Two compelling versions of "On The Beach"

Chris Rea, best known for the hit "Fool (If You Think It's Over)," recorded a strong track suitable for late-night listening.  "On The Beach" is an album title track.  A repeated five-note phrase gives the song its atmosphere, and Rea's low-pitched vocals maintain a reflective mood.  When I was at KNJZ, we played the fast version on a best-of compilation.  I was surprised to find, a few years later, that the original version on Rea's 1986 album is considerably slower but no less captivating.  I haven't heard either version on the air in years, but if you'd like to be transported back to a comforting place or time, both versions are worth your time.

Sparking a forgotten earworm memory

In my previous post, "One priority of a good chorus teacher," I mentioned some of the enjoyable pop songs my sixth grade chorus class sang.  There was another song we sang that I'd forgotten about until just recently--"Elvira" by The Oak Ridge Boys.  This was the one country song our class sang, and the memory of it makes me smile--and cringe a little.  Looking back, it's funny to remember our sixth grade class singing, "Giddy up, oom poppa, oom poppa, mow mow," while Mrs. B. played the piano.  I can't deny that the song's hook is memorable, though.  True to my word in another recent post, I listened to it in its entirety during "American Top 40"'s 1981 year-end countdown.  After all, there was a ranking attached to it, and that made it more compelling.

Online radio sampler highlights XVI

Standout selections heard this afternoon:

WHRW (Binghamton, NY)

• Fly Me To The Moon-Shiro Sagisu (Strong female vocals backed by soaring orchestral accompaniment.)
• Solid Gold-Keith Mansfield (Just as Chuck Mangione's "Give It All You Got" is perfect Olympics theme music, "Solid Gold" is ideal theme music for any action-packed sports broadcast or highlights show.)

WRCT (Pittsburgh, PA)

• Martini Time-The Aqua Velvets (How Marshall Crenshaw or Shadowy Men On A Shadowy Planet might sound if they recorded an album of surf instrumentals; it was good to hear this track from '95.)
• Georgy Girl-Prabha Devi (Naturally, when you hear this oldie by The Seekers, you probably think, "This is a sitar instrumental waiting to happen."  Wait...You don't think that?  Give this version a listen; it might convince you.)

WUCF (Orlando, FL)

• Beautiful Love-Frank Potenza (A fine tribute to the music of understated guitarist Joe Pass.  The entire CD, "For Joe," is recommended.)
• Jammin' In The Boro-Larry Douglas & Jorge Pineda Alltet (Appealing uptempo trumpet and ensemble playing with recurring vocals.)

WUKY-HD3 (Lexington, KY)

• Things Are Getting Better-Cannonball Adderley (Adderley leads a swingin' ensemble in a tune reminiscent of "I'm Beginning To See The Light.")
• All Or Nothing At All-Denise Donatelli (Smooth, sultry vocals.)

Persistent earworm alert III

Over the past week, Billy Preston's song, "Will It Go Round In Circles," has gone through my mind repeatedly.  It isn't a bad song to have stuck in one's mind.  There's a catchy chorus, some cool keyboard and harmonica playing, and an arrangement that's unlike any other.  I'm not sure why it has come to mind so much, but it might be a flashback to KARO, the former oldies station I listened to when I was in college.  Preston's song used to come up on KARO fairly often back then, along with "Betcha By Golly, Wow" by The Stylistics and Michael Murphey's "Wildfire."  I'd hear that opening piano lick and "I've got a song, I ain't go no melody...," and I had to listen until the song was over.  Looking back, it was one of the better hits of the '70s.

The allure of song rankings

It's odd how putting a number on a song sometimes increases its allure.  I think back to my radio countdown listening habits in the '80s and early '90s.  In the early '80s, I would listen to all four hours of "American Top 40," jotting down the name, artist, and ranking of each song.  In later years, I latched onto year-end radio station countdowns and top-rock-songs-of-all-time surveys.  Songs that I would have flipped past or turned off under any other conditions had to be endured, at least fleetingly, or my listening experience would have felt incomplete.  I kept wanting to find out, "What song is next?  Is it a song I like?  Will its ranking be higher or lower than I would have guessed?" 

Admittedly, a "my world is the world" bias would sometimes creep in as I listened.  As a kid, I would sometimes think, "That song is number one this week?  More people bought and/or listened to that song than any other?  How is that possible?  The vocals are grating, and there are so many better songs in the countdown and others that didn't even make the countdown.  Besides, none of my friends or family members like that song."  A few seconds later, I would concede, "Then again, we're one small sample of listeners in just one of the many cities surveyed."

Looking back, I had no idea how those rankings were tabulated.  In some cases, I knew, in general terms, but I didn't know the specifics.  If the countdown was based on sales, how many record stores were contacted?  Did the record store workers providing the data provide exact sales figures or approximations based on memory?  When the rankings also factored in how often songs were played on the radio, how was that tracked?  Did the number of times listeners requested a song factor into the rankings?  For local radio station countdowns, was it strictly a matter of ranking songs based on how many listeners listed them as favorites?  How were ties handled?  One station, for instance, would have an annual top 500 rock songs countdown.  Many years, the top-ranked song was Led Zeppelin's "Stairway To Heaven" or The Who's "Won't Get Fooled Again."  Was that top ranking based on a survey of local listeners or national listeners, or was it simply the collective opinion of station staffers?  One local station in the mid '80s put a refreshing disclaimer on the jazz albums countdown it sent to record stores.  The fine print said that the rankings were based on sales and the station "music staff's judgment of each album's appeal."  Another radio station that provided weekly countdowns to record stores then printed on each survey, "Rankings are based on sales and requests only, not rotation."  In other words, the rankings didn't necessarily reflect how often the station played each song.

