Stingray Music highlights XXXII

Three witch cats agree.  Once per Halloween is a reasonable quota for Bobby "Boris" Pickett's "Monster Mash."

Here are some of the better selections the witch cats and I have heard in recent days:

Big Band

• Danny Boy (Londonderry Air)-Glenn Miller and his orchestra (Not every bandleader can pull off this level of sentimentality and stateliness.)

Cocktail Lounge

• South American Getaway-Burt Bacharach (The Swingle Singers meet Herb Alpert & The Tijuana Brass--or so it seems.)

Cool Jazz

• Fukai Aijo-Regina Carter (Carter elicits a sweet tone from the violin, as usual, in this elegant instrumental.)

Folk Roots

• That's The Way Love Goes-Buddy Miller & Shawn Colvin (Colvin is such a talented songwriter, but she's an equally strong interpreter.  If I hadn't known otherwise, I would have thought she wrote "That's The Way Love Goes."  Her voice and Miller's guitar are an ideal pairing.)
• Time Has Told Me-Nick Drake (A contemplative highlight of Drake's "Five Leaves Left" album; we should all be as introspective as Drake was in his twenties.)

Holiday Hits

• All You Zombies-The Hooters (Until recently, I'd always paid more attention to this song's melody than its lyrics.  After listening more closely to the lyrics, I now realize what a grim warning of a tune this is.  It fits easily into an AAA radio station's playlist, and not just on Halloween.)
• Friday The 13th-101 Strings (101 Strings is known for soft, easy listening instrumentals that KEZK would have played during the '70s and '80s.  The ensemble rises to the occasion here, sounding atypically eerie.)

Hungarian Pop & Rock

• Deeper (I'm Going Deeper)-Blahalouisiana (A bouncy, feel-good dance tune with easily accessible lyrics.)

Creepiest Halloween tune

There's a tune I've only heard on the radio once.  It was in the early '90s on KCOU, and to this day, it's the creepiest tune I've ever heard.  David Bowie immerses himself in his role on "Please Mr. Gravedigger," complete with ominous sound effects.  If hearing him sing lyrics such as "I was the wicked man who took her life away...Very selfish," doesn't disturb you, I'm not sure what to tell you.  The song's ending, "No, Mr. G.D., you won't tell.  And just to make sure that you keep it to yourself...," should haunt any remotely human listener.  The 12 words he sings after that comprise one of the eeriest warnings I've ever heard anyone sing.  I won't spoil it, in case you haven't heard it.  I suppose "Please Mr. Gravedigger" works as a Halloween track, but...Yikes!

SiriusXM highlights LIV

Recent standouts:

The Bridge

• We May Never Pass This Way Again-Seals & Crofts (One of the best soft rock tunes about appreciating the best parts of life when they happen.  Its lyrical sentimentality is appropriate in any era.)

Classic Rewind

• Owner Of A Lonely Heart-Yes (It still leaps out of the speakers as much as it did in 1983.  It's no wonder this was Yes's biggest hit.)

The Coffee House 

• Tragedy-Norah Jones (One of several smoky piano-and-smooth-vocal highlights from the new release, "Day Breaks."  Also recommended: "Flipside" and "It's A Wonderful Time For Love.")

Deep Tracks

• Stagnation-Genesis (One of the band's early Peter Gabriel-era standouts.  "Stagnation" and "The Knife" are two of the highlights from the album, "Trespass."  The band isn't as instrumentally concise as it would become, but the tune builds to its chorus effectively.)

Love

• Hurting Each Other-The Carpenters (The Carpenters were adept at crafting hits that hold up. Karen Carpenter's vocal intro on this tune is one of her most effective, and she sings each lyric and the chorus with equally effective gravity.)

No Shoes Radio

• Early Morning Rain-Eva Cassidy (Cassidy sings this Gordon Lightfoot tune powerfully and authoritatively.)

Real Jazz

• Pannonica-Thelonious Monk (I've recommended covers of this tune on this blog, so it's time I recommended Monk's original version.  The tune has a great, musty (in the best sense) melody with a strangely appealing dissonance.  Whenever I listen to it, I imagine monsters dancing at a costume ball.)

Watercolors

• Don't Let Me Be Lonely Tonight-George Benson (A smoothly sung cover of one of James Taylor's best hits.)

Heaven defined

I was nine years old, and I'd just bought Casey Kasem's American Top 40 Yearbook.  Dad was explaining the difference between Heaven and Hell to me and offered this incentive:

"In Heaven, you can have all the free American Top 40 books you want," he said. 

I'd read and heard about God's generosity, but at age nine, hearing it put that way really sold me on the concept of Heaven.

"God must really approve of a person if he's going to give him or her free access to that much information about the artists, their music, and the Billboard charts," I thought.

I know there's more to Heaven than free American Top 40 books, but 37 years later, I still think that's a pretty enticing incentive.

