Context? VIII

Years ago, I heard part of a calendar segment on a noncommercial radio station.  I nearly drove off the road when I heard, "A lecture on the abolition of work will be presented at..."  I still wonder who advocated abolishing work.  What were his or or her credentials?  What was the lecturer's rationale for promoting a society in which no one works?  How on Earth would that--um, work?

I wonder how many people attended the lecture.  I also wonder how many people considered attending but didn't because going to the venue sounded like too much work.

SiriusXM highlights XXIV

Some of the better selections I heard this morning:

The Bridge 

• Standing On The Shore-Solas (An appealing, contemplative new track from this Celtic band, featuring impressive vocals from the group's newest member, Moira Smiley.)

The Coffee House 

• Baby, Now That I've Found You-Alison Krauss & Union Station (The Foundations recorded a strong version of this, but Krauss brings out the wistfulness of the lyrics especially well.)

The Loft 

• Streets Of London-Ralph McTell (Well-written, well-sung lyrics remind listeners of how difficult life is for some people.)

Love 

• Have You Never Been Mellow-Olivia Newton-John (Endearing soft rock vocals from a time when the genre was appropriately soft.  In my previous post, "The warm glow of nostalgia," I wrote about WRTH playing The Little River Band's "Reminiscing" 15 or so years ago as one of its few tunes from the '70s.  The station played this song, as well.)

Real Jazz

• Dear Lord-Bobby Hutcherson (One of the most ear-pleasing midtempo vibraphone numbers one could hear.)
• Willow Weep For Me-Herb Ellis (A subtle guitar rendition; Ellis plays it with a bright, ringing tone.)

Soul Town

• Night Train-James Brown (When I think of "Night Train," I think of The Oscar Peterson Trio's famous version, which Peterson anchors on piano, and playing the tune in my high school jazz band.  Brown and company show that the tune also works as an infectious saxophone riff.)

Symphony Hall

• Antonio Vivaldi: Gloria in D major, RV 589 (John Alldis Choir, English Chamber Orchestra/Vittorio Negri, conductor) (Fit for Easter, particularly in its regal, joyous first movement.)

Underground Garage

• You Can All Join In-Traffic (A welcoming, idealistic vibe; the listener is invited to "make your own words up if you want to, any old words that you think will do.")

Stingray Music highlights XIII

Appealing tracks heard this morning:

Alt Country-Americana 

• Vicksburg Stomp-Hot Tuna (A fun acoustic instrumental romp; I can imagine "A Prairie Home Companion" returning from intermission with this tune playing.)

The Chill Lounge 

• Isla Maria (Sine remix)-Josete Ordonez (An appropriate soundtrack for floating weightlessly through the cosmos.)

Classic R&B And Soul 

• Te-Ni-Nee-Ni-Nu-Slim Harpo (A tight, fast blues riff with vocals that say all they need to say in two minutes.  It would undoubtedly be a blast to play any lead or rhythm instrument on this tune.)

Folk Roots

• Banks Of The Roses-The Barra MacNeils (Do you like "The Unicorn" by The Irish Rovers?  If so, you'll also enjoy this tune's upbeat feel.)
• Sir Eglamore-Kate Rusby (Rusby's best song, in my opinion.  Her vocal delivery here is serious, which suits the tale, yet breezy, in keeping with the music.)
• Wildflowers-Ana Egge featuring The Stray Birds (If you enjoy the harmonies of The Wailin' Jennys, you'll probably enjoy "Wildflowers.")

Gospel 

• Hallelujah, You're Worthy-Daryl Coley (If the choir and Coley don't lift your spirits, I'm not sure who would.)

Indie Classics 

• Cannonball-The Breeders (Distorted vocals, seemingly wrapped in gauze, set to a propulsive riff that runs all the way through the tune; this was the sound of alt-rock in 1993.)

Jazz Latino

• Hijita Mia-Daniel Lopez Infanzon (An appealing uptempo, piano-based rhythm.)

Jazz Masters 

• Speak Like A Child-Herbie Hancock (One of Hancock's most compelling piano melodies; it's difficult not to feel transported to a relaxing destination as you listen.)

Jazz Now

• Tickle Toe-Marian McPartland (A fine piano-anchored rendition of a big band melody that cooks.  For a horn-based take on it, check out Lyle Lovett and His Large Band's rendition.)

