (A nice music box feel, thanks to Lane's nimbly-played harp and a tempo that speeds up as the hymn progresses.)
• Paul McCandless, Philip Aaberg & Michael Manring (This rendition for oboe, piano, and bass sets the tone for the Windham Hill compilation, "Thanksgiving.")
• Tom Servo, Crow & Joel Hodgson (1991 "MST3K Turkey Day" promo)  (Admittedly, it's not an official release, but it's worth viewing on YouTube.  Hodgson and his robot sidekicks promote the "Mystery Science Theater 3000" Thanksgiving marathon.  I remember first seeing this in college, and it has stayed with me ever since.)

For balance, it's not a bad idea to also watch The Mormon Tabernacle Choir perform the hymn on YouTube.  After all, if you're going to watch a parody, why not watch the hymn performed with reverence, as well?

Here's hoping everyone who desires a "We Gather Together"-style Thanksgiving will have one.

Thank you for the air time.

With Thanksgiving drawing near, I want to thank every employer who gave me the opportunity to be on the radio, especially those who allowed me to choose the music I played.  Getting to play great music for an appreciative audience is one of the most enjoyable jobs I could have.  It was always exciting to walk into a radio studio, knowing that I got to fill the next two to six hours with music I thought the audience should hear.  It was also a pleasure to hear from listeners who called in and said, "Wow!  That's a great song.  You know, a song that would go great with it is..."  I would then run to the music library to see if we had the listener's suggested track.  If we did, I'd cue it up quickly and play it on the air. 

Over the years, another thought has occurred to me.  While it's always flattering to have your abilities rewarded, I've reminded myself, "I was lucky to work for those radio stations.  I had the ability to do the job, but so did a lot of other people.  It didn't have to be me who got the gig."  I'm glad it was, though, and I'm thankful for those opportunities.

I guess someone must like the tune--maybe...

A sign of the holidays getting closer: You drive to your old college town after you graduate and hear a DJ on your old college station playing "R2-D2, We Wish You A Merry Christmas"--of his or her own free will.  And, why not?  We live in a democracy, after all.

"Your music goes here!"

"When you can't come to rehearsal, your music goes here!" one of my former orchestra conductors told the ensemble in no uncertain terms.  "If you can't be here, your music needs to be here, so everyone who is here has a part to play.  Your music goes here.  Even if you die, your music goes here!"

I could just imagine the conductor giving a eulogy in the rehearsal room for a promising music student.  He would face the orchestra solemnly and say, "This young person, taken from this earth much too soon, was a talented instrumentalist, a gifted student, and most importantly, his (or her) music went here!"

Hits you right in the heart, doesn't it?

FM dial scan highlights XLV

Noteworthy tracks heard today:

KDHX 88.1 FM

• To Live Is To Fly (Live)-Townes Van Zandt (Some of his best lyrics; Margo Timmins sings it especially well in a Cowboy Junkies cover.)
• Full Cup-Kelley McRae (McRae's angelic voice carries off this uptempo track from her latest EP, "Easy On My Mind," effectively.  Also recommended: "Morning Song," which is ideal for anyone who enjoys quiet alone time in the morning.  Stacy, the host of "Backroads," has shown good taste over the years by playing singer-songwriters such as McRae.)
• Making Pies-Patty Griffin (Lyrically, this is a sobering reminder of how life's trials add up and put some people on autopilot.  Also recommended: "Rain.")
• Cherry (Cha Cha Cha)-Cal Tjader  (Got the "1, 2, cha, cha, cha" beat in your mind?  Add vibes, and you'll have this tune.)

WSIE 88.7 FM

• Minor Funk-Cyrus Chestnut (A memorable, propulsive piano riff.)
• I Walk A Little Faster-Erin Bode (Sublime vocals from early in Bode's career on this cover of a Cy Coleman tune.  It's great to hear WSIE playing this St. Louis-based artist's music.)
• Bloody Mary-Barbara Dennerlein (Dennerlein's sharp, fast organ playing anchors the proceedings.  Also recommended: "Wow!") 

WFUN 95.5 FM

• Never Can Say Goodbye-The Jackson 5 (One of the group's stronger hits; Isaac Hayes covers it effectively.)

KEZK 102.5 FM

• Sleigh Ride-The Carpenters (Karen Carpenter's a cappella intro catches the ear.  Slowing down the tempo for the for the first verse before launching into a more conventional "Sleigh Ride" tempo also lifts this version above most sung renditions.  The Carpenters have been one of the two most-played artists since KEZK switched to all Christmas music Thursday...)
• It's The Most Wonderful Time Of The Year-Amy Grant (...and Amy Grant has been the other most-played artist since then.  Grant makes this tune her own.  That's impressive, considering that the Andy Williams version is the one that comes to many listeners' minds first...)

