Fit for an answering machine

Although answering machines aren't used as often as they once were, four songs strike me as especially fit for a person's answering machine or voicemail greeting:

• Big Time-Peter Gabriel (If you want to be especially brief, you could limit the greeting to the spoken opening, "Hi there."  For a humorous or ironic effect, you could let it play a little longer, to include the "I'm on my way, I'm making it" and "So much larger than life" lyrics.)
• Everybody's My Friend-Kansas (Fit for a nine-second greeting; there's time for the sung "Hello, hello" intro and a short greeting over the guitar line, before the vocals come in.  This 1983 tune isn't usually played on the radio today, as it was a departure from the band's "Carry On Wayward Son"/"Dust In The Wind" sound of the '70s.)
• Thank You For Calling-Don Conoscenti (The greeting is self-contained in the opening lyric; Conoscenti sings it with the optimism of John Denver.)
• When Sly Calls (Don't Touch That Phone)-Michael Franks (Franks sings subtler, more mysterious lyrics fit for a greeting, including, "I am not here, I'm makin' my escape," and, if you don't mind sounding dated, "The me you hear is magnetized on tape.")

Yes, you could just say, "Please leave a message after the tone," but if you're inclined to put a spark into the greeting, at least one of these four tunes should work.

Singin' that Devious Student Answer Key chorus...

I still remember a student's nervy, ill-advised singing that ostensibly gave the rest of a class the first eight answers to a test.  While the teacher was out of the room, a student ran up to his desk, looked at the answer key to a multiple choice test we were about to take, and memorized, or at least pretended to memorize, the first eight answers.  He then walked back to his own desk, singing a tune that went something like, "Oh, yeah, I'm singin' C, B, D, A, A, D, B, C!"  In case anyone didn't catch on the first time, he sang it again, just before the teacher reappeared.

I don't remember if the answers he sang were correct.  I didn't trust him completely, however, so it wouldn't have surprised me if he'd sung out the wrong answers, just to throw people off.

Persistent earworm alert XXII

When you write a blog like this, it's easy to feel pleased about recommending an obscure tune or artist.  I'll recall a catchy indie tune or an esoteric jazz melody I heard in the middle of the night on a low power FM station or discovered in a record store's clearance bin and hope that readers will seek it out.

There are times, however, to acknowledge that some songs are popular for the right reasons.  By now, you've most likely seen the Apple Music commercial in which Taylor Swift lip-syncs and dances around to Jimmy Eat World's "The Middle."  She also mentions how much she enjoyed the tune when she was in middle school.  After hearing the tune again for the first time in several years, I thought, "She has good taste there.  There's a catchy hook, a great sing-along chorus that doesn't wear out its welcome, and lyrically, it's a great way to tell someone, with no trace of heavy-handedness, 'Don't worry if you don't fit in.  You're fine the way you are.'"  "The Middle" was climbing the charts during this week 14 years ago, and it sounds just as fresh now.  Thanks to Jimmy Eat World, Taylor Swift, and Apple Music for the enjoyable reminder.  If a tune needs to be stuck in my mind for days at a time, this one is welcome to stay there indefinitely.

Waiting for the muse? Just count instead.

I think the bassists in one of my high school ensembles expected the conductor to admonish all of us for having trouble with a difficult entrance in a piece.  I expected he would say something like, "Bassists, please count accurately and come in accordingly," or "Remember, you come in on the 'and' of two (i.e. the second beat of the measure.)"

Instead, the conductor said he had a problem with bassists waiting for a miracle.  He explained that a miracle wasn't going to happen.  From then on, we all nailed that entrance.

Sometimes, an offbeat, low-key prod is the best way to fix an orchestra's flub.

