Rantings of a manic loon

One of the side benefits of having radio announcing experience is getting to do voice-over work.  As an announcer for an information-by-phone service in the '90s, I recorded a lot of short commercials and "brought to you by..." tag lines.  The only client who ever second-guessed my delivery worked for a law firm that represented people in workplace harassment suits.  I recorded what I thought was an appropriate read of the firm's copy.  One of the salesmen at our company, however, told me that this client wanted me to sound louder and more urgent.  I tried again, sounding more forceful and direct.  Once again, the salesman told me that the client wanted an even louder, more urgent read.  In the version the client accepted, I thought I sounded like a maniac.  "IF YOU FEEL THREATENED AT WORK, GO ON RECORD!!!!" I shouted while pounding on a desk and knocking over office supplies.  "GET MANAGEMENT TO DO SOMETHING ABOUT THE PROBLEM!!!!"  For a soft-spoken person whose background had been in smooth jazz and Classical formats, sounding that unhinged was no easy feat.  Typically, I had a soft sell approach, but on that day, for the only time in my life, I got paid to sound like a crazed, menacing loon.  Looking back, it amuses me to have done that one voice-over segment that was unlike anything I recorded before or after it.

SiriusXM highlights XVI

Impressive selections that got my attention on Sunday and Monday:

'60s On 6

• Summer Samba-Walter Wanderley (A refreshing instrumental that brings to mind Ernie Hays playing the organ at Busch Stadium.)

The Bridge

• Scenes From An Italian Restaurant-Billy Joel (Joel's best song, in my opinion; the way the song comes full circle, the well-told coming together and estrangement of Brenda and Eddie, an impressive piano part...There's a lot to like here.)

The Coffee House 

• Anniversary Song (Exclusive)-Cowboy Junkies (If "Angel Mine" moves you, "Anniversary Song" likely will, too.)

Deep Tracks

• Room To Move (Live)-John Mayall (A great, brisk harmonica line.  Also recommended: "Play The Harp.")

Escape 

• People-Beegie Adair (One of many elegant Adair piano instrumentals.)

The Loft

• Burgundy Shoes (Live @ SiriusXM)-Patty Griffin (Piano and cello enhance Griffin's heartfelt lyrics about taking a bus ride as a child with her mom.  The piano part reminds me of Sarah Jarosz's "Long Journey.")

Real Jazz

• You Stepped Out Of A Dream-Toshiko Akiyoshi (An energetic, piano-dominated combo captures virtually every ounce of this famous tune's energy.  For a strong vocal rendition, check out John Pizzarelli's version.)

Siriusly Sinatra

• More-Nat King Cole (I'm used to hearing Bobby Darin's faster take on "More," but Cole shows that it also works in a slower tempo.)

Symphony Hall 

• Bring A Torch, Jeannette, Isabella (Royal College Of Music/Sir David Willcocks, conductor) (One of many Christmas carols played Sunday morning in memory of Willcocks, who passed away September 17.  The choir's warm rendition of this carol stood out to me...)
• Good Christian Men, Rejoice (Royal College Of Music/Sir David Willcocks, conductor) (...as did this one.)

Watercolors

• Estrella-Turning Point (A breath of fresh air from the days of a former smooth jazz station, WSSM; a tuneful, upbeat guitar instrumental that would segue well with Acoustic Alchemy's "Wish You Were Near.")

Alternate metric version?

In the early '80s, there was a rock music trivia board game I used to play.  Having heard The Who's "I Can See For Miles" many times on album rock stations, one true/false question from the game that still amuses me is, "The Who had a hit with, 'I Can See For Meters.'"  If they'd ever recorded such a song, it likely would have been the first time a band recorded a metric and non-metric system version of the same song.  Now, that's covering all the bases.

Stingray Music highlights VIII

Good selections that I heard yesterday:

Canadian Indie

• Inside And Out-Feist (A good cover of a Bee Gees chart-topper, "Love You Inside Out.")

Cocktail Lounge 

• Seu Encanto-Marcos Valle (A smooth, uptempo blend of vocals, saxophone, flute, keyboard, bass, and drums.)

Cool Jazz 

• Birds-Branco Stoysin (Elements of Latin jazz, smooth jazz, and traditional jazz come together in this guitar piece.  Also recommended: Stoysin's versions of "Look To The Sky" and "'Round Midnight.")

Folk Roots

• 4 June 1989-Mary Chapin Carpenter (What was it like to be a soldier who had to follow orders during the massacre in Tiananmen Square?  This is one soldier's account.  Carpenter, as usual, tackles a difficult subject gracefully.)

Jazz Masters

• Deep Night-Sonny Clark (A solid, straight ahead, piano-anchored tune.)
• Good Lookin' Out-Stanley Turrentine & Shirley Scott (Strong dialogue between saxophone and organ.)

Smooth Jazz

• Good Day-Peter White (A breezy guitar track that's easy on the ears.)
• Ordinary People-Al Jarreau & George Benson (A pleasant, laid back groove that, at times, brings to mind a Luther Vandross melody, "Don't Want To Be A Fool.")

SiriusXM highlights XV

Some of the better tracks I heard this morning:

'50s On 5 

• It Happened Today-The Skyliners & Jimmy Beaumont (I read an interview with Paul Simon in which he mentioned that music from the '50s had a sound of its own.  This tune's doo-wop style exemplifies that sound.)