Popcorn

• Fame-Irene Cara (When you're young and ambitious, this is the level of confidence you need to succeed.  Looking back, I'm amused that our eighth grade chorus class never actually got around to singing the tune's lyrics.  One day, Mr. B. played the opening of the tune on the piano repeatedly while the class sang, "La-la-la, la, la-la-la-la-la," over and over.  That was as far as the class progressed.  Inexplicably, we never got past the intro.)

SiriusXM highlights XXIII

Among the best songs I heard this morning:

'60s On 6 

• Will You Be Staying After Sunday-The Peppermint Rainbow (A minor hit from 1969 that exudes hopefulness and joy; very of its time, lyrically and vocally.)

'70s On 7

• Call On Me-Chicago (Chicago's unique blend of horns and vocals clicks here, as it does on so many of the band's '70s hits.)

The Bridge 

• Oh Very Young-Cat Stevens (One of the best songs ever written about how precious and fleeting life is.  One example, among many, that singer-songwriter soft rock peaked during the '70s.)

The Coffee House 

• Cold Cold Heart-Norah Jones (An excellent cover of a Hank Williams tune, sung with sultry grit; it's also one of the best examples of vocals, piano, and bass being all that's needed to carry off such a tune.)
• Harvest Moon-Neil Young (One of Young's most endearing, enduring tunes, lyrically.)

Real Jazz 

• Up Jumped Spring-Art Blakey (An expansive waltz that gives Spring its due.)

Siriusly Sinatra

• Something Cool-Jane Monheit (Elegant torch singing with vibes.)

Watercolors

• Sunday's Best-Kirk Whalum (A laid-back, blissful sax number.)

Stingray Music highlights XII

Some of the better selections I heard this afternoon:

Adult Alternative 

• As It Seems-Lily Kershaw (A brave lyrical admission.)
• Three Little Birds-Bob Marley & The Wailers (Sunny lyrics for anyone in need of an optimistic pick-me-up.)

Alt Country-Americana 

• Boundless Love-Jeanne Jolly (Powerfully sung.  Instrumentally, it reminds me of Fleetwood Mac's "The Chain.")

Chamber Music 

• Jan Ladislav Dussek: Sonata (Judy Loman, harp) (A brisk yet delicate work that would sound just as appealing on the piano.)
• Friedrich Kiel: Sonata For Viola and Piano, Op.67 (Duo Puchhammer-Desjardins) (Both instruments convey the piece's intense sadness effectively.) 

Classic R&B And Soul

• Funky Nassau-The Beginning Of The End (The sound of early '70s funk is stamped all over this infectious track.)

Cocktail Lounge

• Samba De Orfeu-Ray Anthony (A breezy, forget-your-troubles number for trumpet.)

Folk Roots 

• Elk City-Samantha Crain (If you like the feel of "In The Long Run" by The Staves, this tune might also appeal to you.)

Jazz Masters 

• Basin Street Blues-Johnny Hodges & Duke Ellington (An impressive trumpet and piano rendition of a much-covered tune.)

Revival--'60s & '70s

• We're All Alone-Rita Coolidge (Rita Coolidge and Boz Scaggs convey the necessary emotion of the lyrics in their respective versions.  To transition from "We're All Alone" to a more uptempo track on the air, segue it with "Fine" by The Cardigans.)

A hip platter played at the speakeasy

One of my favorite examples of sarcastic back announcing, heard on a classic rock station years ago:

DJ 1: ...Going back to 1931 there with Cream and "White Room."  Can't you just hear the flappers in the background?
DJ 2: Yes, I was doing the Charleston.

It was refreshing to hear a morning team have fun with the back announcing, instead of just tossing off a generic slogan such as, "More classic rock every hour."

Staying on the swing set

A memory from Summer 1996:  "I hope you all won't be playing any more of that swing music this morning," said a listener who called WEW.  "It's just ridiculous!"  "I'm sorry to hear that," I replied.  "One of the challenges of any radio station is that not everyone will like every song."