Stingray Music highlights XXXI

Noteworthy tunes heard yesterday:

Chamber Music 

• Anton Bruckner: String Quinet in F major, WAB. 112 (Raphael Ensemble) (The animated fourth movement, in particular, reminds me that I need more of Bruckner's music in my library.)

Cocktail Lounge

• Brazilian Tapestry-Astrud Gilberto (Vocally and instrumentally, this is a refreshing breeze of an uptempo melody; its title is an apt description of Gilberto's music.)
• Caper At The Coffee House-Warren Barker (Sounds like the Sharks and the Jets are about to rumble...)

Cool Jazz

• Do Nothing Till You Hear From Me-Ben Webster (Nat King Cole's version is the definitive one for me, but Webster's smooth saxophone stylings deserve their due.)
• Ginza Samba-Vince Guaraldi & Bola Sete (One of the most tuneful, accessible sambas a listener could hope to hear.  If Guaraldi's scores from the "Peanuts" specials appeal to you, it's very unlikely this will disappoint you.)
• Noble Nobles-Esperanza Spalding (I hear Joni Mitchell's influence in the vocals and instrumental backing.)

Jazz Now

• Moanin'-Art Blakey & The Jazz Messengers (The compellingly sung Lambert, Hendricks & Ross rendition comes to mind first when I think of this tune, but this is Blakey's composition, which his band pulled off impressively.  The first 10 notes make up one of the most memorable jazz themes.)

Putting a value on longevity

In the mid '90s, a DJ who had moved from Chicago to St. Louis asked me, "What is it about the St. Louis radio and TV market?  It seems like a lot of personalities stay here for decades."

"That's true," I replied.  "A lot of people who live in St. Louis were born here, and when they get to know and like an on-air personality, they tend to want that personality to stay here.  Familiarity and loyalty often count for a lot here."

"It's not like that as much in Chicago," the DJ responded.  "Usually, you're either good all the time, or you're gone."

Admittedly, Chicago is a big media market, and from a business standpoint, I understand the reasoning he described as typical of media there.  However, if you're a radio or TV personality and you're still reasonably good at what you do, why shouldn't the good will you've earned with your audience count for something?

SiriusXM highlights LIII

Recent standouts:

'60s On 6

• We'll Sing In The Sunshine-Gale Garnett (This was a hit in 1964, although it would have sounded more at home on the pre-rock, early '50s charts.  Its idealistic, forget-the-bad-times chorus would have fit in even better then.  Looking back, I should have played it on WEW.  I remember hearing this on KXOK's "Super Oldies Show" in 1979.)

Heart & Soul

• Piano Song-Eryn Allen Kane (Heartfelt lead and backing vocals against an endearing piano backdrop and horns playing in the style of early '70s Chicago.  A great fit for any smooth jazz, traditional jazz, or R&B radio station.)

Lithium

• Next Year-Foo Fighters (One of the band's best tunes; the lyrics convey the mentality you'd have to have on any space mission.)

The Loft

• Echo Fidelis-Cora Smyth (In this appealing violin instrumental, Smyth successfully merges a pastoral throwback melody with a more contemporary beat.) 

No Shoes Radio

• Pressure Drop-Toots & The Maytals (Even if you don't think you've heard this, you probably have--as bumper or background music.  It has one of the most memorable intros and choruses of any reggae tune.)

Real Jazz

• God Bless The Child-Kenny Burrell (Vocalists ranging from Blood, Sweat & Tears to Lou Rawls have shown how strong and adaptable Billie Holiday's song is.  Burrell proves that it works as a guitar instrumental, as well, and that its melody can be stretched out for eight minutes.)

Soul Town

• Ellie's Love Theme-Isaac Hayes (Despite its title, this laid back orchestral instrumental with prominent vibraphone works for an early morning walk.)

Spa

• Grace-Yo-Yo Ma & Bobby McFerrin (McFerrin's compellingly subdued vocals-and-cello composition kicks off the duo's excellent album, "Hush."  Also recommended: "Stars.")

Persistent earworm alert XL

Since watching part of Dan Rather's interview with Heart's Ann and Nancy Wilson this morning, the intro to their song, "Barracuda," has been stuck in my mind.  It's one of rock's most memorable bass riffs, and if I'd been able to write this blog in high school, I would've cited it then.  Another bassist in my high school orchestra would play that riff frequently, at unexpected intervals.  Consequently, it wasn't unusual for me to walk into a rehearsal with that song in mind.

That opening riff sets the stage effectively for the tune; vocally and instrumentally, the song blasts off from that intro and soars.  Ideally, it should be a part of any classic rock listener's high energy music mix.

Only in college XXII

The first year I worked at KCOU, Election Day in November was also when the staff voted on new higher-ups, i.e. a general manager, chief announcer, business manager, etc.  The people elected took over shortly after the results were counted. 

I thought the timing of those takeovers was odd.  New DJs would be placed on the sub list, and some of them would fill regular, available shifts.  As a new DJ, you'd go through training, start going on the air more frequently once you made the sub list or schedule, get acclimated to how things were done at the station, and then--bam!  There was a regime change.