KCOU playlist flashback: Jazz Odyssey--4/26/93

My picks for two hours of lunchtime jazz 23 years ago:

   1.  Misty-Renee Rosnes Trio with string orchestra
(Has there ever been a classier instrumental rendition of this classic that Johnny Mathis made famous?)
   2.  You Stepped Out Of A Dream-Patricia Barber
   3.  Daydream-Cheryl Bentyne
(With a voice this strong, it's no wonder Bentyne has had such a long career with The Manhattan Transfer.  Her solo releases deserve more airplay; the same could be said for Manhattan Transfer vocalist Janis Siegel.)
   4.  Dorothy-Lou Donaldson
(A smooth alto sax ballad from the excellent album, "Birdseed."  Two more standouts from the album: "Walkin' Again" and "Blue Bossa.")
---
   5.  Tudo Bem (All Is Okay)-Bobby Watson
(A fine mambo for lifting one's spirits.)
   6.  Jeannine-Gene Harris Quartet
(A low-key cooker of a piano melody.  Other highlights from the "Like A Lover" album: "Strollin'" and the cover of "I Can't Stop Loving You.")
   7.  Dream Of The Blue Turtles-Bob Belden Ensemble
(Yes, it's a cover of Sting's album title track.)
---
  8.  63rd Street Theme-Johnny Griffin
(If you like the vibe of the jazz standard, "Moanin'," this sax-based number will likely appeal to you.)
  9.  Irremediablemente Solo-Danilo Perez
---
10.  Don't Get Around Much Anymore-Clifford Jordan Big Band
(Jordan's saxophone socks this Duke Ellington melody home, and the rhythm players have plenty of space in which to solo.)
11.  Rhythm-A-Ning-"'Round Midnight" soundtrack (Dexter Gordon, Freddie Hubbard, Cedar Walton, Ron Carter, and Tony Williams)
(Five jazz giants cover a Thelonious Monk tune.  If there were ever a situation in which quality is guaranteed...)
---
12.  Dewey (For Miles)-The Yellowjackets
13.  If I Were A Bell-Miles Davis
(Davis and company, including John Coltrane on tenor sax, swing the rhythm in this first-rate rendition.)
14.  The Slump-Tony Williams
---
15.  Blood Secrets-Bernie Worrell
(Worrell's haunting organ riff propels the tune.)
16.  Blues For McVouty-Jay Thomas
---
--- indicates a station break between songs.   

FM dial scan highlights LVII

Six interesting selections I've heard today:

KDHX 88.1 FM

• Pop Life-Prince (One of Prince's quirkier hits; lyrically, it's an interesting way to reach people who might make questionable life choices or have flawed perspectives.)
• Class Wharf Aire-Ryan Spilken (Lo-fi indie rock with lyrics exemplifying Prince's "Pop Life," "Everybody can't be on top" in life sentiment.)
• Never Is A Long Time-Eleanor Friedberger (Friedberger's compelling, low-pitched voice and guitar pull off this standout track from her "New View" album, released in January.)

WSIE 88.7 FM 

• Chase The Clouds Away-Chuck Mangione (Mangione's album title track, with its wandering-through-the-forest orchestral arrangement, is one of his best tunes.  Also recommended from the same album: "Can't We Do This All Night.")

KCLC 89.1 FM

• Madly-Tristan Perryman (If I hadn't known otherwise, I would have thought Beth Orton was singing this tune from 2008.  That's a point in its favor.)

K297BI 107.3 FM, a.k.a. KNOU-HD2

• Gustav Mahler: Symphony No. 1 in D major, "Titan": IV. Stormily agitated--Energetic (St. Louis Symphony Orchestra/Hans Vonk, conductor) (An all-hands-on-deck movement for a large orchestra, featuring gripping string parts and resounding brass.  The symphony's first movement is also majestically compelling and sports a memorable, heroic-sounding theme.)

Making that big break happen

I wonder how many piano tuners have used their profession as a springboard for playing the piano professionally.  If your ambition is to be a Classical musician, it makes sense, when you have a captive audience, to test the piano by playing a technically demanding concerto.  If you'd like to play jazz for a living, it's smart to do your best Dave Brubeck, Bill Evans, or Erroll Garner impression.  If you want to play in a rock or R&B band, it would be smart to have some Emerson, Lake & Palmer or Stevie Wonder tunes ready to play.  I wonder how often the owners of a piano have heard a piano tuner flying impressively through a difficult or ear-catching composition and said, "I just play for fun, but it sounds like you're the real deal.  I know a band that's looking for a piano player.  If you're interested, contact this person..."

Who knows what opportunities await, based on the pieces you play in the guise of "testing" the piano?

A respectful audience

In late 1985, I recorded an audition tape for the Missouri High School All-State Orchestra.  Just prior to recording, Jenny, a cat who visited regularly, appeared in the family room window and started meowing.