'80s On 8 

• Puttin' On The Ritz-Taco (An unlikely choice for a cover tune in the '80s; not making it sound overly contemporary was a smart choice.)

The Bridge

• All I Want-Joni Mitchell (The leadoff track on Mitchell's acclaimed "Blue" album, which defines what the protagonist seeks after a breakup.)
• I Can See Everything-Poco (The lyrics illustrate how giving someone another chance might be advisable.  If you like the band's harmony singing on "Crazy Love," this will likely appeal to you.)

The Coffee House 

• Fade Into You-Mazzy Star (Subtle indie rock with a waltz-like tempo and a fuzzy guitar sound that holds up.)

Escape 

• Moon River Cha Cha-Henry Mancini (Not the most obvious style for this standard, but it works.)

Lithium

• Closing Time-Semisonic (The tune still works as a theme for leaving a bar but also works on a more general level for graduations, moves, and job changes.)

Love 

• Shadows In The Moonlight-Anne Murray (One of Murray's more appealing, uptempo hits that doesn't get much radio airplay today.)

Real Jazz 

• I'll Remember April-Erroll Garner Trio (A combo that cooks, with Garner's piano leading the way.)

Soul Town

• Stay In My Corner-The Dells (Smooth harmony singing.  Oldies stations should play this more often.)
• Then Came You-Dionne Warwick & The Spinners (A great blend of lead and backing singers pull off timeless lyrics.)

Velvet

• Prayer For The Dying-Seal (One of Seal's most gripping songs; somber lyrics, sung with exactly the right degree of emotion.)

Only in college IX

"Remember, we can't swear on the air," KCOU's chief announcer said to the assembled staff.  "If a swear word is part of a song title or album title, leave it out, or say something like blanking, bleeping, or effing.  It's an FCC rule that we can't say certain words on the air.  You might not agree with that.  I might not agree with that.  It's not worth risking the station's license over this, though, so we need to follow it."

Shortly after this station meeting, the chief announcer walked by the studio just as the DJ on the air was promoting that evening's featured album.  Because the f-word was part of the album title, the DJ was saying it repeatedly while talking about the album, oblivious to the warning everyone had just been given.

As soon as the mic went off, the chief announcer said to the DJ, "Arrrrrggghhhhh!  What were we just talking about?!"

"Did I say something wrong?" the DJ asked.

The chief announcer sighed as he repeated what he'd said less than 30 minutes earlier.

Stingray Music highlights VII

Some of the better selections I've heard on Stingray yesterday and today:

Baroque 

• Francesco Maria Veracini: Concerto a otto in D major (Accademia I Filarmonici/Alberto Martini, conductor) (An invigorating steeplechase of a melody.)

Classic R&B And Soul 

• Natural High-Bloodstone (A vocal harmony throwback; The Stylistics would have done a great job with this tune, as well.)

Cool Jazz

• Down The Road-George Duke (An appealing walking keyboard groove and scatting.)
• Samba saravah-Stacey Kent (The guitar, piano, saxophone, and vocals all click in this pleasant rendition.)

East Africa Gospel 

• Maisha-Gloria Muliro (Uplifting, ear-catching vocals.)

Folk Roots 

• Last Train To Clarksville-The Grascals (I'd never thought of this hit by The Monkees as suitable for a bluegrass arrangement, but The Grascals prove that it's a natural fit.)
• Lines In The Land-The Levins (A well-written, beautifully sung and played tune of hope for the new year.)
• The Road To Ensenada-Lyle Lovett (Some of Lovett's most effective lyrics; it's easy to feel the protagonist's angst.)

Jazz Masters

• Things Are Getting Better-Cannonball Adderley & Milt Jackson (A great, straight ahead number for vibes and saxophone.)

Nature

• All The Pretty Little Horses-Chemayne Del Mastro (Soft, sensitive instrumentation that's ideal for a children's lullaby.  The cover art of the album, "Nighty Night, World," matches the music's sensitivity, as it shows different species of animals getting along peacefully.)

Retro R&B 

• Superstition-Stevie Wonder (Still one of Wonder's best hits; considering how high the benchmark is there, that's saying a lot.  Lyrically, it holds up well as a reminder to not think irrationally.  James Corden had a great "Carpool Karaoke" segment with Wonder on "The Late Late Show" recently, in which they both sang along with "Superstition" and many of Wonder's other hits.  "For Once In My Life" was particularly impressive in that format.)
• Time Is Tight-Booker T. & The MGs (One of the band's best instrumentals; it's catchy and concise.) 

World Carnival

• Ou Kaas-Themba (A cool, neo-jazzy tune with a bounce and effective use of the flute.) 

SiriusXM highlights XIV

2003: Sammy the cat, keeper of the guitar, appreciates a well-strummed melody.  I'm not 100% sure about this, but I think he might have kneaded his paws this morning because he likes Shawn Colvin's well-strummed, well-sung cover of the Tom Waits tune, "Hold On."

This morning: Music critic Sammy takes in one of the quieter passages from Franz Joseph Haydn's Piano Sonata No. 31.  Although he seems to be enjoying the piece, he still looks somewhat perplexed.  Perhaps that's because he hasn't been able to find out which orchestra and soloist are playing it.