Fortunately, the powers that be changed the procedures the following year.  Elections were held in Spring, and those elected started their terms as soon as the school year ended.  That made more sense, having each executive staffer's term line up with the school year.  Just because presidents, statewide, and local politicians are elected in November didn't mean that KCOU's executives should be elected then, as well.

Stingray Music highlights XXX

Noteworthy tracks heard yesterday:

Alt Country-Americana

• Green Lights-Sarah Jarosz (It's interesting hearing Jarosz singing and playing mandolin in this context, with airy, more commercial-sounding production.  This is one of the highlights from her latest release, "Undercurrent.")

Folk Roots

• Honest Life-Courtney Marie Andrews (An honest, sincerely sung confessional.)
• I'll Always Be Waiting For You-Sierra Hull (A standout vocal from Hull's "Daybreak" release. Hull's vocals and mandolin playing bring Alison Krauss to mind.  I also recommend "Daybreak"'s title track for its thoughtful lyrics and vocals and "Bombshell" and "Chasin' Skies," which illustrate Hull's dexterity on the mandolin.)

Jazz Masters

• Giant Steps-John Coltrane (Regarded as one of Coltrane's most impressive saxophone pieces. McCoy Tyner transfers Coltrane's blistering barrage of notes effectively to the piano on his rendition, so I recommend it, as well.)

Jazz Now

• Days Of Blue-Patrick Naylor with Sara Mitra (A classy uptempo number; Mitra's vocals remind me of Norah Jones and Astrud Gilberto.  If traditional jazz stations used Top 40 airplay classifications, this track ought to qualify for heavy rotation easily.)

Kids' Stuff

• My Funny Friend And Me-Sting (The lyrics about how fortunate we are to have sources of kindness and support are easy to take in--and appreciate.)

New Age

• My Song-Pat Metheny (One of many strong, subtle guitar instrumentals on one of Metheny's best CDs, "One Quiet Night."  Also recommended: "Over On 4th Street" and his cover of the Norah Jones standout, "Don't Know Why.")

Only in college XXI

At the beginning of the semester in 1989, my Intro To Psychology teacher announced that each student would have to turn in a project.  For most students, this meant writing a paper.  One lucky student, however, would get to skip the paper and assemble music on cassette to be played as the class walked in.  The instructor was vague about his criteria.  I submitted a tape of what I thought was appropriate filing-into-class music.  I don't remember what music I picked, except for George Harrison's "Got My Mind Set On You."  My thinking there was psychological.  When the instructor chose the music during the first two weeks, Harrison's "When We Was Fab" came up twice.  I thought repeating a song that had already been played would be too obvious, so I thought another big Harrison hit might increase my odds of being selected.  Alas, the teacher chose someone else's cassette.  I think I would have done a great job selecting the music for class each week, and I wonder why the other student's tape was chosen.  I earned an A- on the paper I wrote, though, so I suppose it all worked out.  Still, I would have enjoyed having 25% of my semester grade determined by my ability to make a mix tape each week.

SiriusXM highlights LII

Thursday morning standouts:

'80s On 8

• Only Time Will Tell-Asia (I still like the arena rock grandeur of this tune, especially on its chorus, as much as I did during its 1982 chart run.)

Bluesville

• Ice Pick-Albert Collins (This guitar instrumental stands up with any song on the "Truckin' With Albert Collins" album.  Its melody brings to mind the Otis Redding/Carla Thomas song, "Tramp.")

Chill

• September Remix-Earth, Wind & Fire/Wolfskind (There's no way to improve the already great groove of "September," but it's interesting to hear it used as a springboard for a more modern techno interpretation.)

The Coffee House 

• O-o-h Child-Beth Orton (A quiet, effective guitar-and-vocals cover of the hit by The Five Stairsteps.)
• One Friend-Keb' Mo' (A reassuring reminder of a friend's importance...)
• You're My Best Friend-Renee & Jeremy (...and it segues well with this endearingly sung acoustic cover of a Queen hit.  This duo's approach is similar to the way I imagine Sam Beam and Jesca Hoop might sing it.)

Margaritaville

• Love Is Free-Sheryl Crow (Segues well with Shawn Colvin's "Nothin' On Me," in my opinion.)

Real Jazz

• The Girl From Ipanema-Richard "Groove" Holmes (Holmes gives "...Ipanema" an added layer of hipness on the organ.  That doesn't surprise me, as I'd heard him do the same for "Misty.")
• You And The Night And The Music-Stan Getz & Bill Evans (Getz kicks things off with a shimmering saxophone solo that you might expect to hear someone play against a moonlit backdrop.  Evans enters the proceedings on piano, and the melody blasts off.)

Siriusly Sinatra

• It's Been A Long, Long Time-Peggy Lee (Sultry yet subtle vocals; I should have played this version on WEW.)

SiriusXMU

• Still Sound-Toro Y Moi (A jazzy, dreamy, uptempo vibe with effective vocal punctuation.) 