After I hung up, I thought, "If that lady is still listening, she sure won't like this next break."  To stay true to the station and the music I'd chosen, though, I went on the air and said, "Be sure to stay tuned for 'Swingtime,' which comes your way at 10:00 every Saturday morning.  It's nothing but swing from the likes of..."  As I plugged "Swingtime," I thought, "She must be running away from the radio screaming right now, and what I'm about to say might be the last straw for her."  "In fact, let's hear a taste of swing right now," I said.  "This is Benny Goodman..."

Was the caller's timing fortuitous or unfortunate?  It depends on your perspective.  Swing music's appeal is in the ears of the beholder, after all.

FM dial scan highlights LIII

Six of the better songs I heard today:

KDHX 88.1 FM

• I Want To Hold Your Hand-Gary McFarland & Antonio Carlos Jobim (Just when you think you've heard everything, you hear an early Beatles hit reinterpreted as a cha-cha.)
• In My Life-Astrud Gilberto (When lyrics about looking back at one's life are this thoughtful and sentimental, you're on safe, solid ground singing them.  This was another unexpected Beatles cover.)

WSIE 88.7 FM

• Theme From "The Pink Panther"-Jack McDuff (McDuff plays the theme with its requisite coolness on the organ.  It's impressive when a well-known theme works equally well on multiple instruments.  Laurence Juber also plays an impressive rendition of this on guitar.)
• Today I Sing The Blues-Randy Crawford & Joe Sample (It was a pleasure to hear this vocalist and stellar Crusaders keyboardist, whose talents meshed so well on "Street Life," collaborate again.)

WARH 106.5 FM

• Tom Sawyer-Rush (Years ago, I overheard a local singer attempt to cover this at someone's backyard party.  It hit home how difficult "Tom Sawyer" is to sing and how only Geddy Lee can do it justice.)
• Things Can Only Get Better-Howard Jones (One of his strongest '80s hits, with a reasonable outlook in its lyrics.)

SiriusXM highlights XXII

Noteworthy tracks heard this morning:

'60s On 6 

• Do You Know The Way To San Jose?-Dionne Warwick (Just try getting a melody this bouncy out of your mind once you've heard it.  This was one of my favorite pop hits to play on WEW.)

'90s On 9

• Cantaloop (Flip Fantasia)-Us3 (With Herbie Hancock's infectious piano melody, "Cantaloupe Island," as your blueprint, you've won before you've even recorded the tune.)

Lithium 

• Sour Girl-Stone Temple Pilots ("Sour Girl" could easily qualify as the band's atypical standout track.  It's a relatively low-key tune with a memorable hook.  The acoustic version on KFOG's "Live From The Archives 9" compilation is worth seeking out.)

Real Jazz 

• Body And Soul-John Coltrane (An excellent pairing of a classic tune with a classic saxophonist.)
• Ellen David-Chet Baker (A tasteful, low-key trumpet number, ideal for late night listening.)
• Mark I-Kenny Burrell (Two well-placed guitar notes anchor this brisk instrumental.)

Spa

• Bonny Jean O'Aberdeen-Bonnie Rideout (A stirring piece for violin.)

Watercolors

• Free Spirit-A. Ray Fuller (A guitar-based melody seemingly inspired by a butterfly.)

SiriusXM highlights XXI

Among the appealing songs I heard this morning:

'40s Junction 

• Blues In The Night-Cab Calloway (The definitive sung version of a melody that has held up since 1942.)

Bluesville 

• God Trying To Get Your Attention-Keb' Mo' (Food for thought; it's said that God works in mysterious ways.  Sometimes, though, he might just say, in effect, "Over here!  This is the advisable path for you to follow.")

The Bridge

• Allentown-Billy Joel (A different sound and worthwhile subject matter for Joel; it's one of his best hits, but you don't hear it on the radio today.) 
• Free Man In Paris-Joni Mitchell (One of the best songs about how one person's decisions affect so many others.  Vocally and instrumentally, this is one of Mitchell's best hits.)
• I.G.Y. (What A Beautiful World)-Donald Fagen (An optimistic vision of the future, predicting how life will be easier and how we'll benefit from scientific advancements; not typical fare for a pop tune, but Steely Dan's Fagen pulls it off.   Also recommended from his album, "The Nightfly": "New Frontier," "Walk Between Raindrops," and the title track.) 