The lesson here?  Perhaps it's best to just sit back and enjoy the music, without getting too caught up in the methodology.

Shuffle mode results XX

The latest lineup of tunes played in my iTunes library shuffle mode:

   1.  Mas Que Nada-Walter Wanderley
(A brisk, uptempo whirling dervish of an instrumental.)
   2.  Patio Swing-Hot Club Of Detroit
(Saxophone, guitar, and accordion conjure up the feel of a Summer night in the patio swing; a pleasant instrumental.)
   3.  Just A Chance-Badfinger
(Badfinger has had garnered a lot of positive press for being a standout power pop group.  The tight, guitar-heavy feel of this track shows the band's way with a catchy hook.)
   4.  Satin Doll (Live)-Chicago
(A bonus track of a great jazz standard on the reissued version of "Chicago VIII."  The horn section shows its commendable jazz/lounge chops.)
   5.  Born At The Right Time-Erin Bode
(A movingly sung cover of the Paul Simon tune.)
   6.  Sting Ray And The Beginning Of Time (Pt. 4)-Exploding Star Orchestra
(Atmospheric, spacy, and true to its title.)
   7.  The "In" Crowd-Gregory Porter
(Ramsey Lewis shows how cool this melody is, instrumentally.  Gregory Porter shows how cool it is, vocally.  Also recommended: Marshall Crenshaw's interesting midtempo cover.)
   8.  Why Does The Wind?-Tracey Thorn
(If you like the wistful feeling of Everything But The Girl's "Missing," you might also like EBTG singer Thorn's singing here against a synthesized backing.)
   9.  Bozajte me-Brina
(This Slovenian singer caught my ear on a BBC program about a decade ago.  Her voice, and the track's spirited fiddling, got my attention.)
 10.  On Eagle's Wings-Thomas Jones
(A tasteful piano rendition of a hymn that the congregation at my former church used to sing over 30 years ago.)
 11.  Shiver And Shake-Albert Collins
(Ear-catching blues guitar and saxophone convey a '50s rock/'60s surf music feel.)
 12.  El-Ray Blues-Ellis Marsalis
(One of the slickest numbers by any Marsalis; piano and bass are in fine form here.  The entire "Heart Of Gold" CD, from which this emanates, is well worth the money.)
 13.  Horses-Artie Traum
(A relaxing, uptempo piano, guitar, and flute piece that brings The Rippingtons to mind.)
 14.  I Found A Road-The Kennedys
(Maura and Pete deliver the optimistic, uplifting goods once again.)
 15.  It Ain't Easy-Abigail Washburn & The Sparrow Quartet
(For fans of The Be Good Tanyas...)
 16.  Feel-Big Star
(It's amazing, with songs this tuneful, that this band didn't have the commercial success it deserved in the '70s.)
 17.  Dance Away-Roxy Music
(The band's most accessible uptempo track; I'm surprised this wasn't played on the radio more often.)
 18.  August Day Song-Bebel Gilberto
(A hypnotic vocal that might draw you in...)
 19.  Waltzing Matilda-Dan Zanes & Debbie Harry
(An unexpected vocal collaboration that clicks; it's difficult not to smile as you listen.)
 20.  Energy Spent-Liam Finn
(Presenting a lyrical defense of Nietzsche's expression, "That which does not kill us makes us stronger...")
 21.  Red Red Robin (WNEW "Easter Tapes" version)-Steve Goodman
(It's great to hear Goodman's voice and vigorous guitar come to life on possibly the best version of this tune I've heard.)

FM dial scan highlights XXX

Among the best tracks played this morning:

KDHX 88.1 FM

• Pink Moon-Nick Drake (The title track and most accessible tune from Drake's bare bones, voice-and-a-guitar album.  Recommended for Memorial Day: "Day Is Done" and "Time Has Told Me."  Recommended for frequent, repeated listening: The first four tracks on Drake's "Bryter Layter" album--"Introduction," "Hazy Jane II," "At The Chime Of A City Clock," and "One Of These Things First.")
• The Wind-Cat Stevens (Lyrically and instrumentally appropriate for Memorial Day; poignant, solemn, and concise.)
• Save Me-Aimee Mann (Mann excels at this type of stark, honest songwriting.  I can't imagine anyone else singing these lyrics as effectively as she does.)

WSIE 88.7 FM

• Sack Of Woe-Elizabeth Shepherd (I was surprised to hear this 2012 track on WSIE because it's on the border between jazz and rock.  Vocally, it's a cool, controlled tale of the protagonist's misery.  Instrumentally, it reminds me of Steely Dan's "Babylon Sisters.")
• Bowing To Bud-Eliane Elias (Faithful to the spirit of Bud Powell; it's an Elias piano instrumental I'd add to my recommendations from last Tuesday.)

KSHE 94.7 FM

• Fool In The Rain-Led Zeppelin (The band's best song, in my opinion, due in no small measure to a great skipping, shuffling piano part.)