Sammy the cat-approved selections I heard this morning:

'40s Junction

• Cute-Count Basie (Basie and his ensemble prove that it's possible to play a piece with crisp precision and still make it swing.  Frank Wess contributes some impressive flute playing.)

'50s On 5 

• Out Of Sight, Out Of Mind-The Five Keys (Impressive lead and harmony vocals on this R&B number that should have been a bigger hit.  The tune's protagonist is heartbroken, but he channels his sorrow into a well-written lament.)

The Bridge

• Jazzman-Carole King (One of King's best hits, thanks to a great blend of vocals, piano, and saxophone.  The opening lyric, "Lift me, won't you lift me...?" catches the ear immediately and keeps the listener hooked.)

Chill

• Night Keys-Satin Jackets (A trance-inducing midtempo keyboard groove with a middle-of-the-night vibe.)  

The Coffee House

• Hold On-Shawn Colvin (A new, warm interpretation of a Tom Waits tune.) 

The Loft 

• Creepin' In-Norah Jones (One of her best-recorded songs, and a great example of how Jones conquers an uptempo track.  Vocally and instrumentally, everything clicks from the first note.  This is also the best guest appearance I've ever heard by Dolly Parton.)

Siriusly Sinatra

• The More I See You-Nat King Cole (A lush, rich arrangement, as usual.  Lyrically and vocally, this is an ideal selection for a wedding anniversary.  It also segues well with...)
• Remember-Freddy Cole (...this reflective take on an Irving Berlin tune, which Nat King Cole's brother sings.  The ethereal vibraphone part enhances its warmth.  Freddy Cole never sings as if he's in a great hurry, and that makes his interpretations of contemplative songs all the more inviting.) 

Spa  

• All Souls Lullaby-Heidi Anne Breyer (An appealing, contemplative piano and horn piece that's ideal for Autumn.)

The Spectrum

• Golden Years-David Bowie (Bowie's best hit, in my opinion; the lyrics, hand claps, and instrumentation are as infectious now as they were decades ago.)
• Return To The Moon-EL VY (Released last month, the track's cryptic lyrics are set to a backing track that's difficult to forget, especially in the chorus.) 

Symphony Hall 

• Franz Joseph Haydn: Piano Sonata No. 31 in A-flat major (This recording's acoustics bring to mind the feel of a cathedral before a congregation arrives; fast and slow movements alike come to life, thanks in part to the recording environment.  If only I knew which orchestra and soloist performed this rendition...)

Watercolors

• Talk The Talk-Kombo (If you like the feel of Steve Winwood's "Roll With It" and a smooth jazz/funk keyboard sound that brings some of Jimmy Smith's music to mind, this uptempo instrumental will likely appeal to you.)

There's always at least one listener...

...who, according to a former broadcasting school instructor, knows more about the radio station where you work than (s)he should.  This listener, for instance, will request a song.  If you say, "I'm sorry; it doesn't look like we have that song here," (s)he'll respond, "What?  But it's cart number 317!"  You'll think to yourself, "This listener doesn't work here.  This listener has never worked here.  We don't announce cartridge numbers on the air, post them online, or mention them to listeners on the phone.  How on Earth would a listener know that?"  I remember when one of our most frequent listeners called KCOU and requested a song I hadn't played before.  It sounded vaguely familiar, but I was pretty sure we didn't have it on vinyl or CD.  I took a chance and asked the caller, who didn't work for the station, "Is it on cart here?"  "Yep," came the reply.  "It's on cart."  Sure enough...

Sound advice for any radio announcer

I always thought one of KCOU's general managers was right to post a memo reminding everyone not to patronize the new DJs they were training. 

"Don't say, 'That's just the way we do things around here,'" the note read.  That's sound advice for any radio station--or any other workplace.

This general manager also advised DJs not to lead into scripted copy by saying, "Time for some copy," or preface public service announcement cartridges with, "And now, a PSA cart..."  More sound advice for even the most freeform radio stations... 

Those newfangled compact discs

When I recall the St. Louis radio scene from 30 years ago, I remember that the compact disc was a novelty then.  In Autumn '85, I remember Leo Chears saying during a Streetside Records commercial on WMRY that the store now offered "the latest in stereo technology, the compact disc."  A DJ on KSHE, running through the list of albums scheduled to be played in full during the station's "7th Day" show one Sunday, said that one album "will sound really crisp and clean in your ears because it'll be played on the compact disc player."  On KSHE and other stations, DJs would sometimes lead into songs by saying, "Let's head to the compact disc player."  Looking back, hardly anyone on the air referred to a compact disc as a CD then.

How time flies, technologically... 

Why play the music well? Here's why...

I remember a college orchestra rehearsal that didn't go as well as usual.  For some reason, that afternoon, there were more wrong notes and imprecise entrances than usual.  At the end of the rehearsal, the director admonished the orchestra and explained why every player should be prepared for every rehearsal.

"You're playing great music," he explained.  "Don't do it for your colleagues, yourselves, or me.  Do it out of respect for what's on the page."

As justification for playing well goes, that's a difficult argument to refute.