W279AQ 103.7 FM, a.k.a. KLOU-HD2

• It's The Most Wonderful Time Of The Year-Andy Williams (...Let's also give Williams his due, though.  The vocals here are so joyful, they make you not want to quibble with the "scary ghost stories" lyric.  Still, what ghost stories do people tell or hear at Christmas, other than the Charles Dickens classic, A Christmas Carol?)

September 1 already? Time to deck those halls...

During a middle school orchestra concert in the '80s, our director apologized just before the orchestra launched into "Up On The Housetop" for "playing a Christmas tune before Thanksgiving."  Imagine any director issuing that disclaimer today.

A case for being selectively charitable?

In 1985, Chicago released a song called "Good For Nothing."  Vocally and instrumentally, it stands up with anything else I've heard from the band.  Lyrically, it's about someone who does favors for others, including paying for someone's bail and lawyer, but never receives a "thank you" from them.  Given the nature of the lyrics, it's surprising that the song is included on USA For Africa's "We Are The World" album.  For an album that's intended to benefit sufferers of famine, it's puzzling that there's a song on it with the chorus, "All the good that I did was for nothing."  I suppose it could be interpreted in the album's context as "Give to those who are truly needy, such as those who have nothing to eat, instead of those who won't appreciate it."  Still, the first few times I heard it, I thought the lyrics clashed with the album's objective.

Online radio sampler highlights XXVII

Nine of the better tracks I've heard tonight:

KOSI (Denver, CO) 

• What Child Is This?-Vanessa Williams (One of the more somber Christmas carols, jazzed up to strong effect.)

KPTZ (Port Townsend, WA)

• Samba Triste-Stan Getz & Charlie Byrd (One of the smoothest uptempo saxophone and guitar numbers one could hope to hear; it's no accident that this album has stayed in print as long as it has.)

KRFH (Arcata, CA) 

• I Like To Stay Home-R. Stevie Moore (An anthem for a devoted introvert, and strangely catchy.  Moore's cover of The Association's "Along Comes Mary" is also ear-catching.)

WDCB (Chicago, IL)

• 'Tis Autumn-Bennie Wallace (Cool, elegant saxophone and piano accompaniment for taking in Autumn foliage.)
• Too Marvelous For Words-Joe Williams (Sung and played with a joyful swing.  Nat King Cole's interpretation is also strongly recommended.)

WDNA (Miami, FL)

• Sweet Illusions-Gary Keller (A warm, expansive mood piece that allows ample room for saxophone, trumpet, piano, vibes, and bass.)

WERS (Boston, MA)

• How Big, How Blue, How Beautiful-Florence + The Machine (Well-sung and well-produced, with magisterial instrumentation layered in, when appropriate; a strong 2015 release.)

WKZE (Red Hook, NY)

• Nomad-Black Dub (The tune's feel reminds me of an Esther Phillips tune, "Home Is Where The Hatred Is."  Much like "Home Is...," the tune commands attention for its lyrics and gripping presentation.)

WXPN (Philadelphia, PA)

• Sweet Seasons-Carole King (Sometimes, life goes your way.  Other times, it doesn't.  Overall, it's still a pretty great life.  King sings appropriate lyrics for Thanksgiving in one of her most appealing hits.)

"Sorry about the job..."

One evening, years ago, I called a friend who worked at another radio station, and we had this exchange:

Me:  Hey, how are you?
DJ:  Hey, Drew...Sorry about the job.
Me:  Pardon me?
DJ:  Oh, @#&*.  They haven't told you yet, have they?  They're letting everyone go.  I'm sorry.  You shouldn't have to hear this from me.

If you work in radio long enough, this kind of exchange is almost inevitable.  A radio station changes its format, and corporate changes all of the station's personnel to give the new format a different identity.  You talk to a friend in radio before the program director and/or general manager notify you.  The program director, to his credit, broke the news to me the next day; by then, I'd already heard from two people about it.  Given that radio stations typically live or perish from ratings book to ratings book, nearly every radio announcer has--or will have--an exchange similar to this one.  Death and taxes are two of life's certainties, but radio station format and personnel changes could easily tie for third place on that list.

Only in college X

"It's a beautiful day," I said to a woman I knew from orchestra class.  "Let's dance."  She said, "OK," so we dropped our books on the ground, took each other's hands--and nearly waltzed each other into the side of a dorm.  Looking back, I'm glad we didn't decide on a particular dance before we started.  It would have compromised the spontaneity of the moment.

Good lesson, strange game

Does anyone still play musical chairs?  I suppose the lesson behind it, reacting quickly when something unexpected happens, is valuable, but the specifics of the game have always struck me as odd.  Has anyone ever admonished a participant, "I'm sorry, but you really need to anticipate when the foxtrot will stop abruptly and find a chair more quickly?"  If so, why?

"No place is safe," alas...

When I was in college, I told someone I was taking a pre-journalism class.  "Really?" she replied.  "When you write an article, even if it's not for publication, how do you manage to keep your opinion out of it?  If I were a journalist, I'd have to fight that temptation.  I have my strong opinions."  Her question surprised me.  "Unless you're writing an editorial, a column, or a review, the job (or the assignment) is to report the facts without editorializing.  That's the mindset a reporter has to have," I told her.  I remember how easy it was to tell her this when I was speaking in abstract terms, without any specific news event in mind.  Last night, however, after the horrifying terrorist attacks in Paris...