The Coffee House

• Just As Well-Jackie Greene (Good lyrics about accepting the reality of a situation.)
• Sweet Memory-Melody Gardot (Good lyrics, sung compellingly, about appreciating a special moment, especially when the present is less than ideal.) 

The Groove

• Upside Down-Diana Ross (One of her most memorable melodies, especially fit for driving and exercising.)

Soul Town

• Never Can Say Goodbye-Isaac Hayes (Hayes conveys the tune's heartache convincingly.)
• You Are Everything-The Stylistics (If the heartfelt feel of "Betcha By Golly, Wow" and "You Make Me Feel Brand New" appeal to you, this tune likely will, too.)

The warm glow of nostalgia

I was surprised, about 16 or 17 years ago, when I heard WRTH play the Little River Band tune, "Reminiscing."  I hadn't expected a station that specialized in tunes from the '40s to the mid '60s to play a hit from 1978.  It didn't take me long to realize that "Reminiscing" is an ideal tune for a nostalgic station to play.  The song's references to "Glenn Miller's band (being) better than before" and "those Porter's tunes (that) made us dance across the room," its memory of a husband-to-be's marriage proposal, and its theme of looking back connected with listeners to make it the band's biggest hit.  Its warm nod to the past encapsulates the nostalgic music format perfectly.

Online radio sampler highlights XXXIII

Standout selections I've heard this morning:

KUCI (Irvine, CA)

• Quiereme Mucho-Niuver (Jazzy, appealing vocals from Cuba...)
• Donalina-Blick Bassy (...and Cameroon.)

WEMC (Harrisonburg, VA)

• Franz Schubert: Violin Sonatina No. 1 (Anne Gastinel, cello) (This Schubert piece for violin transfers naturally and lyrically to the cello.  Schubert passed away much too soon, but this piece, his unfinished symphony, and various other works show that he used his short life well.)
• Richard Strauss: Horn Concerto No. 1 (Leipzig Gewandhaus Orchestra/Kurt Masur, conductor; Hermann Baumann, horn) (Baumann and company pull of an anthemic reading of this alternately heroic and pensive-sounding concerto.)

WRTI (Philadelphia, PA)

• Cool Man Chu-Harry Allen (Swingin' sax, guitar, and piano, thanks to Allen, John Pizzarelli, and Ray Kennedy.  Also recommended: Allen's perking-right-along version of "Flying Home" and his expansive take on "America, The Beautiful.")

WXPN (Philadelphia, PA)

• Don't Know What It Means-Tedeschi Trucks Band (A good new track; Susan Tedeschi sings it with her customary bluesy grit.  Also recommended: "Part Of Me.")

WZUM (Pittsburgh, PA)

• Sitting In The Park-Billy Stewart (Is the protagonist making the right choice?  The listener can't help but sympathize with his plight in this 1965 R&B hit that deserves more recognition.)

Persistent earworm alert XVIII

Over the last two years, I've thought a lot about how certain situations could have turned out better or worse if life had dealt me a different hand or if I'd reacted differently to the hand I was dealt.  Thinking this way sparked my memory of a song's chorus that hadn't come to mind in decades, "And it's allllll in the draw--of the cards."

Kim Carnes is best known for huge 1981 hit, "Bette Davis Eyes," and her duets with Kenny Rogers, "Don't Fall In Love With A Dreamer" and "What About Me?"  Another hit of hers, however, that never gets played today debuted shortly after MTV launched.  "Draw Of The Cards" is possibly remembered more as a theatrical video than as a song.  Its lyrics, however, are a fitting metaphor for life's unpredictability.  Carnes talk-sings, in her unique rasp, about the huge role fate plays in our lives.

"And it's allllll in the draw--of the cards," indeed.  Listen to the tune, and hear how much that rings true.

Context? VII

One sentence from a Pittsburgh radio newscast startled me when I heard it in the late '80s: "The slime over there have come up with another piece of junk that we're supposed to believe."

At first, I thought the newscaster must be interviewing someone with a strong bias against a propaganda-spewing company.  Then, I realized it was actually the newscaster reporting a story.  I would still like to know the context of that sentence.  When do you ever hear a reputable newscast that contains such slanted phrasing?  The newscaster's blatant contempt for the organization about whom he was reporting reminded me of an exercise from my high school newspaper journalism class.  The teacher asked us to read selected excerpts from articles and underline statements that contained bias.  One of the most obviously biased statements: "Police arrested the miserable wretch."  I still wonder if that newscaster completed such an assignment but learned the wrong lesson from it.

