SiriusXM highlights XXXIX

Standout tracks heard recently:

The Bridge

• St. Judy's Comet-Paul Simon (A gentle way to prod one's children to go to sleep.)

Escape

• El Paso-Jack Jezzro (It's more than a novelty song or commercial jingle for tacos; Jezzro proves that it's also a credible guitar instrumental.)

The Groove 

• Circles-Atlantic Starr (A groove that lives up to its name, with lyrics that capture what it feels like to ponder a weighty decision.)

Limited Edition

• Be My Baby-The Ronettes (As I wrote previously about "Superstar" by The Carpenters, I've always thought the word, "baby," when referring to anyone, should be used sparingly in lyrics.  This is one time when it worked and resulted in a sing-along pop smash.)

Love 

• Sukiyaki-A Taste Of Honey (Silky vocals; it's not surprising that this ballad was a big hit in 1981.)

Real Jazz

• Flowers For A Lady-Charles Mingus (A tune written by tenor saxophonist George Adams that cooks; it allows the trumpet, tenor sax, and piano to stretch out on their solos, with bass support all the while from Mingus.)

Soul Town

• People Get Ready-The Impressions (Lyrics of hope and salvation that command respect.  The Persuasions recorded an excellent a cappella version of it.)

Watercolors

• Reunion-Jonathan Butler (This tropical-flavored guitar instrumental segues well with Butler's "High Tide.")

Stingray Music highlights XVIII

Standout selections heard Tuesday and Wednesday:

Alt Country-Americana 

• My Love Follows You Where You Go-Lori McKenna (McKenna co-wrote this tune.  It's easy to feel the protagonist's heartache as you listen, which speaks to the effectiveness of the lyrics and McKenna's vocals.  Alison Krauss also covers it effectively.)

Folk Roots 

• Earth Song-Mary Hopkin (I hear elements of Joni Mitchell and Judy Collins in Hopkin's vocals; I can imagine either of those artists interpreting this ode to the planet similarly.)
• I Want To See The Bright Lights Tonight (acoustic version)-Richard Thompson (Richard and Linda Thompson's original version of this is unusually buoyant, at least on the surface, so it's interesting to hear Richard Thompson tackle it as a solo acoustic tune.)
• Porch Light-Aoife O'Donovan (This tune, like many others on O'Donovan's new release, "In The Magic Hour," tackles the subject of loss and carrying on under less than ideal circumstances, gracefully.  I've come to view a new release by O'Donovan the same way I view a new one by Mary Chapin Carpenter; I know there will be a high level of grace, sensitivity, and thoughtfulness in her vocals and lyrics.) 

Jazz Masters

• I Don't Stand A Ghost Of A Chance-Clifford Brown (Brown's rendering of the tune on trumpet is moving and expansive.  Richie Powell's piano playing underscores the song's elegance.)

Jazz Now

• Janice-Michael Kaeshammer (A good bluesy piano riff, with a suggestion of the Miles Davis tune, "Freddie Freeloader," in its melody.)

Retro R&B

• It's Your Thing-The Isley Brothers (How many of you, upon reading that song title, involuntarily heard the group sing, "Do what you want to do," in your mind?  Talk about a powerful hook...) 

Rewind--'80s & '90s

• Mary's Prayer-Danny Wilson (It was a pleasure to be reminded of this tune that was played on adult contemporary stations in 1987.  I'd forgotten how the chorus, "So, if I say, 'Save me, Save me...,'" lodges itself in my mind so quickly.)

SiriusXM highlights XXXVIII

Noteworthy tracks heard Tuesday afternoon:

'60s On 6 

• Walk Away Renee-The Left Banke (One of the best-written, best-sung, and best-structured songs about a relationship falling apart.)

The Bridge 

• Jesse-Carly Simon (This was a bigger hit in 1980 than I realized.  Although it isn't usually played on the radio now, I remember hearing it fairly often on KSLQ then.  Simon's opening lyric, "Oh, Mother, say a prayer for me...," draws the listener in.  The scenario she describes isn't pleasant, but her effective vocals and the song's unusual melody warrant repeated listening.)

Deep Tracks

• Growin'-Loggins & Messina (A realistic yet optimistic look at a relationship and its potential.)
• Serenade To A Cuckoo-Jethro Tull (A jazzy flute arrangement; it proves that not every album rock tune requires wailing guitars.)

The Groove

• When She Was My Girl-The Four Tops (To my ears, the tune's easy groove and backing vocals are even more appealing than those of their slight-variations-on-a-template '60s smashes.  This deserved comeback hit from 1981 deserves more airplay.)