...Well, let's just say I was inclined to take the approach Nick Hornby's character, JJ, in A Long Way Down thought he would use if he were a journalist.  JJ was certain that if he reported such an attack on the air, it would be laced with obvious anger and profanity.  It's difficult to blame him.   It takes immense tongue-holding to avoid saying in a news report what any rational person would undoubtedly like to say about any attacker who dares to quash so many innocent lives without justification.  I touched on this in my previous post, "Of all the days to do a sports report..."  At an absolute minimum, if I'd been delivering a newscast last night, it would have been nearly impossible to read such a report without an edge of anger and disgust in my voice.  I understand better where that questioner was coming from all those years ago.

Another memory comes to mind.  Once, after I finished broadcasting a newscast I'd written, I talked with the DJ off the air about how much the world had changed.  "No place is safe," he said.  "Anywhere...The streets of Chesterfield, even...When I was a kid, we didn't think twice about things like trick-or-treating.  We just had fun.  Now, no place is safe."

"No place is safe," he said on that day...in 1993.

I can just imagine what he would say now.

Filling a rigid amount of time

KBIA and WEW provided good training for learning how to do an on-air break that had to last a specific amount of time.  At KBIA, national programs started or continued at specific times, and WEW carried CNN newscasts at the top of the hour.  Inevitably, there were times when I had to stretch the copy or ad-lib until the next program or newscast began.  Usually, however, I was able to speak for exactly 90 seconds or two minutes and make it sound natural.  My strategies:

• Find health-related copy to read.  You're bound to reach listeners who are interested in blood pressure screenings or new medication trials, and you'll provide a valuable public service.  
• Similarly, who isn't affected by the weather?  Even if you're scheduled to read the forecast again in another five minutes, fill time with at least that day's forecast.  If there's more time than usual to fill, read an extended forecast, within reason, and emphasize upcoming weather patterns.  (i.e.  "And then, for the next three days, there should be no doubt that it's the rainy season.  There's an 80% chance of showers Sunday through Tuesday...")
• If the station plays music, talk about the music.  That's what you're there to do anyway.  Back announce the music that you played and promote the music you have coming up.  (i.e. "After the news, we'll hear from Nat King Cole, Nancy Wilson, and Bing Crosby.")  If your station plays new releases, it's all the more crucial to promote them and give the audience reasons to listen.  (i.e. "John Pizzarelli has a new release, with a lot of great covers of standards.  We'll hear one of them, 'They Can't Take That Away From Me,' coming up.")
• Did a listener mention having a birthday or anniversary or compliment the station's music or programs?  Mention that birthday or anniversary on the air, unless the listener asked you not to, and acknowledge that you appreciated hearing from him or her.  (i.e.  "Thank you to Ed from Alton and Jane from Crestwood for calling in and enjoying the music this morning.  Here's wishing Gladys and John a happy 50th anniversary...")
• If it's the last break of your shift, and it's permitted, talk on the air with the DJ who hosts the next shift.  Provided you have at least a halfway decent rapport, you should be able to banter for at least 30 seconds about the music the next announcer will play or the topics his or her program will cover.  If you aren't allowed to banter that way, at least summarize what's coming up.  Give listeners reasons to stay tuned.  Hopefully, you'll elicit higher ratings and a chance to continue doing what you love.
• When all else fails, give a time check, a legal station ID, and mention what's coming up in mere moments, stretching slightly, if necessary.  (i.e. "It's 7:00 at WEW St. Louis, and it's time to get caught up on all the latest news from CNN...")

There shouldn't ever be a complete failure of imagination when you're on the air.  After all, there's always something to talk about.

Persistent earworm alert XIII

Ever since writing about Allen Toussaint's song, "Goin' Down," in yesterday's post, I've had a song by the same title running through my mind.  If you listened to soft rock radio regularly in the Spring of '82, you probably heard Greg Guidry's "Goin' Down," which is much more downcast, lyrically and instrumentally, than Toussaint's song.  Tonally, it falls somewhere between Foreigner's "Waiting For A Girl Like You" and Ambrosia's "You're The Only Woman."  Its intro also brings to mind a minor Alan Parsons Project hit, "I Wouldn't Want To Be Like You."  The tune, especially its chorus, "And I'm goooooooin' dowwwwwwn, for the last time," fit in perfectly on the radio at that time; I remember it being played a lot on adult contemporary stations here, especially KSLQ.  I don't think I've heard it on the radio since it was a hit, but for a brief time in the early '80s, it was the go-to hit for identifying with an overwhelmed protagonist.