Persistent earworm alert XI

I've referred to Sandy Owen's "The Island Groove" as a well-played piano piece on this blog before.  I first heard it during KCLC's smooth jazz days 29 years ago.  For nearly three decades, I've been wondering, whose piano playing does this resemble?  I know there's at least one song in which the piano playing in the chorus resembles "The Island Groove."  Just recently, it struck me.  The song it reminds me of is today's persistent earworm.  It's a hit from 1977, and it's...

..."Lonely Boy" by Andrew Gold.  It's played only once in a great while on the radio these days, and its lyrics are unusual for a pop hit.  Offhand, I think it's the only hit song I know of in which a child is put off by the attention his parents are lavishing on his baby sister.  In less capable hands, the song could never have been a hit.  Gold makes it work, however.  The song comes together impressively, thanks to a strong piano part, which Gold plays with crashing force, excellent lead guitar playing from Waddy Wachtel, and Gold's full-throated conviction on the vocals.  Until a few days ago, it was a song I hadn't thought about in many years, but Owen's "The Island Groove" triggered it out of the blue.  I've been thinking about it ever since then and wishing I'd written that piano part.  That has to be a blast to pound out in concert, regardless of how many times you've played it.  It's odd how the connection between one song and another sometimes springs to mind immediately, and other times, over one-third of your projected life span goes by before you think of it.

Online radio sampler highlights XXIV

Ear-catching selections I've heard this morning:

KLSU (Baton Rouge, LA)

• Pontooner-Carl Henry Brueggen (One of the coolest contexts in which I've ever heard an accordion.)
• Wataridori-Cornelius (Energetic electronica that sustains its groove for seven minutes.)

KQAL (Winona, MN) 

• Just My Imagination-The Cranberries (One of the band's sunnier efforts.)
• I Feel It All-Feist (Feist consistently wrings just the right amount of emotion from her songs.  This could segue with Blondie's "One Way Or Another.")

KWMU-2 (St. Louis, MO) 

• Tickle Toe-Art Pepper (A fun, fast romp, with Pepper's alto sax leading the way.  Lyle Lovett's version is also recommended.)
• Dolphin Dance-Jim Cifelli's New York Nonet (Dolphins are smart animals, indeed, to have such classy taste in dance music.  This is a strong, elegant brass/winds/rhythm section arrangement of Herbie Hancock's tune.)
• If The Stars Were Mine-Melody Gardot (Gardot sings with such impressive phrasing and timing beyond her years.  If I didn't know otherwise, I would have thought she was a torch star from the '40s.)
• How Deep Is The Ocean?-Eric Reed (A good arrangement of this deservedly well-covered tune for piano, bass, and drums.)

WCRB (Boston, MA) 

• Jiri Antonin Benda: Sinfonia No. 6 in E-flat (Prague Chamber Orchestra/Christian Benda, conductor) (Shades of Mozart in this spirited workout for strings.)

WSMC (Collegedale, TN)

• Giuseppe Tartini: Trumpet Concerto (Wurtternberg Chamber Orchestra/Jorg Faerber, conductor; Maurice Andre, trumpet) (The first movement sounds fit for a royal procession during the Baroque era.  The third movement sounds appropriate for sprinting to the procession when time is short.)

An overlooked cover tune VIII

Think of the ultimate optimistic song for kids, "Zip-A-Dee-Doo-Dah."  Now, imagine it with a considerably slower tempo, a smooth jazz arrangement, and laid-back vocals sung with no hint of urgency.  Steve Miller--yes, the Steve Miller of "Fly Like An Eagle," "Jet Airliner," and "Take The Money And Run" fame--pulls this off.  His attitude while singing isn't the tune's usual heavily caffeinated vibe of "Wow, this day is great!  I'm so happy!"  Instead, it's closer to, "Look around. Signs point to a positive day.  Cool.  Let's sit back and take it in."

FM dial scan highlights XL

Five of the better tracks I've heard today:

KDHX 88.1 FM

• World Soul-Vinyl Williams (Upon hearing this song for the first time, I had it pegged as an early '90s neo-soul/spaced-out alt-rock track.  I was surprised to learn that it's a new release.)
• 10-9-8-Face To Face (I imagine this has been used as an aerobics workout track more than a time or two; it would segue well with Patrice Rushen's "Forget Me Nots.")

WSIE 88.7 FM 

• Creepin'-Redmond, Langosch & Cooley (A fine, contemplative rendition of a Stevie Wonder song that should have been a hit.)

WARH 106.5 FM 

• Queen Of Hearts-Juice Newton (As much of a sing-along as it was in '81; it doesn't get played often today, so it was good to hear it again.)
• Africa-Toto (An unusual arrangement and lyrics for a pop hit; it's still one of the band's best songs.  Not just any band can make lyrics such as, "I know that I must do what's right, as sure as Kilimanjaro rises like Olympus above the Serengeti," work so naturally.)