WFUN 95.5 FM

• Wake Up Everybody-Harold Melvin & The Blue Notes (The band's most inspiring hit, to my ears; noble lyrics about having one's priorities in the right order and making the world better.)
• I Like It-DeBarge (Not every singer could pull this off, but El DeBarge sings in the glass-shattering stratosphere, and it works especially well here.)

A thoughtful song for a somber holiday

Because Memorial Day is intended to honor those who have passed away, I won't say, "Happy Memorial Day," tomorrow.  Instead, I think it's best to think about those who have passed on and be thankful for your positive moments with them.  Fleetwood Mac's song, "Dust," captures the finality of death.  It's a Danny Kirwan song on the "Bare Trees" album that isn't usually played on the radio.  It isn't intended to be a concert number that has people on their feet, singing along, "When we are dust, When we are dust..."  Instead, it's a thoughtful, somber song that makes you think about how lucky we are to be here and how fleeting life is.  In honor of Memorial Day and those who are no longer with us, I'll listen to it tomorrow.

A good reminder at any age

I still remember the first week of sixth grade art class.  Mr. G. prefaced the "Free To Be...You And Me" films he was about to show with, "These films have nothing to do with art; they're about how I think people should be treated."  Thus began several days of watching the Marlo Thomas project, featuring various '70s singers and actors, in songs and other features about treating adults and other kids with respect.  I still think it was a good idea to start class with those films.  Civility is important at any age.  Grade six, however, is an especially good time to get that reminder across through songs and sketches that aren't preachy or hectoring.

Shuffle mode results XIX

Here's what came up when I set my iTunes library on shuffle mode today:

   1.  Rattlin' Bog-The Irish Descendants
(Frank McCourt discusses teaching one of his English classes this folk song in Teacher Man.  The song's lyrics build on themselves and get progressively faster, and the song becomes increasingly challenging to sing, as a result.)
   2.  You Can Be Sure-Peter Frampton
(WVRV used to play Frampton's comeback tune; other stations should have followed suit.  Note the brief "Sail On," Commodores-style guitar lick early in the tune.)
   3.  Janet-The Commodores
(Speaking of The Commodores, can you recall the last time you heard this song on the radio, if ever?  I never heard it on the air after 1985.  A good teen angst tune with a good hook.)
   4.  Praise-Aaron Parks
(A tasteful, subtle piano piece.)
   5.  Move Up-Patty Griffin (featuring Ann McCrary, Regina McCrary, Jim Lauderdale, and Buddy Miller)
(An uplifting view of Heaven; a highlight of Griffin's "Downtown Church" release.)
   6.  Our Flag Was Still There-John McCutcheon
(A well-sung tune, fit for Independence Day.)
   7.  Midnight Rider ("Live At The World Cafe, Vol. 18" version)-The Allman Brothers Band
(A strong acoustic version of the band's 1974 hit.)
   8.  Strawberry Letter 23-Shuggie Otis
(The original version of the song most listeners know as a hit for The Brothers Johnson; a slightly subtler but no less effective take on an unusually structured set of lyrics.)
   9.  Out On The Road-Norah Jones
(A good road trip tune; it's a different sound for Jones and a highlight of the "Little Broken Hearts" CD.)
 10.  Send Your Love ("Live At The World Cafe, Vol. 18" version)-Sting
(A powerful live version and yet another highlight of "...Vol. 18.")
 11.  I'm Fine-Patty Larkin
(A singer-songwriter who consistently releases quality work, as exhibited here.  Also recommended: "Dear Diary.")
 12.  Bird Song-The Wailin' Jennys
(What might it be like to experience life as a bird or a flower?  The Wailin' Jennys answer this thoughtfully.  Also recommended: "One Voice.")
 13.  Sadhbh Ni Bhruineallaigh-Solas
(There's an appealing wandering minstrels quality in this inviting Celtic tune; the breathy vocals make it all the more effective.)
 14.  Tiger-Noel Paul Stookey
(An appealing track from one-third of Peter, Paul & Mary about finding guidance from above that isn't preachy.)
 15.  Holiday ("Live At KDHX, Vol. 5" version)-Erin Bode
(It's no wonder that Bode often begins her concerts with this song, as it's one of her best tracks.  She conveys "a caution underneath the yellow moon" particularly well in this version.)
 16.  Days Of Wine And Roses-Andre Kostelanetz & His Orchestra
(Lush strings and harmonica; an easy listening style from a bygone era.)
 17.  Country Song-Carolbeth True
(An engaging, uptempo smooth jazz instrumental from this St. Louis talent.)
 18.  Snowbird-Catherine MacLellan
(The daughter of "Snowbird"'s author, Gene MacLellan, pulls off an impressive cover of the tune that was a big hit for Anne Murray.)
 19.  The One And Only-Chesney Hawkes
(A fun 1991 hit about staying true to yourself that isn't played on the radio today.)
 20.  After The Lights Go Down Low-Al Hibbler
(Before the ballroom closes for the evening, here's one more encore...)

Unexpected meal music

I heard the most unexpected background music at a cafe in the early '00s.  Near the end of the meal, Frank Zappa's "Who Are The Brain Police?" started playing over the sound system.  I have to respect that; that's a cafe truly committed to following its own vision.

Online radio sampler highlights XV

Noteworthy selections I heard this morning:

KBEM (Minneapolis, MN)

• Four On Six-Wes Montgomery and Wynton Kelly Trio (Solid, straight ahead jazz guitar and rhythm section; as usual, it's a captivating recipe.  Also recommended: "Polka Dots And Moonbeams.")