FM dial scan highlights XLIV

Five of the more compelling selections I've heard this morning:

KDHX 88.1 FM

• A Break In The Clouds-The Jayhawks (Endearing, well-matched vocalists; this is a highlight of the "Smile" release.)
• Goin' Down-Allen Toussaint (Roy, the host of "Feel Like Going Home," made a strong choice here in memory of Toussaint, who passed away yesterday at age 77.  The saxophone glides along perfectly with the vocals in this infectious, uptempo tune.  Also recommended: "Working In The Coal Mine," which many articles have cited, and his version of "Cast Your Fate To The Wind," which Toussaint plays in the style of the Joe Zawinul-penned "Mercy, Mercy, Mercy.")

WSIE 88.7 FM

• Yardbird Suite-Vanessa Rubin (Tal Farlow's version is my favorite, as the tune is a great guitar instrumental.  Rubin and company prove that it also works well with vocals, keyboard, and a generous amount of space for saxophone.)
• Lotus Blossom-Andrea Brachfeld (Appealingly contemplative flute dominates this title track of Brachfeld's new release.  Also recommended: "What A Little Moonlight Can Do.")

K297BI 107.3 FM, a.k.a. KNOU-HD2 

• Ludwig van Beethoven: Wellington's Victory (Academy Of St. Martin In The Fields/Sir Neville Marriner, conductor) (An inspiring work appropriate for Veterans Day, including two of the classiest presentations of "For He's A Jolly Good Fellow" and "My Country, 'Tis Of Thee" I've heard.  Sound effects are incorporated tastefully and enhance the piece's ambiance.)

Now, look here, you orb!

This morning, for the fifth day in a row, I had to drive a route in which the sun made it difficult to see.  At one point, I shook my fist in the sun's general direction and said, "Don't do this again!"  Naturally, I realize that threatening the sun is futile.  It's cathartic, though, as B.J. Thomas proves.  In "Raindrops Keep Fallin' On My Head," he takes the sun to task, telling him he "didn't like the way he got things done, sleepin' on the job."  Once that's out of his system,  he's able to relax and admit that he's "never gonna stop the rain by complainin'."  And, so it is with the overly bright sun.  I knew that it was best to just mellow out "because I'm free.  Nothin's worryin' me..."

...Well, except for not being able to see whether the traffic light was red or green...

All hail the dolphin mediator...

The kindergarten counselor would walk in for her weekly session with the class, with Duso The Dolphin on one hand.  As the two of them approached, we'd all sing, "Hello, Duso.  How are you?"  At the end of the session, we'd sing, "Goodbye, Duso.  See you again."  During the session, Duso would impart wisdom to us about staying calm, treating others with respect, and not letting anger get the best of us.  Back then, I thought that the counselor had created Duso.  Years later, I learned that Duso was part of a national curriculum designed to teach kids about conflict avoidance and resolution.  Although it was a little disappointing to learn that Duso wasn't her original idea, I thought, "Why shouldn't there be hundreds of Dusos all over the country, teaching these lessons?  A dolphin, after all, is more appealing and less threatening to kids than the many hectoring adults they'll encounter during their lives.  A dolphin puppet also works as a sympathetic ear and lesson dispenser in any era--certainly more than any well-meaning yet corny theater troupe singing lyrics to kids such as, 'A peaceful resolution, that's what it's all about.  No need to raise your voices, no need to scream and shout.'"  (Granted, I've never heard anyone sing those exact lyrics, but they're not far removed from what I remember about school assemblies and Saturday morning TV shows aimed at kids.)  I don't know if counselors still use Duso puppets in kindergarten today, but it wouldn't be a bad idea if they did.

It's puzzling what stays in your mind, 39 years later.

An overlooked cover tune X

If you listen to Peter Mulvey's music, you'll notice that he's a generally serious singer-songwriter.  "Wings Of The Ragman" and "Better Way To Go" are two of the first songs of his that come to my mind.  Although there are some bits of humor, Mulvey, for the most part, pairs his introspective lyrics and imagery with acoustic guitar arrangements to match.  It surprised me, then, when listening to his CD, "The Trouble With Poets," to hear him cover Fats Waller's "You Meet The Nicest People In Your Dreams" so smoothly.  I never would have imagined Mulvey, or really, anyone besides Waller singing, "I've searched this universe over, from Wackenacksack to Dover, and now that we have met, how sweet it seems..."  I also didn't expect to hear a piano-and-trumpet melody transferred so gracefully to the guitar and mandolin.  There's a circus-like dancing bear quality to the tune that Waller and Mulvey both capture, which makes it work equally well in either genere.  It's unlike any other tune on "The Trouble With Poets," and Mulvey, to his credit, labels it as the album's intermission.  It's an inspired, unexpected choice.