Real Jazz

• Turned To Blue-Nancy Wilson (Thanks to stations like WSIE and SiriusXM's Real Jazz, I've come to realize how strong of a vocalist Wilson is and how she sings with just the right amount of emotion.)

Watercolors

• B's River-Marcus Miller (A noteworthy jazz track from last year; Lee Hogans has plenty of room in which to shine on trumpet, but the listener won't fail to notice Miller's bass line.)
• Beyond The Sea-Bobby Caldwell (With source material this solid, Caldwell already has the audience primed to appreciate his vocals; a solid cover of a tune best known in its Bobby Darin incarnation.)

Listeners? What listeners?

Someone once asked me, "When you're on the radio, do you ever imagine the audience listening?"  I replied, "Not really.  To me, it just feels like I'm sitting in a room talking."  Granted, during my everyday life, I don't say, "I just finished the lunch special, brought to me by Imo's Pizza.  Later this hour, I'll check the mailbox and make some phone calls.  Just ahead, after this sip of Diet Pepsi: Feeding the cat.  Will she gravitate toward canned food or dry food?  Stay tuned."  Still, if I don't see the audience I'm addressing, it just feels like I'm talking to myself, and I can't help but sound relaxed.

Easter music and radio musings

Happy Easter!  Some music and radio-related thoughts:

• Recommended for the sacred nature of the holiday: "Christ The Lord Is Risen Again," as performed by The Cambridge Singers.  If you enjoy John Rutter's interpretations of Christmas carols, you'll most likely enjoy his energetic arrangement of this hymn.
• When watching a performance of any song from the movie or listening to any song from the "Godspell" soundtrack, I think, "How on Earth would anyone go back to his or her mundane, everyday work and life routine after meeting Jesus?"  Granted, most believers would probably have renewed zeal for living the way Christ advised, but, as an experience in this life, nothing could possibly top it. 
• It's difficult to imagine anyone other than Ron Klemm hosting "Joy," which aired on the former "Classic 99," KFUO 99.1 FM.  For several years, I listened to his annual "Joy Of Easter" program, during which he played many tasteful orchestral and choral Easter selections.
• I don't remember the source, but I remember WMRY, during its jazz/pop days in the '80s, playing "The First Easter," a story about Easter's origin.  I haven't heard it since, but I wonder where the program originated.
• During a concert I saw in 1986, jazz trumpeter Maynard Ferguson played a new tune that he announced as "Easter Sunday Morning."  When the tune appeared later on his "High Voltage" album, he'd shortened the title to "Sunday Morning."  I always wondered why he decided to drop "Easter" from it.
• Does anyone else remember Dizzy Gillespie's portrayal of The Easter Bunny in "A Family Circus Easter?"  I love how the kids accept a giant rabbit playing the calliope as part of their reality so easily.  
• Has there ever been any hipper background music used in a cartoon than Vince Guaraldi's, as Snoopy and the kids enter the department store to buy shoes for Sally and eggs for Peppermint Patty and Marcie?  Sidebar: "It's The Easter Beagle, Charlie Brown" is one of the best Peanuts specials, but I still wonder why a store that looked like a JCPenney or Famous-Barr was selling eggs.  

Persistent earworm alert XX

At the time, two voices and an acoustic guitar stood out in the generally artificial, synthesized sound of late 1987 pop music.  During the brief time it was a hit, the opening lyric, "The time for talking's over now.  I guess it's time to let you go," always got my attention when soft rock stations played it.  The closing lyric about saying goodbye to one's sanity surprised me, but it took several listens before it sank in.  The tune is sung so pleasantly and matter-of-factly; in fact, it's difficult to remember that the scenario described isn't exactly a happy one.  Somehow, the breezy vocals make the situation seem more palatable in Bourgeois Tagg's "I Don't Mind At All."

FM dial scan highlights LV

Five compelling tunes heard tonight:

KDHX 88.1 FM

• Chicago-Sufjan Stevens (Interesting lyrics about having a crazy adventure with limited funds; the chorus invites the listener to sing along.)

WSIE 88.7 FM

• Sister Sadie-The Bronx Horns (An appealingly brassy, Latin-style arrangement of a strong uptempo melody.  I also recommend Joey DeFrancesco's version, which shows that the organ can carry the tune just as effectively.)
• Blue In Green-Miles Davis (A sublime ballad; it's one of the reasons the "Kind Of Blue" album remains a classic 57 years after its release.)
• Misty (Live)-Wes Montgomery (Understandably, most listeners tend to associate Johnny Mathis with this tune first.  Montgomery illustrates that its melody is still moving when played on guitar.)