KCOU (Columbia, MO)

• People Everyday-Arrested Development (Savant Garde altered tapes rework version)  (Everything old is new again.  I played "People Everyday" on KCOU when Arrested Development released it originally.  It's great to hear an equally compelling version that combines the Sly & The Family Stone influence with the feel of Bibio's "Lovers' Carvings" and Swing Out Sister.)
• Gimme All Your Love-Alabama Shakes (Brittany Howard doesn't hold back on emoting here; between powerful players and a powerful lead singer, the band conjures up an old-school soul effect.)

KCR (San Diego, CA)

• Everybody Else-The Gatsby Affair (A solid guitar-based indie rock track with a good sing-along hook.)

KDVS (Davis, CA)

• Everything Means Nothing To Me-Elliott Smith (An understated voice and a guitar; no embellishments are needed.  Also recommended: "Son Of Sam.")
• Colors And The Kids-Cat Power (An understated voice and a piano; no embellishments are needed.  Also recommended: "The Greatest.")

KUNV (Las Vegas, NV)

• Fuego-Mark Barrios (A new smooth, uptempo jazz guitar track with a Santana flavor.)

WOMM (Burlington, VT)

• Sacred Space-Al Conti (A pleasant instrumental that stands on its own or works as new age bumper music.)

WPKN (Bridgeport, CT)

• Ramblin' Rose-Nat King Cole (Easy listening and country elements blend effectively in this 1962 hit...)
• When My Little Girl Is Smiling-The Drifters (...And the DJ's salute to 1962 continues in this seldom-played Drifters hit.  If you like the feel of the band's earlier hit, "Save The Last Dance For Me," this tune will probably agree with you, as well.)

FM dial scan highlights XXIX

Among the best tracks I heard last night and this morning:

KDHX 88.1 FM

• Jackrabbit (Live @ KDHX)-San Fermin (Charlene Kaye's strong lead vocals grab the listener immediately in this energetic title track from the band's new indie release.  Adventurous instrumentation, particularly in the horn and string arrangements, dominates the song, as well.)
• Feast-Famine-Surfer Blood (A well-crafted blend of vocals, guitar, and drums; a highlight of the band's new "1000 Palms" release.)

WSIE 88.7 FM

• That Old Feeling-Eliane Elias (Everything Elias sings and plays goes down easily, and Randy Brecker's trumpet playing is a good tribute to Chet Baker.  Another recommended track for fans of Eliane Elias vocals: "We're So Good."  Recommended for fans of her piano playing: the "Fantasia" and "A Long Story" CDs.)
• Song For My Father-Horace Silver (Steely Dan picked a strong melody to use as a springboard in "Rikki Don't Lose That Number.")

WFUN 95.5 FM

• Love Come Down-Evelyn "Champagne" King (It's a pleasure to hear an '80s groove that doesn't wear out its welcome.)

No need for a helicopter, then...

From an actual traffic report on an FM station I won't name: "I'm guessing all the roads are good."

Why bother to look at the roads when you can just give listeners your best guess instead?  Fortunately, the station didn't approach weather forecasts that way.  I can just imagine..."Cloudy or sunny skies today, with a high temperature in the cold, cool, warm, or hot range, and a possibility of rain--or not."

One pitfall of upselling music

A former radio station co-worker told me that he'd worked at a record store in the early '90s.  The manager was insistent that the cashiers monitor the customers closely and recommend additional recordings based on their buying and browsing habits.  (i.e.  "I see you've chosen Kenny G's new CD.  Did you know that Dave Koz also has a new release out?")  While this routine undoubtedly increased the store's bottom line more often than not, I imagine it must have resulted in some rather awkward exchanges, such as:

Cashier:  So, I see you've chosen "Absolutely Authentic Sound Effects, Volume 7."  Do you know about "Perfectly Realistic Sound Effects, Volume 10?"
Customer:  Does that have Ferris wheel sound effects?
Cashier:  Um...I'm not sure.  Let me check.  (Looking at track listings:)  Yes!  Actually, it does.
Customer:  How much crowd noise is there?
Cashier:  I'm sorry, I don't know.  Would you like to sample it at one of our listening stations?
Customer:  Well, I'm in kind of a hurry.  I might listen to it some other time, though.  I'm all about the authenticity, so the ambiance needs to be just right.
Cashier:  So you're looking for screams, shouts, and laughter from the people on the ride?
Customer:  Within reason.  Their reactions need to sound genuine, not contrived.
Cashier:  OK, I'll ring up "...Volume 7" for you, then.
Customer:  Thanks.

Upselling: It's an effective revenue enhancement technique for any store--at least part of the time.