Persistent earworm alert XII

It's not played on the radio today, but in 1980, Charlie Dore had a fairly big hit.  In "Pilot Of The Airwaves," she sings about a listener calling a DJ to request a song.  The listener calls this particular DJ because she has "been listening to your show on the radio, and you seem like a friend to me."  The caller isn't demanding.  In fact, she even sings, "You don't have to play it, but I hope you'll do your best."  The song is almost beside the point, as she says he can play "any record of your choice," provided that she hears him on the air saying, "This is for the girl who didn't sign her name.  Yes, she needs a dedication just the same."  Something about referring to radio shows as theater of the mind in yesterday's post reminded me of this song, and I've been thinking of it, especially its opening, "Pilot of the airwaves, here is my request...," ever since then.  A DJ has an interesting relationship with listeners.  Some of them think they know you because they've heard you so often.  Dore's one American hit captures this relationship accurately through its lyrics and sports a memorable, uplifting chorus about it that's hard to forget.

Maintaining one's illusion as a record fixer-upper

A memory of former St. Louis R&B station WZEN from the early '80s: I remember the announcer, Dr. Jockenstein, playing Bobby Womack's "If You Think You're Lonely Now," when it began to skip.  Jockenstein faded it out and started another record.  A little while later, he said on-air that a listener had called and asked him, "What are you going to do about 'If You Think You're Lonely Now?'  I've got to hear it!"  Jockenstein said he "went into the operating room and came back with this..."  Womack's tune started playing again, without skips.  I always liked that instead of just saying, "Here's an alternate copy of the tune that won't skip," "I changed the needle on the turntable," or "I switched to a different turntable," he stayed true to his on-air persona and maintained the theater of the mind that a radio show is supposed to provide.

FM dial scan highlights XLIII

Six of the stronger songs I've heard today:

KDHX 88.1 FM

• Stewball-Peter, Paul & Mary (A favorite ode to one fast racehorse.  Most listeners should recognize the melody, as it was used later in "Happy Xmas (War Is Over)" by John Lennon and Yoko Ono.)
• Next To You-The Carpettes (Universal power pop-style lyrics, with blistering guitar accompaniment.)

WSIE 88.7 FM

• Curacao (Live)-Janice Friedman Trio (Friedman anchors this swirling, uptempo number effectively on the piano; it's one of 2015's stronger jazz tracks.)

WFUN 95.5 FM

• Yearning For Your Love-The Gap Band (This is how you write and sing from the heart.  The in-no-rush instrumental intro sets the tone perfectly.  The vocals are sung with exactly the right amount of feeling and no over-the-top theatrics.)

KPNT 105.7 FM

• Lemon Eyes-Meg Myers (Forcefully sung and produced so it leaps out of the speakers and brings Haim's music to mind.)
• Jump Right In-The Urge (This was the song that garnered this St. Louis band national success.  If you like the feel of it, check out the second half of the band's earlier release, "Puttin' The Backbone Back," to get a full scope of The Urge's range.)

Online radio sampler highlights XXVI

Five gems I've heard tonight:

KBEM (Minneapolis, MN)

• Ponta de Areia-Esperanza Spalding (Engaging vocals and bass, both of which are customary for Spalding.  This is an excellent cover of a Milton Nascimento song in which the piano also shines.)

WFDU (Teaneck, NJ)

• Steppin' Out-Memphis Slim (A two-minute blues instrumental that swings; in a relatively short time, the piano, saxophone, and guitar all have their moments in the sun.)

WUMB (Boston, MA)

• I Am Waiting-Ollabelle (Well-matched female/male vocal harmonies on this cover of a Rolling Stones tune that doesn't get a lot of airplay today.  Lyrically, it seems that the protagonist--or antagonist, depending on your point of view--really wants to win this game of hide-and-seek.  If I thought it looked proper on the page, I'd insert a smiley emoticon at this point.)

WXYC (Chapel Hill, NC)

• Mine-Everything But The Girl (Tracey Thorn presents this tale of a woman relying on someone who is unreliable matter-of-factly and rather breezily.  Everything But The Girl excels at this type of presentation.)

WYCE (Grand Rapids, MI)

• Short Skirt/Long Jacket-Cake (The guy in this song has an extremely specific vision of the woman he seeks.  It's not as realistic, perhaps, as the vision Marshall Crenshaw describes in "Cynical Girl."  With a riff this catchy, though, I'd like to believe his quest will be successful--and mutually fulfilling for both people.)

Infallible opinions?

When I was in high school, I would sometimes ask friends to fill out music surveys I created.  I would ask them to grade various songs I'd heard, and I'd tally the results.  One friend, before filling out each survey, would tell me, supposedly jokingly, "And remember, I'm right."  His opinions about the songs, in other words, were supposedly the right ones and beyond dispute.  Naturally, he was being facetious.  Or, perhaps not...