"Now, you be quiet, please, during the recording," my bass teacher told Jenny.

Impressively, Jenny's silence lasted for exactly the duration of the taping.  As soon as the teacher stopped the tape recorder, Jenny resumed her monologue, in her inimitable grizzled voice.

Some concertgoers could learn from Jenny's polite etiquette.

Persistent earworm alert XXI

In yesterday's tribute to Prince, I mentioned my seventh and eighth grade chorus teacher, Mr. B.  Thinking back to those years reminded me of today's persistent earworm, Michael Sembello's 1983 hit, "Maniac."  Somehow, the woman about whom Sembello sings seems less maniacal when I consider the words of a former co-worker.

"If 'she's dancing like she's never danced before,' she must not be very good at it," he reasoned.  He had a point.  Seen in that light, she seems less maniacal and more like she's simply on the wrong path.

As Mr. B. and his band performed it during a middle school concert, she also seemed more misguided or confused than a true maniac.  His band improved the tune, in my opinion, by playing it in a lower key and giving it more of a sing-along quality than the original version.

Regardless of whether she's a maniac, Sembello's chart-topping tune isn't easy to expunge from one's mind.

In memory of Prince

"If I thought I could bring Prince to this school, I would," my eighth grade chorus teacher told the class in 1984.

It would have been a coup if Mr. B. had been able to pull that off at any point during Prince's career.   It would have been especially impressive then, at the height of his "Purple Rain" fame.

Alas, yet another hugely successful, unique musician has passed away in 2016.  I was caught off guard to learn of Prince's death at age 57 today.  When I think of Prince's music, these seven songs stand out most to me:

• I Wanna Be Your Lover (His first hit, and still one of his most appealing tunes, vocally and instrumentally.  To get the full effect of Prince's prowess on multiple instruments, listen to the album version, which has one of the best and most sustained instrumental fade-outs of any pop tune.)
• I Would Die 4 U (A "Purple Rain" highlight, with a chorus and instrumental backing that click perfectly, taking the edge off of a serious sentiment.  Prince made a serious sentiment all the more palatable by fusing it on the album, and in concert, with "Baby I'm A Star."  In less capable hands, two such songs would clash.  In Prince's case, however, they segue smoothly.)
• Money Don't Matter 2 Night (One of Prince's subtler, more contemplative uptempo tunes. Bigger hits of the time overshadowed it on the radio, unfortunately, but it holds up as one of his best written and sung tracks.)
• 1999 (The tune sports one of Prince's most enduring hooks; Prince shares vocals with his band members on the track, and the first time you hear it, you wonder where it's going.  It's one of his most tightly and effectively constructed dance tunes.)
• Party Up (As I wrote previously, this is one of Prince's most infectious grooves. For a guitarist or keyboardist wanting to work off steam, it has to be a satisfying tune to play.  It was also one of the musical highlights of "Saturday Night Live"'s 1980-81 season.)
• 17 Days (This is one of Prince's most overlooked gems.  It was the flip side of the "When Doves Cry" 45, and its universal sentiments, combined with its ear-catching instrumental hook, should have made it a hit.  Who can't relate to a relationship ending and feeling lonely while wanting to just stare at the rain?)
• Take Me With U (Another vocal and instrumental standout from "Purple Rain."  Prince and Apollonia's vocals are well-matched and well-mixed.) 

Not every musician can sing, play, and write in equally appealing measure.  Prince could--and did, however, and his legacy is an impressive catalog of hits and album tracks.

Correlation doesn't imply causation, but...

Thunderstorms are in tonight's forecast.  On three occasions over the years, I was playing Nickel Creek's "Smoothie Song" when the power went out.  I know playing the tune didn't cause those power outages, one of which lasted for three days.  Still, in the back of my mind, I'm a little skittish.  "Smoothie Song" is such an excellent foot-stomping instrumental, though.  Do I dare to listen to it now?  Yes.

My apologies if your electricity goes out because of this...

"Eat, I'm telling you!"

Ah, memories of a high school orchestra trip: Watching a famous instrument manufacturer create a violin...Rehearsing our music under the batons of two college orchestra directors...Being implored to eat an egg roll...