"That Lucky Old Sun": Two effective versions

While listening to George Benson's "Blue Benson" album recently, I had these thoughts: If you've listened to anyone sing "That Lucky Old Sun," it's obvious that the protagonist has had a difficult life.  Each singer approaching this tune has a choice.  Does (s)he emphasize the protagonist's weariness or the sun's carefree attitude?  Ray Charles and George Benson made different choices in their renditions, and both versions are equally compelling.  Charles sings it in a slower tempo, with backing vocalists, while emphasizing the protagonist's arduous life in his vocals.  Benson, in contrast, sings it in a faster tempo with a bounce that underscores the sun's worry-free optimism.  Charles' bluesy approach shows that the protagonist is justified in thinking the sun is lucky.  Benson's jazzier approach provides the sun's answer, which is, essentially, "You're right.  I don't have to think about the things that mortals do.  I'm here each day, just doing what I do."

An overlooked cover tune VII

Among R.E.M.'s many songs over the decades, "Fall On Me" contains some of Michael Stipe's most memorable lead vocals.  Released in 1986, it's one of the band's best efforts.  Instead of opting for a radical reworking of the tune, Cry Cry Cry, a strong trio of singer-songwriters Dar Williams, Lucy Kaplansky, and Richard Shindell, honors the original arrangement wisely.  The result, with Williams as lead singer, is just as compelling as the original, and it proves that the right combo of singers and acoustic players can pull off a credible rendition of a good alt-rock tune.

Studying making you daffy? Try this music break.

It's probably best to take a break from studying for a science test when, after hours of reviewing the material, you suddenly fling the textbook aside and sing, to the tune of Jethro Tull's "Aqualung," "Water-bearing rock form!  AQUIFER!"

Of course, that's a purely hypothetical scenario...

Yep...

Right...

Wouldn't know what that's like to suddenly lose it that way...

Ahem...

Um, moving right along, then...

Of all the days to do a sports report...

As I mentioned in yesterday's post, it amused me to be known as "the voice," thanks to my radio reports at a previous sports data-gathering job.  On September 11, 2001, however, I felt especially ill at ease being "the voice" on the air.  I know there's a case to be made that continuing a normal routine after a tragedy might give you a sense of normalcy.  Looking back, though, broadcasting sports scores and highlights just felt wrong then, given their insignificance on a day when nearly 3,000 lives were lost.  The news anchor mentioned that although some events had been cancelled, quite a few games were still played.  With an edge in my voice, I began my report, "Yes, amazingly, quite a few teams took to the field today..."  I couldn't say on the air what I was thinking then.  I wanted to disregard the sports scores and highlights I'd compiled that day and tell the audience,  "Everyone, read a paper.  Read several newspapers.  Listen to and/or watch the ongoing coverage of today's horrifying events.  Seek out credible sources online and track their updates about those whose lives were lost, the aftermath of the attacks, the suspected motives of the attackers, and the heroic efforts of the firefighters, police officers, and volunteers at Ground Zero.  If it's too painful to contemplate, remember how comparatively easy it is to immerse yourself in the news coverage when you aren't one of the victims or a loved one or close friend of the victims."  It wasn't my job to break protocol, though, so my ad-libbed prologue had to suffice.  At least, it conveyed the same sense of perspective in fewer words.  I'm still glad I started the report that way.  On that day of all days, I couldn't have imagined launching into such a report with false enthusiasm about Team A defeating Team B.

"Talkin' to the voice!"

During my years of entering statistics for a sports data-gathering company, I used to hear regularly from a stat keeper who didn't address me as Drew for years.  Because he was familiar with my weekly radio scores and highlights reports, he always referred to me as just "the voice."  "The voice!" he'd exclaim when I answered the phone.  "I'm talkin' to the voice!"  It amused me when I'd be put on hold and he'd apologize.  "Voice, are you still there?" he'd ask when interference on the phone line prevented him from reading off all of his team's stats at once.  "Voice, I'm sorry about that," he'd continue.  Shortly after a new employee started working there, he answered the phone and was asked, "Is the voice working tonight?"  He told me he was glad I'd explained the situation because he'd almost told the caller, "No, I'm sorry.  I didn't see the latest episode of 'The Voice.'"

Online radio sampler highlights XXIII

Some Wednesday night standout tracks:

KBCS (Bellevue, WA)

• Blessed With Your Curse-Nikki Yanofsky (A strong voice carries off an upbeat that blends elements of pop, jazz, and R&B.)
• I Could Never Get Involved-Heroes Of The Dancefloor (Segues well with "Blessed With Your Curse," and maintains an even jazzier vibe.)
• Long Walk Back-Barbara Jean (Endearing lyrics and vocals from last year's "Darker Than Blue" release.  Also recommended: "Wishing Well," "Siren Song," "Stone City Waltz," and "Blackest Crow."  I look forward to seeing what's next for this singer-songwriter.)

WERS (Boston, MA) 

• Where Is The Love-Roberta Flack & Donny Hathaway (Is there another duet in which the breezy vocals are this appealingly at odds with such ominous lyrics?)
• Unstoppable-Lianne La Havas (Impressively jazzy, hypnotic vocals on this midtempo track from July.  Also recommended: "Midnight" and "Ghosts.")

WFMU (Jersey City, NJ) 

• Dance To The Music (Oct. 4, 1968, "Live At The Fillmore East" version)-Sly & The Family Stone (An expansive take, with resounding horns and vocals that live up to the studio version.)