KCLC 89.1 FM

• Don't You Give Up On Me-Lissie (An effective hook in a tune that works as dance music, driving music, or as a lyrical reminder to see things through with someone special.)

Say it quickly several times.

Seventh grade chorus class began with a list of vocal warm-ups for us to practice, such as "rubber baby buggy bumpers" and "What a to do to die today..."  After hearing a radio announcer read lottery numbers recently, I thought of another phrase that we could have used as a warm-up--"lack of the luck of the draw."  It's challenging to say and summarizes what lottery number announcements usually mean for most listeners.

Seemingly heightened stakes

It's interesting how dramatic music makes an everyday activity seem more intense.  One morning last week, I was feeding Sammy the cat as a particularly serious passage of Nikolai Rimsky-Korsakov's "Russian Easter Overture" played on SiriusXM's Symphony Hall station.  I wondered, "Will Sammy eat a sufficient amount of food in one sitting?  If not, will I have to prod him to eat more in a little while?"  Hearing Gerard Schwarz conduct the Seattle Symphony's performance of this overture, however, made Sammy's need to eat seem all the more urgent.  I thought, "What if Sammy reads or hears about the evil in the world, becomes disgusted, loses his appetite, and decides to fast until cooler heads right the world's wrongs?"

Fortunately, Sammy ate most of his food that morning, so I didn't have to cross that bridge.

A shrewd interview question

I'm surprised I don't hear more interviewers ask their guests, "What's the biggest misconception people have about you?"  Whether the guest is a politician, a musician, or an actor, it's usually a smart question to ask.  It allows a guest to set the record straight and vent, if necessary.  The interviewer, in turn, is more likely to get more honest, detailed answers for the rest of the interview than (s)he might have gotten otherwise.

Rowdy? More like justified...

Thoughts after watching the Ben Folds episode of Daryl Hall's "Live From Daryl's House" recently: As Folds and Hall launched into Folds' "One Angry Dwarf And 200 Solemn Faces," the closed captioning read, "rowdy piano music."  I thought "rowdy" was an interesting choice of an adjective.  I'd have been even more impressed if the captioning had said "cathartic."  After all, how satisfying it must be for anyone who is (or was) persecuted unjustly to write, let alone sing, as Folds does,  "If you really want to see me, check the papers and the TV.  Look who's tellin' who what to do...," while pounding out the tune on the piano.  It's also impressive that Folds sets the tone of the "Ben Folds Live" CD by leading off with that song.

Stingray Music highlights XVII

Interesting selections heard recently:

Chamber Music 

• Johann Sebastian Bach: Goldberg Variations, BWV 988 (Glenn Gould, piano) (It's impressive to hear Gould perform such a wide range of variations.  Sidebar for anyone who played Musical Pursuit, an offshoot of the Trivial Pursuit board game in the '80s: Did it seem as though Glenn Gould was the answer to every fifth question in that game?)

Cocktail Lounge

• How High The Moon-Les Paul & Mary Ford (A strong match of vocals with guitar.  The Dave Brubeck Quartet's live "Jazz At Oberlin" version is also recommended.)

Folk Roots 

• Black River-Sierra Hull (A lyrically, vocally, and instrumentally impressive track from Hull's new CD, "Weighted Mind."  Even if Alison Krauss hadn't been a backing vocalist on this track, I'd still be reminded of her writing and vocal phrasing.  Heavy hitter Bela Fleck's contribution doesn't hurt, either.  Also recommended: Hull's medley of "Tennessee Waltz" and "After You've Gone," from Harvester Performance Center in Rocky Mount, Virginia; the performance, from last year, is a strong example of her vocal prowess and mandolin proficiency.  It's worth checking out on YouTube.)

Jazz Masters

• I Can't Give You Anything But Love-Erroll Garner (Garner had a unique way of sliding around a melody on the piano.  His version of "How High The Moon" illustrates this, as well.)

Jazz Now 

• In The Spirit Of Baden-Anat Cohen featuring Romero Lubambo (An ear-catching, clarinet-led jam.)

Nature

• Reverie By A Stream-Dan Gibson (An accurate title for a moving guitar and cello number; the birds add authenticity to the piece.  It would flow well with "Jessica" by Dave Evans.)

Pop Classics

• Franz Schubert: Piano Sonata in B-flat major, D.960 (Alfred Brendel, piano) (Brendel handles this complex piece's shifts in mood with ease.  This sonata is yet another example of how much Schubert accomplished in his short life.)

Retro R&B

• We're Gonna Make It-Little Milton (With conviction this fervent, I wouldn't question this.)

SiriusXM highlights XXXVII

Highlights from yesterday and today:

'40s Junction

• Ac-Cent-Tchu-Ate The Positive-Johnny Mercer (An attitude fit for a motivational poster, in any era.)