...I have a lot of memories from the two trips my high school orchestra took to Chicago, but for some reason, my clearest memory is this dialogue between my high school orchestra director and me, as the director, several orchestra members, and I ate at a Chinese restaurant:

Mr. D.:  Have an egg roll.
Me:  No, thank you.  I'm already full.
Mr. D.:  No?  Yes!
Me:  I've eaten egg rolls before.
Mr. D.:  But you haven't eaten these egg rolls.  There are no teeth marks on them.

Strangely, I don't remember which pieces our orchestra played on that trip, but I remember this exchange from 1986.  It's yet another entry in the "Orchestra directors have unusual personalities" canon.

Sheep driving a car? Don't be alarmed...

...The sheep probably just wanted to hit the open road while baaing along to Pizzicato Five's "Collision And Improvisation."  The tune is ideal for that.  The late '70s/early '80s Wehrenberg Theater jingles are perfect for that, as well.  When the music is that catchy and speaks your language, how could you not want to drive while baaing along?

Stingray Music highlights XXI

Standout selections heard yesterday and today:

Canadian Indie

• Pedalin'-Mimi O'Bonsawin (O'Bonsawin conveys an everything-will-turn-out-fine-so-don't-give-up outlook in this fun tune.  If you like how Jem keeps things in perspective on "Just A Ride," "Pedalin'" might appeal to you.)

Cocktail Lounge

• Dreamy-Henry Mancini (One of the classiest, most elegant easy listening numbers.) 

Cool Jazz

• Black Coffee-Sarah Vaughan (This is one of the more eloquently written tunes about vices, and Vaughan sings it eloquently.  For the best instrumental version of it you might ever hear, listen to how Ray Charles nails the tune's perfect tempo and emotional level on the piano.)
• Delta Bali Blues-Kenny Garrett (An ear-catching call and response pattern emerges between the saxophone and the piano.)

Folk Roots

• Hold On-Shawn Colvin (How do you keep your wits about you when life looks bleak?  It helps to have at least one favorite song in mind.  Colvin covers this Tom Waits tune effectively; its chorus is especially ideal for her voice.)

Jazz Now

• Adios Nonino-Alfredo Rodriguez (A strong new track with Rodriguez at the piano, weaving his way through themes that range from spicy and energetic to poignant and emotive.  The dissonant-at-times use of the accordion adds to the tune's appeal.  If you enjoy Hot Club Of Detroit's music, you'll likely enjoy "Adios Nonino."  Also recommended: Rodriguez's take on "Jesu, Joy Of Man's Desiring."  He gives this reverential melody an interesting, jazzy kick.)

Nature

• Forest Birds Chorus 1-Bernie Krause & Lang Elliott (Sammy the cat's ears perked up as he listened to this, so that's an endorsement if you're looking for bird calls to keep your cat entertained.  Krause and Elliott recorded a wide variety of birds for this track; if you'd like to feel as though you're ambling through an inviting section of the woods without leaving home, "Forest Birds Chorus 1" is a strong choice.)

The Spa

• Tea Rose-Bob Ardern (This warm guitar instrumental would segue with various Don Ross or Stevan Pasero tunes.)

No peace until I hear my song

One morning, when I was 11 or 12, I was determined to hear Bob Seger & The Silver Bullet Band's "Still The Same."  At the time, I didn't own a copy of it, and the library was closed.  I reasoned that a soft rock station must have it, so I called and requested it.  After about 15 minutes of waiting, I hadn't heard it.  I called again.  The DJ said, as he had the first time, "I'll see what I can do."  Another 15 minutes went by.  I still didn't hear it.  I called again.  The DJ waffled again, saying, "I'll check on that and see."  This routine went on for over three hours.  Finally, he played my request, with the introduction, "Here's one for the insistent young man who called a while ago."

As the expression goes, "the squeaky wheel gets the grease."  More accurately, in this case, the overbearing caller got to hear his song.  A few years later, I learned how most radio stations usually operate.  "Still The Same" was probably scheduled to be played at that time anyway, and the DJ probably wasn't allowed to deviate from the playlist.  Also, he probably wasn't allowed to tell callers that he absolutely wouldn't play requests because they might stop listening.   Most likely, he attached my name to the already scheduled tune, hoping I wouldn't call again.