Spa

• Morning With Annie-Devin Rice & Erin Aas (An appealing uptempo, contemplative guitar and cello instrumental.)

Stingray Music highlights XXIX

Wednesday morning U-verse standouts:

Caribbean Vintage Vibes

• Reggae Is Tight-Lloyd Charmers & The Hippy Boys (A good reggae rendering of the Booker T. & The MGs instrumental, "Time Is Tight.")

Chamber Music

• Clara Schumann: Romance in A minor (Susanne Grutzmann, piano) (A subtle, understated melody from a composer I've rarely heard on the radio or streams.)

Cool Jazz

• Take Another Look-Gary Burton (An appealing, midtempo vibraphone melody, with compelling support from the piano and rhythm section.  It should fit into a traditional or smooth jazz station's playlist easily.)

Folk Roots

• Northwest Passage-Stan Rogers (It's no wonder "Northwest Passage" is regarded as a Canadian anthem.  Although the recurring quest about which Rogers sings has stymied explorers repeatedly, his heroic a cappella tale should make listeners' appreciate the adventurers' resolve.)
• Someone Else's Life-Gabrielle Louise (A new, endearing vocals and acoustic guitar number that I could imagine KDHX playing on "Backroads.")
• When You Need A Train It Never Comes-Amanda Shires (I've been thinking about this song all day.  Shires sings about someone who envisions herself ending things by lying on railroad tracks and waiting for a train.  Deep down, she knows the train won't arrive, and she'll have to deal with the aftermath of a failed relationship.  Shires sings the title, an effective chorus, and emphasizes it with plucked fiddle notes.  The tune reminds me of Nickel Creek's "Set Me Up With One Of Your Friends," as Chris Thile sings about another way to move past the sadness of a relationship ending.  It isn't on their albums, but there are performances of it on YouTube.) 

Jazz Masters

• Meditation-Antonio Carlos Jobim (Guitar, keyboards, and easy listening orchestral scoring intermingle seamlessly in this relaxing bossa nova.)

Tango

• Triunfal-Jose Basso Y Orquesta ("Triunfal" radiates lush intensity, and its drama builds early and sharply.  I suspect this isn't a tango for beginners.)

SiriusXM highlights LI

Tuesday afternoon highlights:

The Bridge

• I Guess The Lord Must Be In New York City-Nilsson (Engaging lyrics about making a fresh start, with a melody similar to "Everybody's Talkin'.")

Escape

• It's De-Lovely-Skitch Henderson (Piano, brass, and vibes mesh well in this big band arrangement that swings.)

The Loft

• Don't Get Me Wrong-The Pretenders (Still one of the classier ways to say that someone has caught your eye.)

Prime Country

• Seven Year Ache-Rosanne Cash (Cash has always been adept at crafting cross-categorical tunes that fit just as easily in the singer-songwriter genre.  "Seven Year Ache" chronicles someone's inability to grapple with a relationship that's falling apart.  The synthesizer part has 1981 stamped all over it, appealingly.)

Real Jazz

• Bumpin'-Wes Montgomery ("Bumpin'" segues smoothly with Al Jarreau's live version of "Save Your Love For Me."  Montgomery's forthright guitar, and the orchestra's compelling backing, make this an ideal late-night staple for any traditional jazz station.)

Spa

• Aloha Kaua'i-Ozzie Kotani (An understated midtempo slack key guitar instrumental.)

The Spectrum

• New York, New York-Ryan Adams (Adams performed this on "Saturday Night Live"'s first show after the 9/11/01 atrocities.  "I'll always love you, though, New York," was an especially appropriate sentiment then.  The tune is just as appealing 15 years later.)

Willie's Roadhouse

• Drivin' My Life Away-Eddie Rabbitt (Another tune that's just as pop as it is country, to its benefit.  The song's accessible hook and undercurrent of hope must induce a lot of listeners to sing along.)

Late '60s ethos in the early '70s

A refreshing excerpt from the liner notes of the 1973 "All Singing, All Talking, All Rocking" Warner Brothers sampler album:

"It has come to our attention that the American record distribution game is not always the Utopia we've been asking for: not all albums can be found in all stores. 

If this frustrates your lust to possess any elusive Warner's album, relief is at hand.  Write down what you want and send that, together with the money (full list price, unfortunately) to:

FRUSTRATED
WARNER BROS. RECORDS

(A post office box address is listed.)

Because we read our mail, that should do it."

The "All Singing..." album is a diverse sampler, featuring Jimmy Cliff, Bonnie Raitt, Maria Muldaur, The Doobie Brothers, Peter Yarrow, Jesse Colin Young, and many other Warner Brothers recording artists. 

It's a breath of fresh air to see a record company sympathizing with its customers' frustrations in not finding the music they desire and specifying "full list price, unfortunately," without mentioning any full list prices.  That's something you wouldn't see today.  I wonder how they handled requests for albums from people who enclosed money but fell a dollar or two short of guessing the full list price.