Can't admonish the music, so...

The music started blaring from the clock radio.  I couldn't blame the alarm; I'd set it to wake me up at that time.  I couldn't blame the radio station; I knew that the station played music.  And so...

"Ah!  Damned...passage of time!" I said.

I still think that was a reasonable fallback gripe.

KCOU playlist flashback: Kruzin' Music--2/14/93

For two semesters, I hosted KCOU's oldies and album tracks show, "Kruzin' Music."  I enjoyed spending Sunday evenings choosing a mix of familiar and obscure music and incorporating listeners' requests into the mix.  This was the playlist I chose on the Valentine's Day edition 23 years ago:

   1.  "Love, American Style" Theme
(Prime the audience; start off on an up note.)
   2.  I'll Be Good To You-The Brothers Johnson
(Instant atmosphere, from the opening notes.  Also recommended: "Strawberry Letter 23.")
   3.  Look What You've Done For Me-Al Green
---
   4.  One Less Bell To Answer-The 5th Dimension
(One of the most realistic songs about loss.  It's appropriate to acknowledge that Valentine's Day isn't a joyous occasion for everyone.)
   5.  My World Is Empty Without You-Diana Ross & The Supremes
   6.  Rock The Boat-The Hues Corporation
 ---
   7.  You're So Vain-Carly Simon (*)
(It amuses me that a listener requested this.  It's against the grain of the Valentine's Day theme, but somehow, it's still appropriate.)
   8.  Knocks Me Off My Feet-Stevie Wonder
(One of many stellar standouts on the "Songs In The Key Of Life" album, due in equal measure to Wonder's vocals and piano playing.)
   9.  Respect-Aretha Franklin (*)
 10.  I Can't Turn You Loose-Otis Redding
 11.  You've Really Got A Hold On Me-Smokey Robinson & The Miracles
 12.  To Love Somebody-The Chambers Brothers
 13.  More Than A Woman-The Bee Gees (*)
---
 14.  Till There Was You-The Beatles
 15.  I Saw Her Again-The Mamas & The Papas
(One of the most realistic songs about a dilemma that almost everyone faces at one time or another; the protagonist's (antagonist's?) agonizing goes down easier, thanks to some of the group's most appealing harmonizing.)
 16.  Cherish-The Association
(Tasteful and restrained.)
 17.  Let Your Love Go-Bread
 18.  You Didn't Have To Be So Nice-The Lovin' Spoonful
---
 19.  Love's Theme-Love Unlimited Orchestra
(Very of its time, instrumentally, and just as appealing as it was in the '70s.)
 20.  Georgia On My Mind-Ray Charles
(If you're going to do an oldies show with a Valentine's Day theme, how can you not include "Georgia...?")
 21.  Lover's Cross-Jim Croce
 22.  Sara-Fleetwood Mac (*)
---
 23.  For Your Love-The Yardbirds
(Songs in the "climb the highest mountain"/"swim the deepest ocean" genre are tricky to pull off without sounding overwrought.  The brisk tempo helps the band state its desires without sounding saccharine.  Fleetwood Mac recorded an equally effective cover version.)
 24.  The Love You Save-The Jackson 5
(As I wrote when praising "For Your Love...")
 25.  Heat Wave-Martha & The Vandellas
 26.  Everybody Needs Love-Gladys Knight & The Pips
 27.  Open Up Your Heart-LaBelle
---
 28.  You Make Me Feel Like Dancing-Leo Sayer
(Who else remembers Sayer's performance of this on "The Muppet Show?")
 29.  More Today Than Yesterday-Spiral Starecase
(No, that's not a typo.  That's the way the band's name is spelled.  The tune's universal sentiments hold up in any era.)
 30.  God Only Knows-The Beach Boys
 ---
 31.  Valentine's Day-Blood, Sweat & Tears
 32.  Where Is The Love-Roberta Flack & Donny Hathaway
 33.  My Lovin' Eyes-Carole King
(Tracks 32 and 33 sound breezy on the surface, but when you really listen to the lyrics, you realize they aren't particularly encouraging.  That doesn't detract from the strength of either song.)
 34.  Take This Longing-Judy Collins
---
 35.  Summer Nights-Olivia Newton-John & John Travolta
(Although it's possible for the tune to wear out its welcome, it's kind of endearing in rationed doses.  At the time, it seemed like a fitting final track for a Valentine's Day-themed show.)
---

(*) indicates a listener's request.
--- indicates a station break between songs.