I didn't call the station again--that day.  Looking back, however, asking the DJ 15 times to play my song was a tad excessive.

SiriusXM highlights XLI

Standout tracks heard Thursday and Friday:

Bluesville 

• The Worst Is Yet To Come-Keb' Mo' (Sometimes, when bad things pile up in one's life, a pessimistic attitude is justifiable.)

The Groove 

• Always There-Side Effect (Side Effect takes a great Ronnie Laws instrumental that has 1975 stamped all over it and adds vocals.  Also recommended: Side Effect's cover of a great Crusaders tune, "Keep That Same Old Feeling.")

Real Jazz 

• Blues For Junior-Ray Brown Trio/Herb Ellis (I've written before about a former family cat, Rusty.  He was an excellent arbiter of good jazz and swing guitar tunes.  When such a piece caught his ears, he'd sit by the stereo, tap his tail, and knead his paws.  If he were around today, I'm sure he'd appreciate this tune for its interplay between piano and guitar and its in-its-own-good-time tempo.)
• Project "S"-Heath Brothers (The saxophone, trumpet, and piano players all get a chance to shine by cooking at a fast clip.)

Soul Town

• Until You Come Back To Me-Aretha Franklin (To my ears, this is one of Franklin's most appealing melodies.  I'm surprised it doesn't get more radio airplay, given how accessible and memorable the tune is.  I also recommend Basia's excellent cover of it.)

Spa

• Sound Of Wind Driven Rain-Will Ackerman (An airy, comforting guitar instrumental.) 

Watercolors

• Les Fleur-Ramsey Lewis (Perfect synergy between the piano and vocals; the melody builds and builds and pays off in an exuberant chorus.)
• Waters Of March-Jane Monheit (Monheit's vocals are polished and articulated cleanly; this is yet another strong rendition of Antonio Carlos Jobim's engaging Brazilian tune.)

Only in college XV

When I worked at KCOU, only a few people had keys to the building.  Consequently, if someone had to leave a shift early and couldn't find a sub, the next DJ couldn't get into the building.  The person scheduled after that usually wouldn't be able to get in, either. This chain reaction would sometimes go three or four shifts deep, leaving the station off the air for up to nine hours.  The first week of a new school year was interesting, as well.  The Summer schedule was still in effect for the first week of classes; inevitably, not everyone who had been available to do Summer shifts was available to work that week.  Twice during one such week, this happened:

I'd turn on KCOU before going to sleep.

"Hmmmm," I'd think.  There's no music. I'd go down there and sub, but I have to get some sleep before breakfast and class.  I could unlock the station, but if no one can work the shift, the station will be left unattended.  That's not an option."

Upon waking up, I'd turn the radio on again.

"Wow.  No one's on the air," I'd think.  "I'd sub, but I have to eat breakfast and go to classes.  I won't be free for another three hours."

Upon returning from class, I'd turn on KCOU again.

"There's still just static," I would think.  "Surely, when I get back from lunch, someone will finally be on the air."

After returning from lunch, I tuned into KCOU once again, only to hear static.

I thought, "Well, it's 10 minutes until noon, and I don't have to go anywhere for a while.  I might as well sub."

I unlocked the station, turned on the transmitter, selected some albums for a shortened, hour-long edition of "Jazz Odyssey," turned on the mic at noon, and read the required sign-on, "KCOU Columbia now begins its broadcast day..."

Stingray Music highlights XX

Some of the better selections heard Tuesday and Wednesday:

Adult Alternative

• Crazy Love-Van Morrison (Some of Morrison's best, most restrained vocals.  It's not surprising that Aaron Neville covered it; the lyrics and key are ideal for his voice.)

Cool Jazz 

• Quiet Fire-Melody Gardot (Smooth, sultry vocals; Gardot is exceptionally consistent from song to song.)

Folk Roots

• Down To Zero-Joan Armatrading (Powerful lyrics and vocals; if you enjoy the heart and depth of Tracy Chapman's lyrics, you'll likely enjoy "Down To Zero."  Also recommended: "Cool Blue Stole My Heart" and "Show Some Emotion.") 

Jazz Latino

• Something For Carol-Marlon Simon And The Nagual Spirits (An appealing calypso-based number from this percussionist.) 