'70s On 7 

• Getting Closer-Wings (Considering how infectious and fit for driving the tune is, I'm surprised it hasn't gotten much radio airplay outside of the time it was a hit.)

Bluesville

• Christo Redemptor-Charlie Musselwhite (A stark, gripping instrumental, carried off effectively on harmonica, guitar, and organ.) 

The Loft

• Stories We Could Tell-The Mavericks (The tune's lounge arrangement makes it segue well with Geraint Watkins' cover of a Beach Boys tune, "Heroes And Villains.")

Love

• We're In This Love Together-Al Jarreau (Jarreau's biggest hit, with lyrics and an arrangement that hold up.  In a more just world, Jarreau would have had far more hits.  The "Breakin' Away" album had more potential hits on it besides "We're In This Love Together," and the "Jarreau" album should have elicited several hits in addition to "Mornin'."  It also puzzles me that "After All" wasn't a hit.)   

Real Jazz

• Close Your Eyes And Remember-Ramsey Lewis (Laid back elegance from the piano, bass, and drums.)
• Deep In The Blue-Renee Rosnes (This new track gives Rosnes and her combo space to explore the melody fully.  Steve Nelson's vibraphone playing gives it a throwback feel.  Also recommended, for its piano and orchestral arrangements: the entire "Without Words" CD.) 

Watercolors

• Aguas de Marco (Waters Of March)-Eliane Elias featuring Take 6 (An extremely smooth vocal blend.)

"This concerto begins NOW!"

What do you do when you're the soloist in a concerto, and the orchestra director starts the piece without you?  This happened to me during a high school orchestra concert.  I played the bass, and the director accompanied me on piano.  It dawned on me, as the applause after the previous piece ended, that we'd never discussed how we'd begin the concerto.  So, after a barely perceptible nod, the director began playing the piece without me.  I thought, "Do I just start playing at a moment that sounds semi-natural?  What should I do?"  A few bars in, I said to the director, "No, no...Stop...Please."  Then, I said to the audience, "Take two...We're going to get this right!"

Fortunately, the director and the audience laughed.  The director then gave me a more obvious cue to begin, and the second take went off without a hitch.  Here's hoping that anyone in a similar scenario gets the chance to start the piece over before an understanding audience and director.

St. Patrick's Day music and radio musings

Thoughts related to the music of today's holiday:

• It's a shame that the "Ireland In America" program is no longer on KDHX.  Bernie McDonald did a good job for years playing Celtic music, and a lot of his choices were not the most obvious ones.  I remember one St. Patrick's Day when McDonald told the audience about St. Patrick's life.  It's one thing to read about someone's life, but a life like St. Patrick's, from the fifth century, which includes a hard stretch of captivity and unbreakable faith, despite what he went through, comes across more effectively when someone tells it.
• "The Village Folk Show," which SiriusXM carries on its station, The Bridge, was particularly enjoyable Sunday.  The host, Mary Sue Twohy, interviewed the members of Solas.  The band's live performances impressed me.  "As I Went Out Walking" and "Lay Me Down" were among the highlights.  "Hugo's Big Reel" was an example of joyous fiddling.  On a noncommercial FM station, it would segue well with "River Of Fallen Stars" by The Kennedys.  "All These Years," a delicate, solemn piece for violin, was another standout.
• Something that "Drowsy Maggie" by The Chieftains and "Man Of Arran" by Niamh Parsons have in common: Both tunes allow each member of the band a chance to shine.  In each case, it's the Celtic equivalent of a jazz band giving each member a chance to improvise a solo.
• Although I wouldn't usually encourage people to drive while playing music at top volume, it would be refreshing, at least once, to hear someone drive past while blasting a jig or reel.  How often do you ever hear that happen?

Here's wishing everyone an enjoyable St. Patrick's Day, or as Bernie McDonald used to say on KDHX, "a happy Patrick's Day."

Stingray Music highlights XVI

Noteworthy selections heard Wednesday morning:

Alt Country-Americana 

• Out Of Touch-Lucinda Williams (One truism of life that feels especially accurate, especially at reunions: Tons of positive and negative developments have taken place in everyone's lives, and most of us only know about a small fraction of them.  Williams sings about this fact of life in a way that can't help but resonate.)

Folk Roots 

• Rider Of Days-Patty Griffin (Griffin paints an effective portrait of a protagonist; his longing for whoever he misses is clearly genuine.)

Holiday Hits 

• The Banks Of The Lee-Arcady (A gripping tale of loss.)
• Darkness Darkness-Solas (A strong cover of a Youngbloods tune that lends itself well to a Celtic remake.)
• The Low Low Lands Of Holland-Rita Eriksen & Dolores Keane (Talk about life throwing a wrench into your plans...)