WXOU (Auburn Hills, MI) 

• Then I Met You-Kenny Burrell (The DJ offered qualified praise for this track and its album, "Blue Muse."  Burrell is so identified as a renowned guitarist, so it's unusual to hear him sing.  I think his vocals and the accompanying ensemble do the song justice, though.)

A graceful format transition

At 6 a.m. 20 years ago today, KNJZ 100.3 FM switched from a smooth jazz format to classic R&B.  Bart, a.k.a. The Midnight Cowboy, was the last DJ on the air before the switch.  To his credit, he handled the transition well, saying a proper goodbye to the listeners during his last break and putting a positive spin on the new format:

"100.3, I think that's a very appropriate way to wrap things up, with Zachary Breaux doing 'Midnight Cowboy.'  In front of that, we heard from David Sanborn and 'Goodbye,' Jonathan Butler's 'Going Home,' Terence Trent D'Arby doing 'Wishing Well,' and in front of that, Larry Carlton and Lee Ritenour with 'Closed Door Jam.'"

Bart then mentioned that he'd been playing requests and dedications all night long, except for his specifically chosen last set:

"There was actually a point to that.  If I read it backwards the way it was played, it says, 'The Midnight Cowboy says, 'Goodbye.'  I'm going home and wishing you well.  We're closing the door on another chapter...'  100.3 will not exist in the way that you're used to it existing.  It will actually be new and improved--different jocks, different music, but we do expect for you to stick around and listen to this stuff because it's going to sound familiar to you.  Some of the personalities will sound familiar.  The music will definitely sound familiar..."

That's how you transition from format to another; that's being a good sport.

KCOU playlist flashback: 2-6 a.m., 9/7/92

Some of the most musically adventurous air shifts I ever hosted on KCOU took place from 2-6 a.m.  When you have to select music for four hours and have a huge, multi-genre library from which to choose, you end up drawing on every obscure bit of your musical knowledge.  You won't love every song you select, but you trust that each song should appeal to someone.  Here is my overnight playlist from September 7, 1992:

   1.  Party Up-Prince
(Still one of Prince's most infectious grooves.)
   2.  Break The Chains-24-7 Spyz
   3.  Long Distance-Bobhouse
   4.  Shiver-Love Nest
(This is from 1991, but it sounds like a catchy '80s hit, especially during the chorus.)
   5.  Cold Rain And Snow-The Grateful Dead (*)
(An early track from the band that's unusually concise, by Grateful Dead standards.)
   6.  Roll On, Rolling Stone-Jimmy Cliff
   7.  What Is Sadness? (Club Mix)-Device
(Sports a memorable, rhythmic refrain, "So, tell me, what is sadness?")
   8.  Love Is Strong-Death Groove Love Party
   9.  Purr-Sonic Youth
 10.  Second Guess-Gray Matter
 11.  What Happens Now?-Kitchens Of Distinction
 12.  Jim Is The Devil-The Jigsaw Seen
 13.  From The Sky-Mighty Lemon Drops
 14.  Stranger Things-The Sneetches
(One of my favorite power pop songs by one of the best bands I ever played on KCOU; jangly guitars, tight lyrics, and a strong hook make up this and many of the band's best efforts.  Also recommended: "...And I'm Thinking," "Love Comes My Way," and "Only For A Moment.")
 15.  Sense-The Lightning Seeds
(Another '90s track that would have been at home on the charts during the '80s.)
 16.  Ten Feet Tall-XTC
(This is the version from the "Drums And Wires" album.  This rendition, in which the lyrics aren't enunciated as clearly as the version on "Rag And Bone Buffet" is the catchier one, interestingly.)
 17.  Wait Up-Uncle Tupelo
 18.  Morning Is The Long Way Home-Leo Kottke
(I played the earlier version of this tune from the "Ice Water" album.  Kottke, as usual, plays the guitar as though he has four hands and his rough, unadorned vocals work well here.)
 19.  Hot Fingers-Lonnie Johnson & Eddie Lang
 20.  Trenchtown Rock-Bob Marley
 21.  The Great Tree-This Picture
 22.  Don't You Want Me?-The Human League
(A chart-topper from 1982 that encapsulates the synth-driven sound of the early '80s.  Among other things, it proves that "either with or without you" is a hard phrase to sing at this tempo.)
 23.  Usual Damage-Stigmata A-Go-Go
 24.  Cloud Shine-Levitation
 25.  Crazy-Seal
(The hit that launched Seal's pop career, and it's still one of his most compelling songs.  "Newborn Friend" deserved just as much acclaim.)
 26.  Whatever Happened-The Spin
 27.  Still The One-King Missile
 28.  Put It Where You Want It-The Average White Band
(Joe Sample and The Crusaders deserve credit for pulling this off first as an infectious jazz instrumental.)
 29.  I'll Take You There-The Staple Singers
(One of the more effective, attention-getting opening notes and a sense of conviction in the vocals that sounds just as convincing today.)
 30.  Something On Your Mind-Professor Longhair
 31.  Thanks A Lot-Otis Clay
 32.  Sand-The Urge
 33.  Playin' Poker With Al Roker-Soda Can
 34.  Mirror In The Bathroom-The English Beat
(Vocally and instrumentally similar to the band's "Twist & Crawl."  One of their catchier efforts, although my favorite track of theirs is still "Save It For Later.")
 35.  Silent City-Matthew Sweet
(As I asked in a previous post, why wasn't this a hit?)
 36.  Children Of Time (Forever)-Matthew Sweet
 37.  The Way Will Be Opening-Stereolab
(I started to mellow things out on tracks 37 through 43, as well as 45, and I'm still happy with the way they flow.)
 38.  One Place-Everything But The Girl
(Still one of the best songs on this playlist, in my opinion; the protagonist makes a convincing case that she would be happy in one place instead of living a musician's life and touring so often.  Tracey Thorn's vocals, as usual, are thoughtful and easy on the ears.)
 39.  Best Friends-Angelo Badalamenti ("Twin Peaks: Fire Walk With Me" soundtrack)
 40.  Dans La Nuit, La Neige-Popol Vuh
 41. (mixed with track 40) When All The Laughter Dies In Sorrow-Kendrew Lascelles
(Another reason I loved being on the air at KCOU: While playing Popul Vuh's intense instrumental, which is ideal for the middle of the night, I had a brainstorm.  I ran to the stacks to see if we had Chicago's third album.  Fortunately, we did, as I remembered a spoken word piece from it that I thought would mesh perfectly with Vuh's track.  I cued it up, waited for an appropriate moment in "Dans La Nuit...," and started it playing with a new, somber accompaniment.  The combo was as smooth as I thought it would be, and something I never could have done at a commercial radio station.)
 42.  Don't Let It Break Your Heart-Richy Kicklighter
(Time for some late-night smooth jazz guitar...)
 43.  I Just Wanna Stop-Gino Vannelli
(...And, as long as the mood is mellow...)
 44.  Un Pezado De Cielo-Luz Casal
(Let's start off a new set with some pepped-up Spanish vocals...)
 45.  Where Are You Tonight?-Cowboy Junkies
(...and mellow things out again with some beautiful singing by Margo Timmins.)
 46.  God Bless The Child-Asleep At The Wheel
(With source material this solid, you can't help but be on solid ground.)
 47.  Guys And Dolls-Michael Hashim
 48.  Trinidad-Don Grusin
 49.  Temporary Love-Vinx
 50.  Public Enemy #1-LeRoi Brothers
 51.  Opaque-Green Pyramids
 52.  Hippity Hop-The Sun Sawed In 1/2
(An early, fun romp from this enduring St. Louis band.  Also recommended: "Bed Of Roses," "The Carnival Ride," "Head In The Sand Stan," and "Life.")
 53.  Hay Fever-14 Iced Bears
 54.  Close-Severin
 55.  Call It Sleep-Steve Vai
(Serves as a drift-off-to-sleep tune at the beginning and end and a wake-up call in the middle, as Vai's guitar wails.  It's as good a way as any to cap off four hours of multi-genre music.)