Jazz Now

• You Go To My Head-Cassandra Wilson (Wilson conveys the depth of the lyrics, with elegant orchestral backing.)

Pop Classics 

• Camille Saint-Saens: Piano Quartet in B-flat major, Op. 4 (Fine Arts Quintet/Cristina Ortiz, piano) (A moving, lyrical piece not only for piano but violin, as well.  Also recommended: Pascal Roge's performances of Saint-Saens' first through fifth piano concertos.)

Rewind--'80s & '90s

• Groove Is In The Heart-Deee-Lite (One of the most memorable grooves of 1990; everything clicks, vocally and instrumentally.)

Soul Storm

• Uh Oh Feeling-Brian McKnight (McKnight's vocals and the sunny instrumental accompaniment make universal sentiments sound fresh.)

"Nervous? Just stop it, then."

When I was in high school, I received a letter of acceptance into an orchestra.  At the bottom of the letter, there was a short critique of my blind audition.  Although I received praise for my intonation and rhythm, the critique also said, "Try not to be nervous. (Easier said than done, I know...)"

I appreciated the parenthetical show of understanding, but advising someone not to be nervous is as pointless as telling someone to "just get over it."  If you're nervous, you're nervous, and being told to stop won't change that.

SiriusXM highlights XL

Compelling songs heard yesterday and today:

Escape

• It's Not Unusual-The Anita Kerr Singers (A fun lounge arrangement, with hints of a Swingle Singers style in the vocals and The 5th Dimension's "Up, Up, And Away" in the instrumentation.)
• Stella By Starlight-Norm Geller (Elegant orchestral and marimba playing of a jazz classic.)

The Loft

• Get Together-Keb' Mo' (Keb' Mo' gives this tune by The Youngbloods a beat and interprets the vocals with sincerity.)

Love 

• Best Thing That Ever Happened To Me-Gladys Knight & The Pips ("Midnight Train To Georgia" is often the first song that comes to mind when recalling Knight's music, but this heartfelt ballad also deserves its due.)
• Too Hot-Kool & The Gang (Smooth vocals and saxophone; it's one of the band's strongest hits.)

Real Jazz

• Four-George Benson & Al Jarreau (An excellent vocal pairing.)

Spa

• Sunbeam Serenade-Jim Chappell (A pleasant piano melody.)

The Spectrum

• Such Great Heights-Postal Service (A hypnotic, driving rhythm; a good modern power pop sound.)

"This is only a botched test."

If you've listened to the radio for even a modest number of hours, you've probably heard radio stations test their Emergency Broadcast System tone.  The tone is supposed to play before news of a (usually weather-related) emergency.  Only once have I heard the test fail.  Decades ago, I remember hearing, "This is only a test," followed by silence. 

The DJ on the air was caught off guard.  "Well, I guess that's why we run these tests--to see if the emergency alert tone works.  Now, we know that it doesn't.  I'm not sure what happens next, but at least, we know this has to be fixed."

Would it be cruel and unusual punishment for a criminal who has been found guilty of a misdemeanor and deserves just slightly more than a slap on the wrist to have to sit in a room for an hour in which the only constant sound is the Emergency Broadcast System tone?  I guess it would depend on the volume at which one has to listen to it.

FM dial scan highlights LVI

Eight of the better songs I've heard today:

KDHX 88.1 FM

• Little Hotel Room-Ray Charles & Merle Haggard (A strong choice in memory of two artists with distinguished careers.  Charles and Haggard's vocals make you feel the protagonist's loneliness.)
• White Line Fever-The Flying Burrito Brothers (Good lyrics about feeling weary as one grows older.)

WSIE 88.7 FM

• I Should Have Known-Brianna Thomas featuring Wycliffe Gordon (Assured vocals from Thomas with strong piano accompaniment from Allyn Johnson.)
• Paraphrase-Billy Taylor (A pleasant piano melody with a bounce.)

WFUN 95.5 FM

• Ribbon In The Sky-Stevie Wonder (One of Wonder's best '80s tracks; it's one of his smoothest ballads.)
• Shake Your Body Down To The Ground-The Jacksons (Many listeners would cite a "Thriller" track or solo hit as being Michael Jackson's catchiest groove.  I'd argue that "Shake...," from the "Destiny" album, should be more of a contender.  Not just any rhythm can sustain itself for eight minutes on an album without wearing out its welcome.)