Jazz Masters

• Ballad Medley-Stan Getz & Oscar Peterson Trio (Impressive saxophone/piano renderings of tastefully chosen tunes, ranging from "Polka Dots And Moonbeams" to "Bewitched, Bothered, And Bewildered.")

Retro R&B

• A Sunday Kind Of Love-Etta James (A prime example of singing it like you mean it; even if the tune isn't to a listener's taste, I don't know how anyone couldn't respect how convincingly James sings this.) 

World Carnival

• Naita (Nothing/rien)-Ojos de Brujo (Appealing Spanish vocals and guitar sung and played with absolute conviction.)

SiriusXM highlights XXXVI

Seven good selections heard Tuesday afternoon, plus another compelling track heard Sunday:

The Bridge

• Any Major Dude Will Tell You-Steely Dan (One of Steely Dan's stronger album tracks, thanks, in part, to its appealing guitar and keyboard parts.)
• Country Road-James Taylor (It puzzles me that this wasn't a bigger hit.  It's one of Taylor's best songs, in my opinion, and it's easy to imagine ambling down a country road and gathering your thoughts while listening to it.  I also recommend Maynard Ferguson's version. Ferguson's blaring trumpet kicks the tune into the stratosphere, and the keyboard intro should draw the listener in.)
• Days Gone Down-Gerry Rafferty (Vocally and instrumentally subtler than Rafferty's excellent smash hits, "Baker Street" and "Right Down The Line.")

Escape

• Emily-Earl Klugh (Three pleasant notes propel this instrumental ballad.  Klugh shows how gracefully the melody works on guitar.  Nika Rejto's rendition shows that it transfers just as easily to the flute.)

Heart & Soul 

• Lost & Found-Lianne La Havas (Emotionally brave lyrics, sung with appropriate gravity.  Also recommended: "Unstoppable.")

The Loft

• Caramel-Suzanne Vega (Lighter than usual lyrics for Vega, with haunting instrumental accompaniment; the descending scale of a bass line underscores Vega's vocals perfectly.)

Soul Town

• (We'll Be) United-The Intruders (Conveys an optimistic, idealistic view of marriage.)

Spa

• Mountain Ride-Ariell (A lush guitar melody, fit for taking in majestic scenery.)

"And now, today's news from the mountaintop..."

In 1993, a broadcasting school instructor had just listened to one of my mock radio newscasts.  He said, "It sounds good, but try it with a delivery that's slightly less pedantic.  You don't want to deliver the news with the implied attitude, 'Here's what going on today, dummies.'"

Admittedly, that's good advice for delivering a newscast--and almost everything else.

Stingray Music highlights XV

Standout selections heard yesterday:

Adult Alternative 

• Talk To You-Tracy Chapman (A protagonist's convincing wish that words won't fail her when she needs them.)

Alt Country-Americana 

• Dimming Of The Day-Alison Krauss & Union Station (A thoughtful, movingly sung rendition.  The Geyer Street Sheiks recorded a strong version, as well.)

Cocktail Lounge

• Soulful Strut-Horst Jankowski (Young-Holt Unlimited's piano-based version is the best-known one.  The tune works just as well in its piano and trumpet arrangement here.  Also recommended: Swing Out Sister's version of the tune with vocals, "Am I The Same Girl?") 

Cool Jazz

• Lazy Afternoon-Hank Jones (The melody appears, appropriately enough, in its own good time.  A sublime piano version.)

Folk Roots

• Goodbye-The Waifs (It's comforting to think that there might be "no such thing as goodbye," as it's envisioned here.  I'd be curious to hear how Lucinda Williams would cover this.)
• Same Old-The Honey Dewdrops (Vocally and lyrically compelling, with effective guitar and banjo underscoring.  I wonder if the couple in the tune will ever go on a seemingly needed adventure.) 

Jazz Latino

• St. Thomas-Michel Camilo (A spirited piano rendition of a memorable Caribbean-flavored melody.  Sonny Rollins recorded the definitive version, for many listeners, on saxophone, and Ron Carter's bass rendition is also recommended.)

Jazz Now

• The Right Way-Paolo Fresu 5et (A sly walking bass line sets the mood; based on the tone it sets, this tune deserves the moniker of cool jazz.  If an updated version of "Get Smart" aired, this could be its theme.)