(*) indicates a listener's request.

Want cheers? Earn them.

As far as I know, one of my teachers was the only non-music instructor at my grade school to have a piano in her classroom.  Once a week, she would have a sing-along, choosing one student to sing the first line of a song.  The rest of the class would join the singing at that point.  For some reason, I still remember when she chose "Michael, Row The Boat Ashore" as one day's sing-along tune.  The sing-along began this way:

Student (singing:) When!
Teacher: No, it's 'Michael.'
Student (singing pleasantly but more insistently:) When!
Teacher: No, the song begins with 'Michael.'  Let's try it again.
Student (singing politely but firmly:) When!
Teacher: No, the song begins, "Michael, row the boat ashore..."

The student then relented and sang it correctly.  I still wonder if he thought the song began, "When Michael rows the boat ashore, Hallelujah!"  In an odd way, that would make sense; in such a version, the singer would emphasize that Michael will only receive praise once he completes his task of getting that boat ashore.  Perhaps the student, even at such a young age, didn't care for the implied suggestion of a lyric that suggests it's OK to settle for mediocrity.  No "Mike, you got just halfway there.  Hey, good try, though," for that student, perhaps. 

Then again, maybe he was just being contrarian.

An overlooked cover tune VI

Of Cyndi Lauper's hits, "Time After Time" holds up best, in my opinion, due to its heartfelt lyrics that would work in any era.  Although Patti Cathcart's vocals on Tuck & Patti's rendition are faithful to the original version's spirit, I contend that there's another cover of it that's just as impressive by...

...Miles Davis.  Yes, the renowned trumpeter who changed the course of jazz repeatedly recorded a strong, unexpected cover of it.  I remember feeling caught off guard when Leo Chears played it for the first time on WMRY in the Fall of '85.  I had never imagined the tune as a jazz trumpet instrumental, but it made perfect sense.  Not just anyone can transform a heartfelt, sincere vocal number into an instrumental that's just as evocative, but Davis did.  It was a pleasure to hear it when it was released 30 years ago, and it was a pleasure to play it 10 years later on KNJZ.  Here's hoping it stays with you, as well.

A jaded cynic's downcast sign-off

Ordinarily, I ended the last break of my air shifts on one radio station by saying, "Peace be with you."  One morning, however, when I wasn't in the best of moods, I departed from my usual routine and ad-libbed, "And remember, trust no one."  Looking back, it's a wonder I didn't continue, "Up next: Another long set of soothing music to take the edge off of the impending doom that awaits us all."