A jaded student's voice-over gig #1

I was a senior in high school when the modern thought class teacher asked me to record the voice-overs for a slide show about existentialism.  I never took the class, but it involved reading books by Albert Camus and Jean-Paul Sartre and having philosophical discussions.  I don't remember much about the script, but I still remember the lines I read for the first and last slides.  "Modern life..." I read, sounding as weary as I could at 18, "...We live in a world that puzzles us, frustrates us, isolates us."  For the last slide, I read from the script, "And thus, we cry out."  I never saw the finished product.  Looking back, however, it amuses me that the English teacher had heard me on the intercom doing jazz band concert announcements I'd written, such as, "The jazz band will rock the earth tonight, and everyone's invited...Be advised, however, that the administration might ask you to help board up any geological rifts that occur in the auditorium," and thought, "Say, that's just the jaded voice that's needed for this slide show about despair and the futility of existence."

SiriusXM highlights XX

Standout selections heard since Friday:

'40s Junction 

• Satin Doll-Duke Ellington (One of the best jazz dance melodies ever recorded, with exactly the right proportions of elegance and power.)

The Coffee House 

• Don't Dream It's Over (acoustic)-Neil Finn (As strong as Crowded House's original electrified version is, it's a pleasure to hear Finn make it sound just as compelling acoustically.)

The Loft 

• Breakdown-Audra Mae & The Almighty Sound (Mae & company convey this Tom Petty song's grit in an effective cover.)

Real Jazz

• Dancing In The Dark-Bill Charlap & Renee Rosnes (Two pianos serve the song well.)
• If You Only Knew-Ray Brown Trio (Piano played with the grace and beauty of falling leaves or snow.)

Siriusly Sinatra 

• Autumn Leaves-Nat King Cole (One of the most elegant seasonal accompaniments a listener could choose.)

Symphony Hall

• Anton Bruckner: Symphony No. 4 in E-flat major, "Romantic" (St. Louis Symphony Orchestra/Hans Vonk, conductor) (Sweeping, majestic passages for horns and strings shine in this rendition.)

Watercolors

• After All-Al Jarreau (One of Jarreau's smoothest ballads.  Also recommended: the entire "Jarreau" album.)
• New Shoes-Mindi Abair (At first, I wondered if this was a sax-based cover of a Steely Dan tune.  It isn't, but given the complexity and originality of Steely Dan's music, it's good to hear Abair capture some of that band's spirit.)
• Sister Moon-Sting & Herbie Hancock (An already strong Sting song becomes even stronger, thanks to Hancock's contribution on the piano.)

Halloween music and radio musings

Rosie And The Witch Cats: These singers, featuring standout soloist Rosie, who could sing a double high C, were all the rage in 2006.  They started out singing for gourds.  As word of mouth (?) got around, they found success singing for humans.

Although Poltergeist Sammy's expression might suggest otherwise, he'd really like to hear soothing, tasteful Halloween music, such as Vince Guaraldi's "The Great Pumpkin Waltz."

Some music and radio-related Halloween memories and thoughts:

• I won my first prize from a radio station in 1982.  For being the designated caller, I won a bag of Halloween candy from KADI.  I shared some of it with family and friends, as there was no way I could eat that much candy.  That victory started me thinking, "If all you have to do is be a certain caller or answer a trivia question correctly, that's not a bad return from a radio station.  I'm surprised more people don't do this."  This started me on a decade-long run of calling in and winning CDs, concert tickets, and small amounts of cash from various stations.  When I worked at radio stations in college and professionally, I thought it was fun to answer the request line and say, "You're caller one.  Please try again," "You're caller two.  Please keep trying," and then, finally, "Congratulations!  You're caller 10!  You win!"  This only backfired once, when the engineer at one station happened to be the designated caller; he wasn't aware a contest was going on and said he wasn't eligible to win. 
• I remember listening to a husband-and-wife DJ team broadcasting a program of Halloween music and stories in the '90s.  Once, the husband got a little too into his ghoulish character and said on-air, "I've got some nice apples with razor blades in them!"  His wife, in a tone of voice that only a wife can use effectively with a husband, broke character and asked, "Now, why did you say that?"  Although it was clear he wasn't serious, I don't blame her for questioning his judgment.
• During my last Halloween trick-or-treating, an older, brazen kid ran out of the bushes and stole a friend's candy sack.  Shortly after this, the rest of us flagged down a police car.  The officer sympathized with my friend and said, "I've got a lot of candy in my patrol car you can have.  The only problem is, I don't have a bag or anything to carry it in."  Fortunately, another friend had dressed up as a musician, so the officer put the candy in this friend's saxophone.    
• I have yet to hear Shivaree's "Goodnight Moon" on any radio station or music service this year.  That's a shame, as its vibe screams Halloween right from the first note.
• Need a continuous loop of Halloween sound effects?  Try putting track 42, "Owl/Wind," from the 1992 release, "Sony Music Special Products: The Complete CBS Audiofile Sound Effects Library," on repeat. 
• During my freshman year, my college orchestra presented a Halloween concert.  The plan was to show "The Sorcerer's Apprentice" from the Disney movie, "Fantasia," with the sound turned down, as we played the music.  Earlier in October, the conductor told us that the movie had been checked out of the college library, and he wasn't able to find anyone who had a copy of it.  The orchestra watched a potential alternate version of the movie, in which an artist drew the story in time to the music, while clicking her heels periodically.  Looking back, "Mystery Science Theater 3000" could have had fun with it.  The conductor sat silently during the screening.  At the end of it, he turned to the orchestra and said, "We're not showing that."  Fortunately, he was able to obtain a copy of the Disney version in time for the concert.
• Undoubtedly, some people will watch multiple episodes of "The Twilight Zone" today.  Although some viewers will look to be frightened or unnerved, my favorite episode of the series, "A Passage For Trumpet," offers its protagonist a huge ray of hope.  Jack Klugman stars as Joey Crown, a down-on-his-luck trumpet player, who thinks he doesn't want to live anymore and steps in front of a truck.  Luckily, he's given a second chance at life and finds it worth living, after all.  In real life, if a close call and lucky break like that couldn't make a musician play--and live--with feeling, I don't know what would.