Persistent earworm alert XXXIX

For the past week and a half, the theme from "Brain Dead & Cooking," a cooking show on the St. Charles, Missouri public access channel, has stayed firmly in my mind.  "Papa" Ray, the host of KDHX's "Soul Selector," composed the theme, and its harmonica part brings "Sweet Georgia Brown" to mind.  The harmonica and vocals set the scene for friendly hosts Laura, Regi, and Fritzie to show viewers how to make various dishes.  (Some of the shows are on YouTube, if you're so inclined.)  I rarely cook, but I'm considering making bread pudding, thanks to that show; that theme just drew me in, so I feel like I should put some of what I've learned to use.  Actually, I'll probably just buy some bread pudding, but it's good to be reminded there's another option.

What's in a (band) name?

In high school, several of us were mulling over what to call our group that was going to play some jazz during the talent show.  One of the musicians suggested calling the group Septic Guppies.

"Septic Guppies?" I asked.  "That doesn't relate to the music.  Isn't that false advertising?"

"Now, I expected to see septic guppies!" he said, assuming the voice of a stern concertgoer pretending to be disappointed.

Our band went onstage without a name.  In defense of the person who suggested Septic Guppies, I suppose it could be argued that Strawberry Alarm Clock, The Electric Prunes, and The Chocolate Watchband managed to perform with band names that didn't relate to their music.

Eight tunes for a slow dance party

A former co-worker was going to be the DJ for a party and asked if I'd recommend songs that would work for slow dances.  Eight of the songs I suggested:

• After The Love Has Gone-Earth, Wind & Fire (One of the band's best hits.  Although the lyrics aren't overly optimistic, they're sung perfectly, and the song sets a mood compellingly.  The saxophone's punctuation is perfectly placed, as well.)
• Come Away With Me-Norah Jones (I'd consider this the most obvious choice on the list, but it deserves consideration.  Jones sings it with seemingly effortless class.)
• Good Morning Heartache-Laura Fygi (A cover tune with sobering lyrics that still works for a dance, especially in the breathy manner that Fygi sings it.)
• Samantha-Sammy Nestico (An elegant instrumental that's a saxophonist's showcase.)
• Save Your Love For Me (Live)-Al Jarreau (Possibly the most appropriate choice of all the songs on this list; the opening, a descending scale of four bass notes, sets the mood immediately, and Jarreau's vocals soar.)
• Slow Jam-Midnight Star (Another track that provides instant atmosphere at a dance, instrumentally and vocally.  It could segue with DeBarge's "Time Will Reveal.")
• Suddenly-Cliff Richard & Olivia Newton-John (Lyrically, it works for weddings, as well.)
• Trust-Boney James (This is one of the most appropriate smooth jazz, saxophone-driven instrumentals for such an occasion.  There's a people-spotting-each-other-across-a-crowded-room aspect to its melody that would also work in a jewelry store commercial.)

The former co-worker told me that, of the tunes I'd suggested, "Samantha" and "Suddenly" went over especially well with the guests.  You never know for sure which of your recommended songs will click with an audience, so that was gratifying to hear.

When groupthink makes people sing...

During a dinner dance concert in high school, our jazz band made a group decision.  We decided we'd stop playing our instruments and sing "Roll Out The Barrel," during the last verse.  The fact that not all of us knew the lyrics or that some of us couldn't sing them in tune didn't deter us.

Looking back, I'm glad we did that, as it was a fun surprise for our director and the guests.  However, given how off-key at least half of us were, I'm also glad the moment lives on only in our memories.

Disconcerting advertising

In an AM radio commercial from the '90s, the president of a local funeral home touted his mortuary's benefits.  He made reasonable selling points about the business providing quality service, not soliciting people on the phone, and not visiting door to door.  The commercial's tag line, however, was probably best left unsaid.  Somehow, it seems ill-advised for a funeral home representative to end a commercial with "Thank you, and happy holidays."

Curbing the "How are you?" epidemic

A longtime AM radio talk show host here thought it was superfluous for listeners to ask him, "How are you?" In his later years, he would only answer that question once per show.  He'd tell any other listeners who asked him how he was that evening, "We've established that..."  To his credit, he once started to tell a listener, "We've established that..." and then corrected himself.  "Actually, we haven't established that yet," he said.  "I'm fine, thank you."  Another announcer at the station joked that this host ought to play Santa Claus at some local event.  "Don't ask Santa how he is," the announcer groused, pretending to be the longtime host.

Considering that "How are you?" is usually a rhetorical question, I think the longtime host's rule was reasonable.  When every other caller asks you that superfluously, it eats up time that could be spent on more compelling show content.  When listeners catch on that a host doesn't like being asked that, they'll get to the point of their calls faster.