WARH 106.5 FM

• Something About You-Level 42 (As strong of a hit as this was, it's puzzling that such tuneful, radio-ready songs as "Children Say," "Play Me," "Romance," and "Billy's Gone" didn't hit similar heights on the American charts.)
• I Can't Wait-Nu Shooz (Valerie Day's vocals and the track's unusual backing instrumentation hold up 30 years later.  When this was a hit in 1986, I wouldn't have guessed that a St. Louis radio station would have it in its rotation in 2016.  106-5 The Arch does, however, and it's a worthy inclusion from a two-hit wonder.)

Piano noodling favorites?

When band, orchestra, or chorus students in elementary, middle, and high school are allowed to noodle around on the piano before class, are "Chopsticks" and "Heart And Soul" still their two most-played pieces?  I remember that being the case when I was in school, but I don't know if that's still true today.

A manic recording effort

As important as cassettes would become for me in listening to music at a young age and recording my own radio shows, one aspect of them baffled me during an early recording session.  In first grade, I brought my reading class textbook home with me and recorded myself reading one of the stories.  My memory of the story is hazy, but I remember it started with two kids sitting outside, counting the out-of-state cars they saw.

I started reading, as if I were one of the kids calling to the other, "How many out-of-state plates did you count?"

I stopped the tape recorder, rewound the cassette, and listened.  Instead of hearing the story from the beginning, I only heard, "...plates did you count?"

I tried recording again, figuring I must have done something wrong.  When I listened, I only heard the last four words once again.  I thought, "Maybe my voice isn't loud enough, and I have to speak louder for the tape recorder to pick up on it and start recording."

Thus, on my next attempt, I shouted, "HOW MANY OUT-OF-STATE PLATES DID YOU COUNT?!!"

Alas, the playback still started with the word "plates."

Figuring I still wasn't speaking loud enough for the tape recorder to capture my voice from the beginning, I tried again, screaming, "HOW MANY OUT-OF-STATE PLATES DID YOU COUNT?!!!!!!"

At that point, my father walked in and explained the concept of leader tape that cleans the recorder's tape heads and appears at the beginning of a cassette.

I then recorded the story in my normal speaking voice, pausing to wait for the leader tape before I started.  I was relieved to learn I wouldn't have to scream at the beginning of every recording I made.  I could just imagine recording radio shows that way.  (i.e.  "IT'LL BE MOSTLY SUNNY TODAY, WITH AN EXPECTED HIGH OF 65 DEGREES!!!!!!")  On the other hand, it might have made the top 40 format feel like a more natural fit for my voice.

Online radio sampler highlights XXXV

Seven of the better selections I heard this afternoon:

WDCB (Chicago, IL)

• Stringin' The Jug-Jerry Weldon (A strong, fast version of the tune, released in January.  Weldon leads the way on tenor sax.  If Clifford Brown's or Lyle Lovett's versions of "The Blues Walk" appeal to you, this likely will, too.)

WHRB (Cambridge, MA)

• Johann Sebastian Bach: Partita For Violin No. 3 in E, BWV 1006 (Arthur Grumiaux) (A ringing, resonant performance performed in a setting with excellent acoustics.  The violin sings and ricochets off the walls.)

WKZE (Red Hook, NY)

• Heavy Makes You Happy-The Staple Singers (This band's first hit, from 1971, has a groove that segues well with Sly & The Family Stone's "Dance To The Music.")

WPMD (Norwalk, CA) 

• We Can Work It Out-Stevie Wonder (Not just any artist can bring this much to a Beatles cover, vocally or instrumentally.)

WSPS (Concord, NH)

• Jessica-The Allman Brothers Band (Possibly the most infectious country-rock instrumental ever recorded; its melody is similar to another Allman Brothers standout track, "Revival.")
• Out Of Range-Ani DiFranco (Fast, furious guitar and spitfire vocals.  The lyrics present a strong case for the protagonist's decision to leave.)

WSUM (Madison, WI)

• Restless-New Order (This was released last year, but it could pass easily for one of the band's '80s tunes.)