Context? VI

I was puzzled when I walked into the high school German classroom one day.  Someone from one of the previous classes had written the lyrics of Billy Joel's "Honesty," in English, on the chalkboard.  The writing grew larger with each verse.  It looked like a girl's handwriting, but to this day, I don't know who wrote it.  I still wonder what would prompt someone to write lyrics such as, "Honesty is such a lonely word. Everyone is so untrue," on the board for other classes to read.  Had someone been dishonest with her recently?  Did she have a generally cynical view of people?  Did she like the song and want to share its lyrics?  Or, maybe the song had been on a continuous loop in her mind, and she wanted to pass it on.  (After all, that's one reason I write persistent earworm alerts on my blog.)  Was she hoping that people would rise to the challenge and translate it into German?  Or, was she trying to spark a philosophical "Are people generally good or bad?" debate in other classes?  My guess is that at least two of these possibilities applied.

No prize budget? No problem.

In my previous post, "How my radio career began," I wrote about how satisfying it was to record my own radio shows for a made-up station when I was a kid.  Watching it snow recently reminded me of one other satisfying aspect: Because I made up the station, and the shows I recorded would never air anywhere, I could create a contest on the spot and award any prize I wanted.  During a snowstorm in 1984, for instance, I said, "Let's help someone out during this heavy snow.  Be caller number five, and win a brand new snowmobile."  After all, when you're not on a real station, you're not burdened by a prize budget--or even a phone line.

Context? V

Years ago, I turned on KWMU, which was carrying BBC programming.  I heard someone chewing and then declaring that what he'd just tasted was "very subtle."  "What kind of program broadcasts someone eating?" I thought.  A little while later, I learned that he was tasting Latvian chocolate.  And, why not, when it's the middle of the night?

Persistent earworm alert XVII

After watching a documentary about Jim Henson last week, I started thinking about the Muppets.  This, in turn, made me recall designing and working with puppets during speech/drama class in middle school and watching other students' puppet shows.  One memory of two puppets dancing to an Irene Cara tune in that class has stayed with me.  Most listeners who remember Cara's music would think of her biggest hits, "Fame" or "Flashdance...What A Feeling," first.  However, the puppets in this particular show danced to Cara's 1983 hit, "Why Me?"  The song, although it sounds pleasant and upbeat on the surface, isn't particularly cheerful lyrically.  As far as I know, the students who chose it didn't tie it in with the plot of their script.  At least, I'm fairly certain they didn't.  I'm pretty sure one of the puppets didn't betray the other one.  In any case, the song stays with you once you hear it and would segue with the theme from the sitcom, "The Facts Of Life."  There's a college or noncommercial FM station segue waiting to happen...

Cookin' it up

It sells records, so to speak, and likely makes people want to listen to a radio station longer when the DJ promotes the music with genuine enthusiasm.  I was reminded of this about 20 years ago while listening to WSIE.  As a complex drum riff faded out, the announcer said, "Ooh, now...Cook it up.  Cook it up real fine!  Dennis Chambers, just an overwhelming drummer..."  He then acknowledged the listeners who had requested the tune and continued, "Just some great sounds...That's what you hear regularly at this radio station, The Jazz Station..."

Now, that's how you keep the audience hooked.

Overthinking the obvious

I was listening passively to a syndicated radio show one night during the '80s, and I thought I heard the announcer refer to the band just played as "a reformed Traffic with empty pages."  "That's poetic," I thought.  "That's an eloquent way of saying that the band must have lost some members who could never be replaced."  Then, I realized that "Empty Pages" was the song I'd just heard.  Admittedly, things are simpler than they seem sometimes.

Patriotic protocol

It's good to see that, even during Animal Planet's "Puppy Bowl," "The Star-Spangled Banner" is played before the game begins, and the players give it its due.