Stingray Music highlights XXVIII

Standout tracks heard recently:

Cool Jazz

• Angela (Theme From "Taxi")-Bob James (With its instantly recognizable opening played on the recorder, this is one of the subtlest, most memorable sitcom themes.  It's worth hearing in its entirety, as is the rest of the "Touchdown" album.)
• Crazy-Cassandra Wilson (Wilson sings Willie Nelson's tune with laid back depth against an unusual instrumental arrangement.  Norah Jones also recorded a strong cover of it.)
• Ev'ry Time We Say Goodbye-John Coltrane (It's difficult to imagine anyone recording a more elegant rendition of this Cole Porter tune on the saxophone.)

Easy Listening

• How Great Thou Art-Vince Gill & Amy Grant (An understated guitar instrumental from the Windham Hill compilation, "Sounds Of Wood & Steel.")

Folk Roots

• Big Blue Ball Of War-Nanci Griffith (Griffith sings earnestly about the perils of violent conflict.)

Jazz Masters

• Begin The Beguine-Artie Shaw (One of the strongest interpretations of this Cole Porter standard.  Shaw proves it's an ideal number for the clarinet.  Les Brown's versions of it are also recommended.)

Jazz Now

• Dove Song-Gilad Hekselman (A guitar melody that stays mellow even in its most upbeat moments.  I was reminded of Pat Metheny as I listened.)
• There Is No Greater Love-Dizzy Gillespie (Any traditional jazz station should have Gillespie's rendition in heavy rotation.  The tune lends itself easily to a trumpeter's interpretation.  Isham Jones and Marty Symes crafted a number that's also just as appropriate for the right vocalist, saxophonist, pianist, or guitarist.)

"Begin when you're ready, i.e. right now."

What does nearly every judge say to a musician who auditions for an orchestra or band?

"You may begin whenever you're ready."

I almost wish at least one of the judges of my auditions would have finished that sentence honestly.  Realistically, the implied direction is, "You may begin whenever you're ready, provided you're ready within the next few seconds."

Has any musician ever responded, "I'll be back next week, then.  I could use more time for contemplation first.  Also, I think Beethoven's judgment was slightly off.  I'd like to make a few revisions in the third movement.  See you in a week?"

Persistent earworm alert XXXVIII

Sometimes, the most unlikely item triggers the memory of a song.  While grocery shopping last week, I saw a bag of chewy, tropical mix candy.  The word "tropical" made me think of the way travel ads often promote an island as a tropical getaway or a tropical paradise.  That, in turn, reminded me of Taj Mahal's song, "Paradise," which has been on my mind since then.  Mahal sings about "going to the tropics when the weather is cold and bad."  He also wants to preserve that getaway feeling by bottling it and taking it home.  The tune's chorus, "I'm talkin' 'bout paradise, paradise...," will likely stay in my mind for at least a few more weeks--thanks to a stroll through the candy aisle.

SiriusXM highlights L

Some of the better tunes I heard this morning:

The Blend

• The Game Of Love-Santana featuring Michelle Branch (This still gets a healthy amount of airplay on soft rock stations, for good reason.  I suspect that the hook, "a little bit of this, a little of that," gets a lot of listeners singing along in their cars.)

The Bridge

• This Is It-Kenny Loggins (Another soft rock smash that still gets played fairly often, as it sports some of the most accessible lyrics about tackling a challenge.  The effectiveness of the lyrics is due in no small part to Michael McDonald's powerful backing vocals.) 

The Coffee House

• If The Stars Were Mine-Melody Gardot (Gardot sings like an old soul, in the best sense, on this tasteful track.)

The Loft

• Move On Up-Curtis Mayfield (One of Mayfield's best uptempo tracks; the song sustains its vibe for all nine minutes.  It's effective motivational music for getting up and starting the day.)

Real Jazz

• Moonglow-Victor Goines (Shades of "How Deep Is The Ocean," if it were scored for the clarinet.)

Soul Town

• I Do-The Marvelows (This was a hit in 1965, but its harmonies sound more in step with the late '50s/early '60s pop scene.  The J. Geils Band covered it in 1983.)

Tom Petty Radio

• My Back Pages (Live)-Tom Petty, Bob Dylan, Roger McGuinn & Neil Young (Contains one of my favorite Dylan lyrics, "...I was so much older then.  I'm younger than that now."  I especially enjoy how The Byrds covered it, so it's good to hear McGuinn as part of this quartet.  In terms of vocals and attitude, all four artists are logical choices to tackle this song.)

Watercolors

• Sure Thing-St. Germain featuring John Lee Hooker (A groove that throbs appealingly for over six minutes.)

Happy birthday to, um, someone...

Today, I wouldn't ask a DJ to mention my birthday on the air.  On this night in 1985, however, I did.  I asked longtime jazz DJ Leo Chears to please say, "Happy birthday," to "someone I know"--me, actually, although I didn't tell him that--on WMRY.  Between songs, in his laid back cadence, Chears said, "Before I play another tune on this album, I want to wish a very happy birthday to Andrew..." He continued, "I want to send the whole show out to the gentleman.  Sure hope he is enjoying his birthday.  And, if you're in that birthday or anniversary mode, ditto for you."