SiriusXM highlights XXXV

Some of the better selections heard yesterday afternoon:

The Coffee House 

• It's Good To Have You-Josh Rouse (A sentiment suitable for a Valentine that plays it cool, "It's good to have you in my life," is set to a jazzy, laid-back accompaniment.  The vocals on the chorus, "All the fishes in the sea...," bring Seals & Crofts to mind.  Also recommended: "Under Cold Blue Stars.")

Deep Tracks 

• The Daily Planet-Love (In a rut?  This is a fun way to acknowledge it and start to smile again.  Also recommended: "Alone Again Or.")
• Deep Blue-George Harrison (Segues well with "For You Blue," a Harrison-penned Beatles track.)

Escape

• Apples And Bananas-Lawrence Welk (Easy listening with a kick; an organist could play this at the ballpark.)

The Loft 

• Sunny-Squeeze (A look at how life comes full circle.  The song's orchestral arrangement sounds like "Eleanor Rigby" transposed into a major key.) 

Real Jazz

• Impromptu-Rodriguez Brothers (An impressive uptempo, piano-and-trumpet tune that sustains its melody for 8 1/2 minutes.)

The Spectrum

• Back On The Chain Gang-The Pretenders (A well-written and well-sung '80s hit about carrying on after a loss.  Decades later, it hasn't worn out its welcome, and it shouldn't.)

Watercolors

• Avenida Del Sol-Marilyn Scott (Smooth, self-assured vocals; I could imagine Basia covering the tune similarly.)

The healing power of music?

Sometimes, you think you know which way a conversation is going.  Then, you hear something that surprises you.  A former co-worker, talking to his girlfriend on the phone, said, "I'm sorry that you're sick.  I'll sing something to comfort you."  I thought, "He's probably going to sing something soft and soothing to her."  Instead, I heard him sing, "Do, do, do, do, do, do, do; do-do-do, do, do," and then tell her, "I'm not sure why I chose 'Low Rider' by War."

"Whatever works," I thought. "Hopefully, hearing an unexpected version of 'Low Rider,' because it was so unlikely, made her feel at least a little better.  It's incongruous, but maybe it was so unexpected, it moved her--or amused her, at least."

"Want more info? Please don't call."

In pre-Internet times, it was common for radio announcers to talk about events around town and say, "If you'd like more information, call us at..."  I almost always hoped no one would call to follow up.  Typically, we'd announced everything we knew about the event on the air, and the only other info we had was a phone number that people could call.  Most listeners accepted this.  Occasionally, however, a listener would persist, even when given the number.  (i.e. "So, how many hot air balloons will there be at that event?  Will they have pomegranate-boysenberry soda?  If so, how much will it cost?  What if I have an existential crisis of the soul and have to leave the fairgrounds temporarily?  Will I be able to get back in without paying the admission fee again?")  Granted, those inquiries are slightly exaggerated.  I didn't mind being asked to repeat any of the info about an event that I'd read on the air.  It was irritating, however, when people wouldn't accept, "I'm sorry, I don't have that info.  Here's the number to call," as an honest answer.

Online radio sampler highlights XXXIV

I feel lucky to have heard such a wide range of compelling music, including a fair helping of new tunes, this morning.  Some of the stronger selections:

KUTX (Austin, TX)

• No More Blues-Cassandra Wilson (Wilson sings about the pros and cons of plotting a new path.  Also recommended from her "Another Country" album: "Almost Twelve" and "Deep Blue.")
• Easier Said-Sunflower Bean (How Blondie might have sounded as an indie power pop band; subtle soprano vocals drift over a whirling instrumental backdrop.  As in "No More Blues," the protagonist weighs the positive and negative consequences of choosing a new direction.  It's one of 2016's more appealing tracks, at this point.)
• Every Songbird Says-Sam Beam & Jesca Hoop (This is also one of this year's strong new tracks, for sunnier reasons.  This duo's alternating vocals suggest that a couple's future is likely to be a bright one.  The melody skips and hops appealingly, making me curious about the other songs on the "Love Letter For Fire" album, due out April 15.)

WFMT (Chicago, IL)

• Samuel Barber: Adagio For Strings (New York Philharmonic/Thomas Schippers, conductor) (The orchestra's performance brings out the piece's somber, heart-wrenching emotions.)

WHRB (Boston, MA)

• Tone Clone-Oliver Lake & Jump Up (A quirky jazz/funk stew from '82 with sax lines running scales up and down and vocals that bring to mind some of the more interesting tracks on The Urge's "Puttin' The Backbone Back" album.)

WMBR (Cambridge, MA)

• Beton Brut-Bent Shapes (A memorable guitar hook that brings to mind Big Wheel's "Lied" dominates this new indie rock track.)

WRUW (Cleveland, OH)

• Turn My Head Off-Takenobu (If you listen to only one new alt-rock cello instrumental this year--of the many thousands of such tracks out there, of course--you'd be wise to pick this one.) 