In memory of Jim Henson

On this day 25 years ago, the world lost a giant creative force in Jim Henson.  I still miss Henson's ability to create worlds and inhabit them so fully and imaginatively.  Music was a key component in the success of "The Muppet Show" and the continued success of "Sesame Street."  "Bein' Green" and "Rainbow Connection" are among the most moving and heartfelt songs performed by The Muppets, while "Mahna Mahna" is a great example of their whimsical side.  Four tunes that also deserve their due as songs and Muppet recordings are:

• Coconut-Kermit, two nurses, and a doctor (An aching flipper led poor Kermit to see all sorts of things that weren't there; one of the most enjoyable "Muppet Show" performances and a clever cover of the Nilsson song.)
• Mr. Bass Man-Scooter & Floyd (Floyd, the bass player in Dr. Teeth & The Electric Mayhem, is Mr. Bass Man in this Muppet performance, while Scooter is the aspiring bass singer.  A strong cover of Johnny Cymbal's song; it impressed me that KARO, the former oldies station in Columbia, Missouri, used to play Cymbal's song when I was in college.)
• New York State Of Mind-Rowlf The Dog (From the album, "Ol' Brown Ears Is Back."  Rowlf, via Jim Henson, pulls off an impressive rendition of this standard.  Rowlf always struck me as the coolest, laid-back Muppet.  It would have been good to have seen more of his piano playing incorporated into "Muppet Show" sketches.)
• The Peace Carol-John Denver & The Muppets (My favorite track from a strong Christmas album; it truly conveys "the light that shines for all to see, the peace of Christmas Day."  KYKY's "36 Hours Of Christmas" wasn't complete for me until I heard this.)

I also want to mention a performance that warrants a special section.  One of the most effective "stop and think before you act" performances I've ever seen is The Muppets' take on Buffalo Springfield's "For What It's Worth."  As the world becomes increasingly divided politically, it's a performance--and a song--worth taking to heart.

In memory of B.B. King

After the passing of blues legend B.B. King last night, many fans have cited his hit, "The Thrill Is Gone," as one of his best recordings.  In addition to "The Thrill Is Gone," these are some of his best tracks, in my opinion:

• Early Every Morning (A wise way to greet each new day--looking to the future with each sunrise.)
• I'd Rather Drink Muddy Water (King emotes effectively in his 1965 rendition; the Lou Rawls version from three years earlier is also recommended.)
• Life Ain't Nothing But A Party (One of King's stronger slow numbers; this was the song, after "The Thrill Is Gone," that got my attention.  While it's not meant to be taken literally, it's a good reminder to ease up and not take life quite so seriously.)
• Stop Leading Me On (To the point, lyrically; Joey DeFrancesco does a good cover of it.)

Kudos to KDHX's Steve Pick for playing "3 O'Clock Blues" during his tribute set to King this morning, as it's one of King's best-sung and best-played songs.  King's legacy as a songwriter, vocalist, and guitarist spans decades, but that 1951 track is among his best work.

Good segue for an album rock station

I've never heard any radio station or music service play these songs back to back, but I think "No More Looking Back" by The Kinks segues well with Fleetwood Mac's "Brown Eyes."  "No More Looking Back" doesn't get played often today, as it's the "You Really Got Me" sound that album rock and oldies stations still play.  It's a good track, however, about having to leave the past in the past.  "Brown Eyes" has a unusual arrangement for a Christine McVie song; the keyboard part and vocals convey a sense of mystery.  As with other songs on the "Tusk" album, it doesn't sound like what you'd expect from Fleetwood Mac.  These are two good, somewhat overlooked '70s tracks that would fit well together on any album rock station.

FM dial scan highlights XXVIII

Among the stronger selections I heard this morning:

KDHX 88.1 FM

• I Am The Night-Amelia Curran (Subtle vocals and a guitar; I can't dislike that.  I wonder if Curran heard John Gorka's "Raven In The Storm."  Lyrically, this sounds like the opposite of "Raven...")
• When You Comin' Home-Gretchen Peters featuring Jimmy LaFave (A direct, effectively sung duet from Peters' February release, "Blackbirds.") 

WSIE 88.7 FM

• Cityscape-Dana Landry Trio (Landry plays piano that swings, and her trio includes a solid  rhythm section of Erik Applegate on bass and Jim White on drums.  The video captures the hustle of a city during the day, the activity at night, and the relative solitude of the overnight.)
• Hidden Kingdom-Peter Martin (Smooth piano ideal for late nights.)

KCLC 89.1 FM

• Air-Ben Folds Five (A bit more produced than the group's best-known songs; it's good to hear it as a bonus track on "Whatever And Ever Amen."  It would be good to hear "Brick" and "Fair" on the air again, as well.  Also recommended: the "Ben Folds Live" CD.  Folds proves that a voice and piano are sometimes all that's needed to get effective lyrics across.)

KLOU 103.3 FM

• On Broadway-George Benson (Benson ups the tempo on this Drifters oldie and builds upon the lyrics with effective scatting.  The piano maintains a great rhythm throughout.  As good as the condensed version is, check out the longer version on Benson's "Weekend In L.A." album for the full effect.)

K297BI 107.3 FM, a.k.a. KNOU-HD2 

• Jean Sibelius: Violin Concerto in D minor, Op. 47 (Philadelphia Orchestra/Eugene Ormandy, conductor; David Oistrakh, violin)  (Dark, somber, and majestic, as required.  Oistrakh's vibrato makes the somber passages all the more gripping.  Sibelius is known primarily for his symphonies, so it's refreshing to hear Radio Arts Foundation air this piece.)

A sudden need to rock out

One night in the late '90s, Herb Alpert's instrumental, "Rise," came on the radio at work.  Unexpectedly, one of my co-workers started dancing past the radio to his desk while playing a completely incongruous air guitar solo.  Reminded of this years later, he said, "I like to do things that don't make any sense."

I think we all have those moments.

Sportscasting or sales? It's a toss-up.

A former co-worker, despite his penchant for sportscasting, reluctantly agreed to try selling ads for a radio station briefly.  He joked with us that he would ask prospective advertisers, "You wouldn't want to buy this, would you?" 