At 15, I appreciated one of the most knowledgeable music experts in town acknowledging my birthday--and me, as a listener--on the air.  Although I wouldn't make such a call today, I appreciate having that memory as I turn 46.

SiriusXM highlights XLIX

Some of the more interesting selections I heard this morning:

'40s Junction

• Misty-Erroll Garner (Not everyone knows that Garner wrote this classic for the piano in 1954. Scores of artists--including Johnny Mathis, most famously--covered it with Johnny Burke's lyrics.  I'm not surprised that SiriusXM played it on its '40s Junction station because it sounds as though it's from that decade.)

Classic Vinyl

• The Kids Are Alright-The Who (Anyone who thinks this way, without guile, deserves an A for attitude.  I was pleased when I learned that Big Star's "In The Street" was chosen as "That '70s Show"'s theme song, but I've read that "The Kids Are Alright" was in contention, and I imagine it would have worked just as well.  Strongly recommended: Neil Finn's cover version.)

Deep Tracks

• It's Likely To Have A Name Next Week-Caravan (Nearly eight minutes of appealing early '70s prog rock, with elements of Brian Auger and Yes, that could just as easily have been played on the Jam_On station.  The melody is mainly instrumental with minimal, unobtrusive vocals and plenty of space for the guitar and keyboard to surge ahead.  The honesty of the title is a bonus.)

The Groove

• Another Star-Stevie Wonder (Yet another gem from the treasure trove, "Songs In The Key Of Life."  It's one of the longer tracks on the album; vocally and instrumentally, however, Wonder and company could easily sustain this groove for an additional eight minutes.)
• A Love Bizarre-Sheila E. (It's easy to hear Prince's influence on this tune he co-wrote with Sheila E.)

The Loft

• Love Letter-Bonnie Raitt (Most songs with a title like this would run the risk of being overly syrupy.  That's not the case here.  Raitt sings "Love Letter" with her usual full-throated, bluesy conviction and rocks its rhythm.) 

Siriusly Sinatra

• Do You Know What It Means To Miss New Orleans?-The Manhattan Transfer (It's a testament to the song's adaptability that it lends itself equally well to a solo vocalist such as Louis Armstrong, a smoky piano rendition by Ellis Marsalis, and the collective vocal harmonies of The Manhattan Transfer.)
• That Old Black Magic-Debby Boone (Boone takes an interesting approach on this cover, singing it in the style of Frank Sinatra's "Saturday Night Is The Loneliest Night Of The Week."  It's a slower tempo than that of the definitive version, to my ears, by Louis Prima and Keely Smith, but it works.  Sidebar: If you like the Prima & Smith version, check YouTube for Jim Henson's "Sam And Friends" segment that features it.  The puppets dancing to it on TV, as well as the puppets watching it, obviously dig it.)

Symphony Hall

• Claude Debussy: Prelude To The Afternoon Of A Faun (French National Orchestra/Daniele Gatti, conductor) (After two years of reviewing music on this blog, it's about time this piece came up.  I'm always curious to hear how the flutist in any rendition of this piece approaches the opening solo.  This soloist takes a somewhat slower, more deliberate approach than I've heard on other recordings, but it's no less appealing.)
• Franz Joseph Haydn: Symphony No. 60 in C major (Academy Of St. Martin In The Fields/Sir Neville Marriner, conductor) (When you're as talented and prolific a composer as Haydn, you can confidently incorporate a deliberately out-of-tune passage for the violins into a symphony's final movement as a joke that listeners will enjoy.  I was sorry to learn of Marriner's passing on Sunday at age 92.  If you've listened to any Classical radio station or streaming service for more than an hour in your life, you've probably heard at least some of his many engaging, accessible interpretations of orchestral or choral pieces.)  

Watercolors

• Lesley Ann-David Sanborn (This is the closest Sanborn's saxophone has ever come to sounding like a music box while playing a song's hook.  This track is a mainstay of smooth jazz radio stations, for good reason.)

Stingray Music highlights XXVII

Some of the best tunes that I heard U-verse serve up Tuesday morning:

Alt Country-Americana

• Something Tamed Something Wild-Mary Chapin Carpenter (A well-written ode to the happy moments of one's past and a reminder to appreciate the present, sung with Carpenter's usual conviction.  It's from her CD, "The Things That We Are Made Of," released in May.) 

Canadian Indie

• Advancement Of The Human Age-The Gertrudes (Quirky lead and backing vocals, with effective use of ukulele and trumpet...It's an unlikely blend that sustains the tune for nearly seven minutes.  I can imagine a good noncommercial station playing Zumpano's "Temptation Summary" before it.)

Caribbean Vintage Vibes

• The Way I Feel-Keith Thompson (Thompson sings these universal sentiments of loss with an effective, understated air of resignation.)