WTJU (Charlottesville, VA)

• Ramblin'-Ornette Coleman (Coleman steers this driving melody on alto sax.  Although the announcer's segue with Freddie Hubbard was perfectly fine, this tune also flows well with Cannonball Adderley's version of "Fiddler On The Roof.")

WXXI (Rochester, NY)

• Ludwig van Beethoven: Piano Sonata No. 26, "Les Adieux," in E-flat major, Op. 81 (Jonathan Bliss, piano) (A nimble performance of a technically demanding work.)
• Guillaume Dufay: Nuper Rosarum Flores (Pomerium Musices/Alexander Blachly, conductor) (A striking choral work; it's easy to hear why it was composed for a cathedral's consecration.)

Pledge now! Keep those ocarina melodies playing!

A successful radio station pledge drive requires a peculiar level of conviction from its announcers.  Even when a radio station's programming is close to one's heart, one doesn't usually sit around, touting its benefits on the air with other station announcers.  As much as listeners might enjoy certain noncommercial radio playlists and programs, they don't typically say, "Why, that was a great set of music from those four obscure dobro players.  Certainly, I never hear this kind of music on any other station.  I should call the station and chip in some cash to keep the dobro music going."  I wish everyone thought that way, but it's unreasonable to expect everyone to share this priority.

Listeners might also be skeptical of the station's rationale behind asking for exorbitant sums of money.  I can just imagine a listener thinking, "Hmmmm...Because the station's frequency is 91.7 FM, they're asking everyone to contribute a minimum of $91.70.  Nice try, but that makes as little sense as saying, 'Because our new facility will consist of 40,000 bricks, we're asking each listener to contribute at least $40,000.  With each listener pitching in at this level, our books should be balanced by 2038, at the latest.'"

As much as I've enjoyed noncommercial radio for decades, I was never entirely comfortable asking for money on the air.  During pledge drives, however, I sounded as polite and low-key as I could, while getting the required bullet points across.  The pledge drive break which satisfied me most, however, was one I ad-libbed.  After a producer at one station explained how listeners' contributions keep certain programs on the air, he tossed it over to me.  "And if you enjoy those programs so much, you wouldn't want to turn on the radio one day and just hear nothing where they once aired," I improvised.  "You wouldn't want to tune in only to hear what Simon and Garfunkel might refer to as 'the sound of silence.'"

At my next air check meeting, the station's program director complimented my instincts during the pledge drive.  I appreciated the praise, but I also thought, "It's easy to sound idealistic on the air when it isn't your own money you're asking listeners to contribute."

Context? IX

"All right, you CD players!  Take that!  And that!"

--Heard on a noncommercial FM station in the early '90s, along with sledgehammer sound effects

I still wonder why the DJ was pretending to destroy the CD players.  Did they skip too often?  Were new ones being installed soon?  Did she prefer the sound of records in mint condition?  Ironically, the sledgehammer sound effects sounded as though they were being played on a CD.  What would drive an announcer to want to destroy the equipment?

Persistent earworm alert XIX

An early '70s groove has lodged itself firmly in my mind this morning.  The artist co-wrote and sang backing vocals with James Brown.  You'll probably pick up on that right away, as the song that keeps playing in my head is heavily in Brown's style.  Its recurring riff sustains it until it ends abruptly.  The repeated vocals work, although any number of lyrics could likely be sung over the rhythm without compromising it.  The tune?  Bobby Byrd's "I Know You Got Soul."  I first heard it while driving and found it creeping into my mind today while listening to other stations, even news-talk ones.  That's a riff with staying power.

Making an effort

During a critique session at broadcasting school, a student apologized to the instructor for putting in a mediocre effort on his mock radio shift tape.  "My mind wasn't really on this," he said, listing various distractions from his life.  The instructor replied, "I'll give you some advice that a program director once gave me.  He told me, 'When you're on the air, you can't do anything about the rent or anything else outside the studio.  Why not put in your best effort at work?  That way, at least one thing in your day will have gone right.'"

I never knew if the student turned in a better tape during his next session, but I always thought the instructor's advice was sound.

FM dial scan highlights LIV

Five strong tracks that I've heard today:

KDHX 88.1 FM

• Call Off Your Dogs-Lake Street Dive (A fun, new tune with a groove and vocals that would have been at home on the radio during the late '70s or early '80s; it's one of the catchiest tunes of 2016, so far, and would flow well after Queen's "Another One Bites The Dust" or "Christmas Wrapping" by The Waitresses.)
• You Won't See Me-The Beatles (A forthright yet tempered way to express exasperation with someone.  It's not immediately obvious, but lyrically, "Call Off Your Dogs" and "You Won't See Me" are two sides of the same coin.  Both tunes, in distinctly different ways, implore someone to see the light and be more reasonable.  Also recommended from the "Rubber Soul" album: "In My Life," "I'm Looking Through You," and "Wait.")