Although he said that in jest, I can understand why he was tempted to take that approach.  Sales are necessary for any commercial radio station to survive, but if your true desire is broadcasting, you can't expect to be happy selling ads.  A broadcasting school instructor once said, "A sales job is similar to being on the air.  After all, when you're on the air, you sell yourself."

Nice try, but...no.  Trying to whip up an audience's enthusiasm for a new song as a DJ is far different from asking them to buy commercial time on your station.  I have yet to hear anyone say, "I just can't decide.  Should I work in sales or on the air?  I could go either way."

SiriusXM highlights XI

Some of the more appealing selections I heard this morning:

'80s On 8

• Waiting For A Star To Fall-Boy Meets Girl (Universal sentiments in a wide-eyed arrangement.)

The Bridge

• Let It Show-Jen Chapin (The daughter of acclaimed singer-songwriter Harry Chapin released this moving track in 2013.  Here's to many more such efforts.)
• Peg-Steely Dan (One of Steely Dan's best uptempo hits, with blistering guitar playing and a memorable chorus.  Michael McDonald's backup singing makes it all the more indelible.)

The Coffee House

• Cante E Dance-Pink Martini (Pink Martini's music cuts across genres with ease; this track channels the spirit of Sergio Mendes & Brasil '66.  Also recommended: "Bolero."  Even if you're a strict purist about Classical music, I don't see how you couldn't respect such a gripping arrangement of Maurice Ravel's stellar composition.)

The Loft

• The Whole Night Sky-Christine Collister (Thoughtfully written lyrics sung in a compelling lower register.  Also recommended: Clive Gregson & Christine Collister's "It's All Just Talk.")

Love

• Just Remember I Love You-Firefall (An easy-to-digest, pleasant soft rock vocals-and-guitar tune.  Lyrically, it's straightforward without being syrupy or cloying; one of the band's best songs.)

Real Jazz

• Look For The Silver Lining-Paul Desmond (Desmond had a sensational career with Dave Brubeck and as a solo artist.  This is one among many of his smooth-toned saxophone successes.  Also recommended, among many tracks: "Desmond Blue," the opening theme that St. Louis jazz DJ Leo Chears used on WMRY and WRTH, and his take on Paul Simon's "Was A Sunny Day.")

Siriusly Sinatra

• If We Never Meet Again-Freddy Cole (An unhurried, elegant arrangement.  Kudos to WSIE for playing Freddy Cole's music.  Other jazz stations should follow suit.)

Soul Town

• With This Ring-The Platters (A warm glow of an oldie about commitment.  This song deserves more radio airplay.)

Watercolors

• Bliss-Cindy Bradley (A smooth trumpet piece; it's the title track from Bradley's 2014 release.)

Chorus teachers: Again, please, with feeling...

In my previous post, "One priority of a good chorus teacher," I discussed what made one particular chorus teacher effective.  If you go that route, however, and lead the class in singing, remember not to drain the life out of the song.  My sixth grade chorus teacher was good at avoiding this.  Another chorus teacher that year wasn't as successful at this, at least on one afternoon that I remember.  As I waited to walk home with a friend after school, I heard this teacher's class rehearsing Melissa Manchester's "You Should Hear How She Talks About You."  The teacher pounded the song out robotically on the piano while singing in a voice almost completely devoid of feeling, "You should hear how she talks about you; you should hear what she says..."  I wish I'd heard her students perform it in concert; if they sang it the way she did that afternoon, the end result would have had about as much heartfelt passion as a tax audit.

SiriusXM highlights X

Standout tracks heard this morning:

'60s On 6

• Abraham, Martin, and John-Dion (Lyrically, this song illustrates how one person can be a force for good and the hole that's left when that person is no longer around.)

'70s On 7

• Who Loves You-The Four Seasons (Not everyone will agree, but to my ears, this is a far more palatable sound for this band than the falsetto leads on its '60s hits.)

The Bridge

• Go Your Own Way-Fleetwood Mac (This is still one of my favorite Fleetwood Mac hits.  The opening guitar lick got my attention the first time I heard this, and the tune still has this effect on me.  One of Lindsey Buckingham's best hooks.)

The Coffee House

• Colors-Amos Lee (One person's absence makes a difference, indeed.  Also recommended: "Bottom Of The Barrel.")

Love

• Killing Me Softly With His Song-Roberta Flack (Flack's voice is naturally compelling and sincere; those qualities come across readily on "Where Is The Love," "The Closer I Get To You," and "Killing Me Softly..."  Also recommended: Flack's "Chapter Two" album, an overlooked gem that showcases her ease at interpreting lyrics by disparate songwriters.)

Real Jazz

• Everything Happens To Me-Art Pepper (An excellent alto sax performance.)
• Upendo Ni Pamoja-Ramsey Lewis (A piano-led ensemble that sizzles.  Even after seven-plus minutes, I don't want this song to end.)

SiriusXMU

• Should Have Known Better-Sufjan Stevens (There's no way to change the past; admitting that isn't easy, but Stevens pulls it off here.)

Underground Garage

• Sunday Girl-Blondie (Most listeners, when asked to name their favorite Blondie song, will likely mention "Heart Of Glass," "The Tide Is High," "Call Me," "One Way Or Another," or "Rapture."  While all of those songs, especially "Heart Of Glass," have held up, "Sunday Girl," a well-crafted tune in its own right, deserves more recognition than it sometimes gets.  She & Him pull off a strong cover of it, as well.)  