Persistent earworm alert X (An overstock memory)

I remember visiting one of the college bookstores for the first time in 1989 and being impressed with its music selection; it contained a fair amount of good jazz and rock on LPs and cassettes.  Inexplicably, however, in the rock cassettes section, there was a huge row of "White Feathers" cassettes by Kajagoogoo, the group whose sole hit was "Too Shy" in 1983.  No other cassette in any category was stocked so heavily.  I still wonder to this day whose leap of faith it was that college students would be clamoring for "Too Shy" six years later, to the extent that they'd buy the album.  If ever there were an '80s tune whose synthesizer arrangement, mysterious vocals, and chorus qualify for the persistent earworm alert label...

...If you were around when "Too Shy" was a hit, you're probably remembering it now.  Admittedly, there's a bit of a strange, not-so-timeless appeal to the tune.  Perhaps it's the "Hush, hush, eye to eye" refrain; I'm still not sure.  Then again, that's the nature of one-hit wonders; a song's appeal sometimes defies explanation.  The song actually doesn't have much in the way of lyrics, and somehow, it kind of works.

The best incarnations of 101.1 FM

The frequency of 101.1 FM has had a long, varied history in St. Louis, offering everything from soft rock to its current ESPN sports programming.  Three of its best incarnations, in my opinion, were:

• WMRY (1975-1986) During this era, WMRY played a jazz/pop mix during the day.  It was refreshing to hear soft rock hits paired next to smooth jazz tunes.  It was even more refreshing to hear what WMRY turned into at night, under the guidance of longtime jazz authority Leo Chears.  I always thought Chears had one of the best jobs in commercial radio.  He programmed his own shifts using his collection of jazz albums, which I remember him estimating as somewhere over 30,000 then.  It was great to hear the likes of Clifford Brown, Stanley Turrentine, and Lambert, Hendricks & Ross, among many others, played by someone who truly knew the music.  I always appreciated it when he would play my requests--Grover Washington, Jr.'s "East River Drive," Cedar Walton's "Warm To The Touch," and once, in an impressive display of generosity, an entire side of a strong Crusaders album, "Rhapsody And Blues."  His announcing style was always natural, sharing his knowledge of the music along with birthday and anniversary acknowledgments, promos for concerts at jazz venues, and his own poetry, set to jazz. Two of his best poems, in my opinion, were "You're Born To Win" and "We Can Learn How To Be Real," which worked especially well with the Bob James tune, "Touchdown," as its backdrop. 
• WMRY (1986-1989) The greatest mixed emotions I've ever had about a format change struck me in January 1986, when WMRY switched to an album rock format with a 24-hour no-repeat policy.  I enjoyed hearing album rock tracks that didn't usually get played on the radio.  It's very common, for instance, for rock stations to play Chicago.  It wasn't--and still isn't--common for rock stations to play such overlooked gems as "Loneliness Is Just A Word" and "Mongonucleosis," as WMRY did.  It also wasn't common for rock stations in that era to play Nektar's "Remember The Future," "Back To My Music" by Good Rats, or Squeeze's "Footprints."  WMRY played all of those tracks, giving St. Louis a good taste of underplayed album rock.  However, I still wish this incarnation of WMRY had been on a different frequency because it displaced Leo Chears and WMRY's excellent jazz programming, and that was a tremendous loss.  Fortunately, Chears resurfaced on WRTH and WSIE.  In April 1989, WMRY became WSNL, "Sunny 101," and switched to a soft rock format.
• WFXB (1993-1994) During its last year and change as "The Fox," 101.1 FM played an impressive blend of singer-songwriter rock.  This was an AAA (adult album alternative) format as it should be done.  Among the pleasant surprises on the playlist: "Ashes Of My Heart" by The Bad Examples, "Be Free" by Loggins & Messina, Lyle Lovett's "Penguins," Dee Carstensen's "Rooftops," Joan Armatrading's "Show Some Emotion," Donald Fagen's "Teahouse On The Tracks," and "A Trick Of The Tail" by Genesis.  I was surprised to learn from a friend in the radio business that this was a consultant-driven format.  Given the expansive playlist, quirky track selections, and willingness to delve deeper than usual into an album, I would never have guessed that a consultant programmed it.  This incarnation of "The Fox" was the predecessor to "The River," WVRV, which debuted in November 1994 and maintained some of its predecessor's unpredictable programming for several more years.

Priorities in the right place

Let's start the second year of musicandradiomusings.blogspot.com with a memory that sums up part of the reason I write about music and/or radio each day:

In high school, each student on the newspaper staff chose four teachers to interview after each issue had been distributed.  Students were asked to find out which articles the teachers liked most and least and ask for story ideas.  My impression of my high school German teacher went up a notch when he responded to the newspaper staffer's question, "Which article did you like best in the most recent issue?"  Casting a knowing glance in my direction, he said, "You know, I liked that article about those talented students who made it into the youth symphony."  The staffer wrote Mr. D.'s answer down dutifully, missing the teacher's point that there was no such article, while there had been plenty of ink devoted to student athletes.  It was good to know that there was at least one teacher outside of the music department who adhered to the "Cactus" Charlie Menees school of priorities. (See my previous post, "Speaking of eardrum-shattering...")