Cool Jazz

• Breezin'-Gabor Szabo (You've probably heard George Benson's excellent version of this much-played guitar instrumental.  Now, hear the original template that inspired Benson to expand upon a great, refreshing theme.)
• Shining Tear Of The Sun-Elizabeth Shepherd (If there's such a genre as upbeat melancholia, this is an excellent example of it.  Shepherd crafted an appealing vamp of a piano melody in which to wallow, and her vocals match perfectly.  A good eclectic radio station ought to play Nickel Creek's "Reasons Why" before this.)

Folk Roots

• Farewell To St. Dolores-Pine Hill Project (Richard Shindell and Lucy Kaplansky are a well-matched vocal duo here.  The song's chorus, derived from a yodel, is strangely moving.)

Jazz Now

• Sea Of Tranquility-Marcos Amorim (A laid back, midtempo guitar instrumental that lives up to its title.)

Smooth Jazz

• We Were There-Marcus Miller (A joyous stew of vocals and bass that suggests a George Duke influence.)

Hoping for positive ripples

On this day, 25 years ago, I went on the air for the first time at a real radio station.  I recorded my demo tape for my college station, KCOU, early that morning.  Although there may have only been about 10 people listening between 5 and 6 a.m. that day, it was still satisfying to be on the air, setting an agenda and seeing it through.  I chose all of the music, sequencing tunes from different genres together in a way I thought made musical sense.   

When I returned to my dorm, I realized that I hadn't initialed the new CD and vinyl tracking labels KCOU used to determine which new songs were played each week and how often they were played.  I rushed back to the station and noted the track numbers of the new songs I'd played.  It amuses me now how seriously I took this responsibility.  After all, did I think that my one play of each of those songs would make or break particular bands?  Did I think that failing to note one spin of a disc would cause it to miss the cutoff for the airplay charts that KCOU submitted to "College Music Journal," an industry music charts and reviews publication, and result in an indie band's members saying, "That's it.  We're not on the charts.  It isn't happening for us.  Let's throw in the towel and go back to washing dishes and stocking shelves?"

Well...yes--to some extent.  In the back of my mind, I probably did think that.  I thought then--and still think--that good music deserves its due.  Even though I knew it was unlikely, I hoped that my one spin of each new song that day would be enough to boost its airplay tally, causing it to make the CMJ chart and spark the interest of DJs in other cities.  I imagined them thinking, "That's a compelling-sounding band name (or song title.)  I should seek that out and play it on the air."  I envisioned those albums catching on at other radio stations and listeners calling in, saying, "That sounds really good.  Who is that?"  The listeners would then head to a record store and buy the album or single.

At least, that's what I imagined might happen.  I still hope that scenario came true, at least occasionally.

SiriusXM highlights XLVIII

Standout tracks heard this morning:

The Bridge

• Dear Prudence-The Beatles (One of John Lennon's most endearing, optimistic Beatles contributions, right from the fade-in.)
• Sunshine Superman-Donovan (As Donovan mentioned in his interview on "The Village Folk Show," it's unusual for a song to incorporate jazz, Caribbean influences, harpsichord, and superhero references.  That unlikely blend meshes well here, though.)

The Coffee House

• All Your Favorite Bands (Acoustic)-Dawes ("May all your favorite bands stay together," Dawes sings.  That's a considerate sentiment to wish upon anyone.)

Deep Tracks 

• Down To You-Joni Mitchell (One of several "Court And Spark" highlights; the orchestral backing adds gravity and texture to Mitchell's vocals.)

The Groove

• As-Stevie Wonder (A "Songs In The Key Of Life" standout.  Powerful lead and backing vocals, and a groove that holds up for a good, long while.  I'm surprised it wasn't a bigger hit.)

No Shoes Radio

• Down Under-Colin Hay (Hay proves that a scaled down, acoustic approach serves the song at least as well as Men At Work's original version.)

Real Jazz

• The Sequel-Mulgrew Miller And Wingspan (The piano, vibes, and saxophone interact compellingly on this Miller-penned tune and bring Thelonious Monk's music to mind.)

Spa

• The Moon Inside-Jami Sieber (Sieber's haunting cello part could underscore a scene of someone walking through a dense forest late at night.)

All about the names

When giving sports highlights on the radio, it's advisable to fit in as many names as possible.  It's one thing to say that one team defeated another by a particular score, but what player doesn't enjoy having his or her contribution to a victory mentioned on the air?

Once upon a time, I was one of two people who used to report prep sports scores and highlights during 6 p.m. and 11 p.m. newscasts on Saturday.  As you would expect, the 11 p.m. report gave me more scores and highlights from which to choose, as the day's games were usually over by then.  I preferred broadcasting the 6 p.m. report, however.  Not every game was over at that time, so I was able to give more individual highlights.  I'd mention, for instance, that John Smith ran in four touchdowns or Jane Doe pitched a shutout.  It was gratifying to imagine those players being pleased to hear their achievements mentioned on the air.  It was also satisfying to imagine their parents turning to them and saying, "Way to go..."

Games are about the players, not just the final scores.  That's one of the most important things to keep in mind when broadcasting sports highlights.