Watercolors

• Cruising For Bruising-Basia (Basia's vocals are captivating, and her best tracks encompass a wide range of tempos.  In addition to "Cruising For Bruising," I recommend "An Olive Tree," "New Day For You," "Astrud," "Time And Tide," and "Miles Away."  Any smooth jazz station should play a good helping of Basia.)

Stingray Music highlights V

Some of the stronger selections I heard this morning:

Alt Country-Americana

• Only You-Elana James (A pleasant, lyrically concise tune released in February; its progression reminds me of "Don't Worry, Baby" by The Beach Boys.)

Cool Jazz

• Solo-In Memory Of His Father, Harry L. Evans (Live)-Bill Evans (A moving, long piano piece from the excellent "Bill Evans At Town Hall" album.)

Greatest Hits

• Gemini Dream-The Moody Blues ("The Voice," the leadoff track from the "Long Distance Voyager" album, still gets the lion's share of the radio airplay today, but "Gemini Dream" deserves its due.  There's a different energy on this track that's worth hearing.)

Jazz Latino

• Y La Negra Bailaba-Paquito d'Rivera (An instrumental full of life and joy that moves with a butterfly's grace.)

Jazz Masters

• Do You Know What It Means To Miss New Orleans?-Louis Armstrong (A perfect choice for the theme song of "Frank's Place," a TV show that should have had more of a following; New Orleans is a much of a character in the show as the characters themselves.  Also recommended: the Ellis Marsalis piano rendition.)

Jazz Now

• Stardust-Marlon Jordan (You can't go wrong with source material like this; a strong, expansive trumpet rendition.)

Revival--'60s & '70s

• (There's) Always Something There To Remind Me-Sandie Shaw (These days, most people probably think of the Naked Eyes '80s version of this tune.  It's interesting to hear this earlier, faster version in an arrangement that reminds me of Dionne Warwick.)

Smooth Jazz

• Muse-Kyle Eastwood (A sly groove that perks along in its own good time; good interplay between keyboards, bass, and drums.)

The Spa

• Last Track-Adrian Legg (A guitar piece that proves that "fast" and "contemplative" aren't contradictory terms.)
• Shapeshift-Alicia Bessette (A serious piano piece worth seeking out.)

SiriusXM highlights IX

Standout selections I've heard this morning:

'50s On 5

• Come Softly To Me-The Fleetwoods (Soft, tasteful harmonies; one of the best songs of the decade.)

'60s On 6

• Don't Let The Rain Come Down-Serendipity Singers (It's interesting to imagine how the Muppets might interpret this fun folk tune.  The singers, despite their concern, sound surprisingly cheery about the prospect of rain coming in through a hole in the roof.)

The Coffee House 

• Come Away With Me-Norah Jones ("Don't Know Why" and "Come Away With Me" struck a chord with so many listeners and started Jones on the path to considerable, well-deserved commercial success.  Her breathy vocals on this track hold up exceptionally well after hundreds of listens.)
• Life Is Beautiful-Keb' Mo' (A comforting tune about appreciating life's positive aspects; Taj Mahal would likely pull off an equally effective version.)

Real Jazz 

• Pannonica-Billy Pierce (An effective faster sax-based version of a great Thelonious Monk tune.)
• They Can't Take That Away From Me-Ella Fitzgerald and Louis Armstrong (One of the best versions of this standard; solid vocals, trumpet, and piano convey optimistic lyrics.  John Pizzarelli's version is also worth hearing.)
• When The Saints Go Marching In-Monty Alexander (A good stride piano arrangement.)

Soul Town

• Use Me-Bill Withers (I remember hearing this great uptempo track for the first time in 1988.  At that time, WMRY had an eclectic rock format, a 24-hour no-repeat policy, and allowed the announcers to choose the music.  The guitar hook drew me right in, and for someone who's being used, the protagonist is clearly at peace with it.)

Spa

• The First Circle-Boca Livre (One of the most tuneful selections I've ever heard on this channel; its instrumentation, vocals, and melody bring to mind elements of Dori Caymmi's and George Duke's music.)

Symphony Hall

• Fernando Sor: Variations On A Theme By Mozart (Andres Segovia, guitar) (Knowing that Segovia played this makes it a reflexive recommendation.  Also recommended: Segovia's "My Favorite Spanish Encores" album.)

Stingray Music highlights IV

Some of the best selections I heard today:

Brazil Rock

• Tempo Perdido-Thiago Mendonca (Segues well with Neil Finn's "Driving Me Mad.")

Classic Masters

• Robert Schumann: Piano Concerto in A minor, Op. 54 (The Philharmonia/Neeme Jarvi, conductor; Louis Lortie, piano) (Moods ranging from solemnity to euphoria are conveyed in this recording.)

Cool Jazz

• Rise-Russell Malone (An appealing laid back guitar sound.  Also recommended: Malone's reworking of the Carpenters hit, "We've Only Just Begun.")

Folk Roots

• Ode To A Butterfly-Nickel Creek (An instrumental gem from the band's self-titled album; Sara Watkins, Sean Watkins, and Chris Thile started playing together when they were kids, and their proficiency on violin, guitar, and mandolin is readily apparent.)
• Worried Mind-Eilen Jewell (Easy-to-digest vocals and lyrics that offer hope for the protagonist's troubled state of mind; this bodes well for Jewell's forthcoming "Sundown Over Ghost Town" release.)