A basic function of the job

An exchange of so-called back announcing that I heard recently:

DJ 1: We played a bunch of songs.  I'm not going to tell you what they were.  Why do we have to label everything?
DJ 2: It's music.  That's all you need to know.

My reaction: Although there's no law that mandates back announcing the music one plays on a radio station, announcers should do it anyway.  It's a basic function of the job, after all, and when your station plays new, relatively obscure music and doesn't post its playlist online, it's all the more reason to identify what you've played. 

This concludes today's mild admonishment.

In memory of Maurice White

Earth, Wind & Fire's founder, Maurice White, was one of the band's guiding lights as a writer and vocalist.   Among the best hits he co-wrote, in my opinion, were:

• Fantasy (The progression of verses to the chorus is extremely smooth.  It's one of the band's best-structured hits.)
• Reasons (A heartfelt ballad that's especially fit for Valentine's Day.)
• September (Possibly the group's most infectious hit, with excellent use of horns, powerful vocals, and a great sing-along chorus.  It's one of the most upbeat songs about nostalgia ever recorded.)
• That's The Way Of The World (Promotes an admirably optimistic outlook on life; it's one of the band's most comforting tracks.) 

Other noteworthy tracks that White co-wrote were:

• Help Somebody (One of the group's early tracks; it's an early '70s tune with a late '60s let's-all-look-out-for-each-other sensibility.)
• Keep Your Head To The Sky (A laid back track from early in the group's career that showed where the band's sound was headed commercially; it should have been a mainstream hit.)
• Sun Goddess (This title track from a Ramsey Lewis album is an excellent seize-the-day anthem.  Instrumentally, it hooks you from the first note, and the tune's recurring vocal punctuation should make anyone want to get out of bed and take on the world.  This was one of my favorite songs to play on KNJZ.)

While many listeners would contend that Ben E. King's version of "Stand By Me" is the only proper one, White's cover of it should be appreciated more.  White deserves credit for energizing a well-known tune and infusing it with joy.  When it was released in 1985, it received only a fraction of the airplay it deserved.

It's reassuring to know that White's positive outlook will live on through many excellent recordings.

Context? IV

"By George, we've got it!  By George, we've got it!  By George, we've got it!  By George!"
--A 1985 radio commercial jingle I heard out of context in Springfield, Illinois

I still wonder if By George was the name of a hardware or auto parts store that claimed to have any part the customer requested.  If that was the case, I wonder if customers tried to stump the workers there by requesting parts that didn't exist.  (i.e.  "The ganzoonzkabas on the greeble freebles aren't calibrated correctly.  Do you have any ganzoonzkabas in stock, or do I have to buy all new greeble freebles?")  Having any part in stock that a customer could want is a tall order, so I admire whatever business that was for aiming high.

"Polly Parrot is on line two..."

At least 10 years ago, I heard a radio station lose its connection to the host of a pet care program.  While the station worked to restore the feed, the host of the previous program was asked to ad-lib an interview with a veterinarian.  To his credit, he let the audience know right away, "I'm actually the host of the investment program, so if your pets need financial advice, please ask them to call in."  For about 10 minutes, I kept waiting to hear if a parrot would call in and say, "ABC Tech Startup has just started being listed on the New York Stock Exchange.  Is this a smart time to invest in them?  Awk!"  Alas, that didn't happen, and the station was able to reconnect with the scheduled host.  I remember feeling slightly disappointed.

In keeping with Punxsutawney Phil's prediction...

Pennsylvania groundhog Punxsutawney Phil did not see his shadow Tuesday, so an early Spring is predicted.  In keeping with Phil's prediction, Stevan Pasero's "Bells Of Spring" is a fitting instrumental for looking ahead to Spring.  If the feel of Johann Pachelbel's Canon in D major appeals to you, you'll likely enjoy Pasero's ode to Spring, as well.

A haunting work for canines

At a recital during the '80s, a bassist was about to introduce the piece he was going to play.  As he started to speak, the bass instructor's dog ran by.  Another player called out from the audience, "Is there a dog in your piece, Art?"  "Yes," Art ad-libbed.  "This is called 'Bowser In The Underworld.'"

How would a piece with that title sound, I wonder?  Would a bassist spend at least part of the piece panting in some irregular time signature, such as 13/8?