WSIE 88.7 FM 

• Here's That Rainy Day-Ben Haugland (An engaging combo, featuring Haugland on piano, turns in a straight ahead rendition that lets the song breathe.  Trumpet and saxophone solos enhance the tune without overpowering it.)

KCLC 89.1 FM

• When We Were Young-Adele (A moving reminder of what drew two people together.  As usual, Adele emotes with full-throated conviction.)

WFUN 95.5 FM

• That Girl-Stevie Wonder (How satisfying it must be for an artist to have such a strong assortment of hits that he can compile an "Original Musiquarium I" in which every track is a winner.  "That Girl"'s sly atmosphere kicks in right on the first note and keeps the listener hooked.)

Only in college XIV

Receiving a phone book recently reminded me of the time KCOU staffer Mike reviewed the phone book as if it were an album.  KCOU staffer Jeff then wrote a rebuttal to Mike's review.

Mike's review: "100,000+ cool local artists got together and put out this overwhelming compilation.  The production is clean without being slick.  Mostly raw, punchy offerings, though it drags in parts (Smith, Jones, etc.)  Check out the cool liner notes.  A true voice for an anonymous society."  In the review sheet's comments section, Mike wrote, "Many of these artists have appeared on similar phone book compilations, but they've never been in finer form than they are here!!"  In the best cuts section, Mike listed the names of several individuals and businesses as they appeared in the phone book.

Jeff's rebuttal: "No, this is not KCOU material.  This merely shows the corporate brainwashing of our society.  This whole collection is sponsored by some money-grubbing corporate conglomerate trying to take over society.  Look at you, Mike, drooling over organization and orderliness.  @#&* the alphabet.  Long live randomness."

That's the kind of inspired creativity you only get at a noncommercial college radio station.  When I've told people about what made KCOU so quirky and interesting, I've cited this example often.

The proper response to clenched teeth

The bassists had a tricky entrance in a piece the orchestra was sight-reading.  Even though the score said to start playing on an off beat, our ears fooled us into thinking otherwise.  Consequently, all six of us missed the entrance.  The conductor stopped us and said, "Hang on; we need to get this."  I thought he would follow up with, "This is where you come in," or "Please remember to count, and don't let your ears fool you."  He surprised us, however, by saying, "Bassists, do you know how foolish a conductor looks when he goes like this, and no one responds?"  While asking this, he raised his arms, clenched his teeth, and made his eyes bulge menacingly.  A passerby, upon seeing this unflattering pose, might have thought the conductor had just escaped from an asylum.

The next time around, all six of us played our entrance correctly.

Stingray Music highlights XIV

Appealing selections heard Tuesday morning:

Alt Rock Classics

• Lovefool-The Cardigans (If you listened to WVRV when this was a hit, you probably heard it a lot.  Nina Persson's quirky vocals and the tune's memorable chorus plant themselves firmly in the listener's mind and don't leave easily.)

Canadian Indie

• We Draw Lines-Blinker The Star (Good guitar-heavy rock with lyrics and structure that build on themselves and keep the listener hooked.) 

Cocktail Lounge

• I'm A Fool To Care-Les Paul & Mary Ford (Ford's vocals and Paul's guitar mesh well in this musical lament I wish I'd played on WEW.)

Cool Jazz 

• Bing, Bing, Bing!-Charlie Hunter Trio (The saxophone, guitar, and drums produce a midtempo groove with instant atmosphere that would be at home on a traditional or smooth jazz playlist.)

Jazz Masters

• Gaslight-Duke Pearson (A sly stroll of a melody; Pearson grounds the tune on piano.  With heavy hitters, such as trumpeter Freddie Hubbard, saxophonist Joe Henderson, and bassist Ron Carter on board, it's no surprise that the track is such a winner.)

Nature

• Nocturne 2-Boreal Owl-Ken Johnson (Ideal piano accompaniment for owl-watching.)

Retro R&B

• Ode To Benny B.-Earl Van Dyke (The lead and rhythm instruments, especially the harmonica, coalesce to produce a great uptempo instrumental that ranks with the best Stevie Wonder backing tracks.) 

Samba & Pagode

• Eta Amor-Pericles featuring Xande (An ideal tune for an outdoor concert; its upbeat vocals, flute, and percussion could easily prime an audience for an enjoyable evening.)