More than a hobby

Perhaps it isn't the first type of souvenir most travelers would think to get during a vacation.  During a family trip to Indianapolis in the early '80s, I wanted to record a sample of the radio stations.  I sat in a dark hotel bathroom recording excerpts from WIKS.  (After all, doesn't every traveler do this?)  Granted, I could have heard most of the soft rock hits the station played on St. Louis stations but not with the WIKS air personalities, jingles, contests, etc.

"Hey!  There's Santana's 'Winning,'" I thought.  "I don't hear that often on the air at home.  And '99' by Toto...That doesn't get played much in St. Louis, either."

Looking back, it all seemed so exotic.  If that doesn't show that radio was destined to be more than a hobby for me, what would?

A conductor of few words? Watch out.

A truism about middle school, high school, and college orchestra conductors: During rehearsals, if the conductor isn't acknowledging obvious intonation or rhythmic miscues or murmurs only, "Just keep going," or "Let's go on," a tongue-lashing is almost certain to follow at the end of the movement.  This doesn't usually happen when an orchestra sight-reads a piece that was just distributed, but after that...

An example: One of my high school ensemble conductors spent week after week rehearsing the first and last movements of a symphony, resulting in excellent concert performances.  As for the second and third movements, however...

...The conductor waited until two weeks before the concert to start rehearsing them.  The results were less than excellent.  During a rehearsal of the second movement, he conducted while maintaining a grim expression and saying very little, until the end.

"That was dreadful," he told the orchestra.  "I thought we could just play through it..."

At that moment, I suspect he realized that conducting an ensemble of kids necessitated different pacing than conducting a professional ensemble of adults.

"You've won today's no-big-deal prize..."

A '90s memory of a radio talk show host trying to curb a listener's enthusiasm after she had won a contest:

Host: For answering that (question) correctly, you've won dinner for four from (name of restaurant.)
Listener: Oh, that's great!  Thank you!
Host: Well, it's nothing extravagant.  It's just a free dinner for three family members or friends and you.
Listener: As a working mom, I appreciate that!
Host: Well, it's nothing fancy.
Listener: That's fine!  I appreciate it very much!  Thank you!
Host: OK, well...Thank you for calling.  Stay on the line so (the producer) can take your information.

I remember thinking it was a good thing the host didn't sell cars.  I could just imagine his anemic sales pitch.  (i.e. "Well, it's just a machine that takes you from point A to point B.  You'd have to go to the trouble of driving it, and sometimes, not in the best weather.  If you really want it, though, I'll draw up the paperwork...")

Context? X

A late '80s memory: I remember tuning in during a discussion on a small AM station.  A talk show guest was saying, "I spend a lot of time each day around the office just laughing."  The host responded, "To be clear about healthy laughter, though, we're not talking about cynical, sarcastic laughter."

After relaying what I'd just heard about sarcastic laughter being unhealthy, one of my family members responded, "We're in trouble in this family, then."

I couldn't--and still can't--argue with that.

Stingray Music highlights XIX

Noteworthy songs heard recently:

Brazilian Pop 

• Lua-Paulinho da Viola (Smoothly blended vocals, guitar, and piano.)

The Chill Lounge

• Venice Beach-B.C. Project (This uptempo, trance-inducing instrumental sustains its "wah-wah-wah-wah-wah-wah-wah" reverb and backing bass line compellingly.)

Classic R&B And Soul

• Easy-The Commodores (One of the band's best hits; a laid-back piano line underscores good lyrics about feeling put upon.)

Folk Roots 

• Take One Day-Della Mae (An endearing bluegrass-influenced tune about appreciating yesterday and today; it would flow well with John Denver's "Thank God I'm A Country Boy.")

Jazz Now 

• Light As A Feather-Chick Corea And Return To Forever (A raucous fusion jam; Flora Purim's vocals float over the spacey instrumentation late in the tune.)
• We Shall Meet Beyond The River-Iris Ornig (Bassist Ornig anchors this elegant, bluesy instrumental in which the trumpet and piano shine.)

Smooth Jazz

• After The Love Has Gone-Norman Brown (A good cover of one of Earth, Wind & Fire's best songs; Brown handles the verses on guitar, and backing vocalists sing the chorus.)

The Spa

• Lament-Michele McLaughlin (A contemplative piano piece that would segue with Jim Chappell's "Day's End.")