Jazz Masters

• It Happens To Me-Ben Webster (A stylish saxophone arrangement that brings the melody of "Stardust" to mind.)

Jazz Now

• Sky Dive-Freddie Hubbard (The strong title track from Hubbard's 1972 album; Hubbard's trumpet leads the way in this propulsive yet laid back melody.)

Pop Classics

• Johann Schobert: Sonata III-III. Menuetto grazioso (Mario Martinoli, piano) (A solemn, contemplative movement for piano.)

Retro R&B

• Take Me In Your Arms (Rock Me A Little While)-Kim Weston (A tight Motown hit that doesn't get as much radio airplay as it should today.  There's a great Doobie Brothers cover of the song that's a highlight of Tom Johnston's stint as lead singer.)

Revival--'60s & '70s

• Flowers In The Rain-The Move (The idealism of 1967 rock, in a bouncy arrangement, complete with horns.  This is yet another track that segues smoothly with The Family Tree's "Nickelodeon Music.")

Smooth Jazz

• Groovetimez-Al Gomez featuring Billy Townes (A slick guitar arrangement; ideal driving music.)

Swinging Standards

• We-Christine Reisner (An artfully told tale of two people who are meant to be a couple.)

Putting things in perspective, thanks to the blues

I was listening to KDHX a while ago, and after hearing what the protagonist in Albert King's "Angel Of Mercy" is enduring, I'm thankful that the worst affliction I've had today is only a migraine. There's aspirin for that, at least.

KCOU playlist flashback: Jazz Odyssey--5/3/93

As I promised yesterday, here are more memories from the "very recent" past--May 3, 1993.  It was always a blast to program "Jazz Odyssey" because I could take the show in any direction the listeners or I desired.  Some days, I'd program a lot of old school jazz; other days, I'd favor more contemporary artists.  Sometimes, I'd play a lot of tracks by trumpeters, saxophonists, bassists, or drummers.  Other editions featured a range of vocalists.  On this day 22 years ago, I added some jazz/rock tracks to the mix and remember being happy with the way the songs flowed.  Here was the playlist:

   1.  Blues Walk-Doug Sertl
(Sertl started things off on a fast clip with this energetic, trombone-based rendition of "Blues Walk."  If you like this version, you'll probably also like Lyle Lovett & His Large Band's rendition.)
   2.  The New Chicago Blues-Clarence Wheeler
(A 1972 tenor sax track that segues smoothly with "Blues Walk.")
   3.  Midnight Pass-Sea Level
(Some of the jazz/rock to which I referred; nice piano/saxophone interaction on this track.)
   4.  Surprise Samba-Bobby Shew Sextet
   5.  The Things You Do-Bobby Watson
---
   6.  Jitterbug Waltz-Renee Rosnes Trio with string orchestra
(As I mentioned in a previous post, this is Fats Waller covered in the classiest way; a beautiful, elegant piano-and-strings rendition.)
   7.  Jitterbug Waltz-Eric Dolphy
(Now, the reeds will have their way with this tune.)
   8.  Jet Propulsion-Illinois Jacquet
(From one tenor sax player...)
   9.  Slippin' Down-David Newman
(...to another, across the decades.)
---
 10.  Rum Or Tequila?-Stix Hooper
(Hooper, the longtime drummer from The Crusaders, lays down a very of-its-time groove, accompanied by Crusaders keyboardist Joe Sample.)
---
 11.  Return Trip-Mulgrew Miller
(Some fine jazz piano from the recommended CD, "Hand In Hand.")
 12.  A Moment's Notice-Hilton Ruiz
 13.  Left Bank Express-Maynard Ferguson
(Ferguson's characteristically no-holds-barred trumpet drives home a powerful performance.)
 14.  It's You Or No One-Billy Childs
---
 15.  Pretzel Logic-Hiram Bullock
(Another jazz/rock selection; a cool guitar-based take on the Steely Dan tune.)
 16.  The Word-Don Sebesky & The Jazz Rock Syndrome
 17.  Dragon Song-Brian Auger's Oblivion Express
---
 18.  Donna Lee-Bireli Lagrene
 19.  You Can Always Count On Me-Cleo Laine
 20.  Think About Your Troubles-Lena Horne
(As expansive as KCOU's music library was, it could have used some more albums by female jazz singers.  Also recommended: Horne's interpretations of "Stormy Weather" and "Bein' Green.")
---
 21.  Goodbye, Mr. Evans-Scott Hamilton with strings
(A lush saxophone-and-strings recording suitable for underscoring a film scene on a desolate street.)

--- indicates a break between songs.

So, it was just the other day...

I've been trying to recall the last time I paid to hear an actual record played on a jukebox.  I'm certain the last song I listened to on vinyl that way was ELO's "Calling America."  I think of it as being more recent than it actually was.  Looking back, though, that was in early 1986.

More memories from the "very recent" past tomorrow...

Conducting with your eyes

My college orchestra director could start a piece effectively without using a baton.  Every now and then, he would give the downbeat by raising his head slightly and taking a short breath.  The orchestra would always respond, partially out of fear.  To challenge his conducting students, he would sometimes ask them to put their hands in their pockets and figure out another way to conduct.  It was interesting watching aspiring conductors start a piece by nodding, blinking, and grimacing.  When you can't conduct with the baton, it challenges you to communicate with the orchestra in subtler ways and forces the orchestra to watch you and decipher your directions.