Here's wishing everyone an enjoyable, safe Halloween.  Here's hoping there's a place for music in it.

An eccentric misunderstanding

Years ago, in my high school yearbook, there was a photo of a saxophonist from our jazz band.  The caption said he was playing "Witchopera's Bowl."  When I read that, I thought, "I'm in the jazz band, too, and I don't remember playing a tune called 'Witchopera's Bowl.'"  Then, it dawned on me.  The tune was actually "Woodchopper's Ball" by Woody Herman, which we did play.  The caption writer apparently misheard the song title.  To me, "Witchopera's Bowl" sounds like an avant garde production you'd see acted out on "Whose Line Is It Anyway?" I can just imagine a candy dish coming to life and singing melodramatically to trick-or-treaters.  (i.e.  "You're taking twice as many Snickers as anybody else!  For shame!  For shame!  They'll make your stomach ache!")  Of all the ways that song title could have been misheard, I thought that was especially unusual.

KCOU playlist flashback: Blues 101--10/29, 30/92

I always liked that KCOU's "Blues 101" closed out one day of the week and kicked off another.  When KCOU DJs hosted specialty shows, such as "Blues 101," they were allowed to choose a featured artist to play throughout the show.  John Mayall, whose influence on the British blues scene was considerable, was my featured artist on this night 23 years ago.  This was the first time I filled in as the host of "Blues 101," and, of all the playlists I assembled for that show, this was my favorite:

   1.  Red Sky-John Mayall (#)
(The tune's intro alone made it an ideal leadoff track for the show.)
   2.  Country Road-John Mayall (#)
   3.  Stormy Weather-Doc & Merle Watson
(Everyone from Lena Horne to Jeff Lynne has recorded "Stormy Weather."  I have yet to hear an off-putting version of it, and the Watsons don't disappoint.)
   4.  Something On Your Mind-Professor Longhair
   5.  That's Why I'm Crying-Koko Taylor
(Taylor sings with just the right balance of power and delicacy here; it's difficult not to feel her anguish.)
---
   6.  Creeper Creeps Again-James Cotton (*)
(I was glad a listener requested this, as its seven-minute sustained uptempo harmonica groove is impressive.  If I'd played it on a freeform shift outside of "Blues 101," I probably would have segued it with Lynyrd Skynyrd's "I Know A Little.")
   7.  Evans Shuffle-Muddy Waters (*)
(A cool, steady, midtempo harp number.)
   8.  Away Down In The Alley Blues-Lonnie Johnson
   9.  The Laws Must Change-John Mayall (#)
(This is a level-headed approach for a progressive fixer-upper to take.)
 10.  Play The Harp-John Mayall (#)
(This is my favorite Mayall tune; try getting this riff out of your mind once you hear it.)
---
 11.  Tell It To The Gov'nor-Bela Fleck & The Flecktones (*)
(All players have ample room to solo on this one in concert.)
 12.  Life Ain't Nothing But A Party-B.B. King
 13.  Till The Morning Comes-Big Twist & The Mellow Fellows
 14.  I Believe I'll Dust My Broom-Robert Johnson
 15.  Mean Old Bedbug Blues-Bessie Smith
---
 16.  Chicago Line-John Mayall (#)
 17.  A Hard Day's Night-John Mayall (#)
(I wouldn't have expected Mayall to tackle a Beatles tune this way, but it works.)
 18.  Driving Till The Break Of Day-John Mayall (#)
(The blues intersect with jazz here, thanks to a successful blend of guitar and horns.  This set moves backwards through Mayall's immense discography, starting in 1988, going back to 1976, and ending in 1973.)
---
 19.  Hot 'n' Cold-Albert Collins
(As I wrote last year, this is from one of the most consistent albums of blues instrumentals, "Truckin' With Albert Collins."  This uptempo track could work with Chuck Berry vocals on it, but it's already strong as it is.)
 20.  Ten Years Ago-Buddy Guy
 21.  Rain-Little Charlie And The Nightcats
 22.  The Sky Is Crying-Lightnin' Slim
(Appropriately, the tune perks along in its own good time, allowing each soloist to have a say.)
---
 23.  The Bear-John Mayall (#)
 24.  Down In The Slums-Curtis Jones
 25.  Black Cat Blues-Memphis Minnie
---
 26.  Sunshine-John Mayall (#)
(An unfortunately overlooked track in Mayall's canon; I liked the way it ended "Blues 101" on a fast flourish.)

(#) indicates a track by the featured artist, John Mayall.
(*) indicates a listener's request.
--- indicates a station break between songs.

Stingray Music highlights XI

Some of the better selections I've heard today:

Adult Alternative

• Walk In The Sun-Bruce Hornsby (Some of Hornsby's most poignant lyrics, brought home with excellent punctuation on the piano.)

Baroque

• Francois Couperin: Treizieme Concert, joue a deux violes (Henry Purcell, Kevin Mallon, Aradia Ensemble & Margaret Little) (An engagingly subtle, quiet work for strings.)
• Lorenzo Zavateri: Concerto Duedecimo a Tempesta di Mare (Freiburg Baroque Orchestra/Gottfried von der Goltz, conductor) (In contrast to Couperin's piece, this is a more boisterous work for strings, seemingly influenced by Bach.)

Chamber Music

• Edvard Grieg: Violin Sonata No. 2 in G major, Op. 13-II. (Ivan Zenaty & Antonin Kubalek) (An expressive, lyrical performance by violin and piano of an emotional movement.)

Cocktail Lounge 

• Caper At The Coffee House-Warren Barker (Does anyone else hear a "West Side Story" vibe in this instrumental?)
• I Like London In The Rain-Blossom Dearie (This is perhaps Dearie's most appealing song; her voice floats above appealing jazzy, orchestral underscoring.)

Folk Roots

• Rough Edges And Ragged Hearts-Linda McRae (An honest alto voice conveys moving, universal sentiments.)

Jazz Masters

• Under A Blanket Of Blue-Coleman Hawkins (Elegant, sublime saxophone, ideal for late-night listening.)

New Age

• Yodel 1-Penguin Cafe Orchestra (Repetition of a musical undercurrent isn't necessarily a bad thing, particularly with this selection of instruments layered on top.)

SiriusXM highlights XIX

Standout tracks heard since Sunday:

1st Wave 

• Breaking Us In Two-Joe Jackson (Somehow, the somewhat off-key singing makes the vocals all the more sincere.  This also happens just as effectively on the early version of "Sentimental Lady" Bob Welch sang with Fleetwood Mac before rerecording it as a solo hit.) 

'40s Junction

• Till Then-The Mills Brothers (Pure class, from start to finish.  Vocally and instrumentally, the tune has an appealing feel that predates the doo-wop style of the '50s.)

'60s On 6

• The Enchanted Sea-The Islanders (How many instrumentals can you name offhand that incorporate the accordion, whistling, and backing vocals so naturally?  This is one such tune that's simultaneously eerie and comforting.)

'80s On 8

• Take It Away-Paul McCartney (One of McCartney's best solo hits; it sounds endearingly of its time and, unfortunately, doesn't get much airplay today.)

'90s On 9 

• Shimmer-Fuel (One of the strongest examples of good hard rock from the '90s; it illustrates Robert Frost's observation, "Nothing gold can stay," convincingly through powerful vocals, crashing guitar, and strings.)

The Bridge

• Carefree Highway-Gordon Lightfoot (As Greg Kihn sang, "They don't write 'em like that anymore.")
• Moonshadow-Cat Stevens (Considering that the protagonist is contemplating the possibility of falling apart bit by bit, his outlook is astonishingly cheerful.  Few people would look on the bright side to this extent.) 

Chill 

• Today-Zero 7 (Contemporary yet futuristic in its vocals and instrumental backing.)

The Coffee House 

• I Can't Forgive You-Rebecca Pidgeon (The ease with which Pidgeon sings such seemingly carefully considered lyrics makes them sink in all the more.)
• Lowdown (acoustic version)-Boz Scaggs (It's interesting to hear such a well-known hit slowed down and sung more contemplatively.) 

The Loft

• Can't Find My Way Home-Alison Krauss (Krauss covers this Blind Faith tune effectively by staying true to the feel and phrasing of Steve Winwood's vocals.)

Real Jazz

• Stella By Starlight-Robert Glasper (It's a tribute to Glasper that he can put a contemporary spin on a well-covered jazz standard and make it sound fresh.  It's a tribute to the song that it holds up so well in this incarnation.) 

Siriusly Sinatra 

• On The Sunny Side Of The Street-Willie Nelson (This rendition features a light, breezy touch on piano and vocals, entirely appropriate for the song.)

Watercolors

• Benny-David Sanborn (One of Sanborn's best soulful saxophone wails.  I always looked forward to playing it on KNJZ.)
• You Know What It's Like-Gabriela Anders (Anders is an easy-on-the-ears singer, with a smooth jazz/Brazilian style.  In fact, her entire "Wanting" CD is a pleasure to listen to continuously.)