Finishing the sentence III

Every once in a while, in my ROAM (Remnants Of Abstract Minds) notebook, I'd rerun an unfinished sentence I'd created months or years earlier.  In January 1992, I asked people to respond to the following sentence and got more responses than ever.  Here is that sentence and some of the responses:

The best musical accompaniment for a picture perfect day is...

...David Bowie's "Sound and Vision." (Mary H.)

...David Sanborn's "Straight To The Heart" album. (Jonathan L.)

...My Bloody Valentine's "Only Shallow." (Katy W.)

...Enya's "Waterworks" album. (Sandi H.)

..."Englishman In New York" by Sting. (Todd W.)

..."Turbulence" by Eddie Harris. (Tony C.)

..."Misty" by John Coltrane or The Manhattan Transfer. (Colin S.)

..."Sweet Thing" by Van "The Man" Morrison. (Christina K.)

...Pat Metheny's "Are You Going With Me?" (Doug D.)

...the wonderful voice of Desmond Dekker in the background all the time! (Jenny O.)

...the sax behind James Brown's many hits. (Chip C.)

...Stevie Wonder's "Big Brother." (Cyndi A.)

..."In Your Eyes" by Peter Gabriel. (Cindy D.)

...anything upbeat--Green Day, Big Star, maybe Neil Young. (Roberta M.)

...any song by Cat Stevens or Hound Dog Taylor. (Paul G.)

...everything by The Breeders. (Veronica D.)

...the "Peter Gunn" theme, because it's cool and the best music when you're out just having a good time. (Jason T.)

...Vivaldi's guitar concertos. (Jennie K.)

...Beethoven's "Pastoral" symphony. (Dana P.)

...Andres Segovia/Julian Bream's lute suites for Classical guitar. (Jenni S.)

...really good Classical music, although most legitimate Classical music is inherently good. (Errol K.)

..."Somewhere They Can't Find Me" by Simon & Garfunkel, if you happen to be a paranoid schizophrenic. (Miranda G.)

..."Aww, that tune!  How does it go?  Yeah, that's right.  You know it." (Michael M.)

Finishing the sentence II

I created the following unfinished sentence for my notebook, ROAM (Remnants Of Abstract Minds), during a 1994 visit to the college from which I graduated.  Here it is, along with some offbeat responses it elicited:

In the song, "You Can All Join In," Traffic sings, "Here's a little song you can all join in with.  It's very simple, and I hope it's new.  Make your own words up if you want to, any old words that you think will do."  If I were to join in this song, my lyrics would read something like...

..."I was feelin' blue before, but I'm feelin' better now.
I'm ridin' the cart, instead of pushin' the plow." (Anthony T.)

..."Lemon Jell-O, it be yellow.
Life is neat and can be sweet.
And with luck,
You won't f&*k it up!!  Man..." (Jeff T.)

...(Chorus) "Poop!  Oh, poop!  I've stubbed my toe." (Liz F.)

..."Let's go kick some firemen!
Let's go kick some firemen!
Let's go kick some firemen!
Oooooooooh..." (Rachel N.)

Finishing the sentence

In high school, college, and occasionally thereafter, I kept an ongoing creative writing notebook.  I called its early incarnations SUPALOCAN (Sarcasm Unlimited Plus A Lot Of Cynicism And Nonsense) but later changed its name to ROAM (Remnants Of Abstract Minds.)  Its main feature was "Finish The Sentence."  I would create an unfinished sentence and ask participants, whom I usually knew pretty well, to sign their names and complete the sentence.  This was one of my favorite sentences, due to the answers it elicited in 1992 and '93.  Each contributor's first name and last name initial is indicated in parentheses:

You know a critic's review will be wildly misguided (or pretentious) when the opening sentence reads...

..."In all the history of recorded music..." (Jon W.)  

..."I don't really like 'X' (pick a genre or band), but I'm going to review this album anyway." (Neil S.)

..."Let me tell you, every 'technohead' will have this one in their libraries..." (Robi S.)

..."The Beatles changed the face of music in 1964.  Now, in 1993, we are about to make a brand new change..." (Jeff B.)

..."The ethereal feel of the singer's voice is like a cupcake floating in whipped cream, and the guitar solo chain-smokes Camels." (Laura W.)

Online radio sampler highlights LV

Five of the better tracks heard Saturday night:

KCLC-HD2 (St. Louis, MO)

• Sunlight-The Youngbloods (Jesse Colin Young sings the refrain, "That's the way she feels about you," reassuringly to match his guitar strumming.  I miss playing Young's solo version of this on KNJZ.)

WBGO (Newark, NJ)

• It Never Entered My Mind-Miles Davis Quintet (One of the best, most resonant Davis covers; this is a sublime 1956 version of the Richard Rodgers tune.  Red Garland conveys the tune's warmth movingly on the piano.)

WBOM (Rockford, IL)

• Come With Me-Tania Maria (Breezy Brazilian vocals from 1982 that would fit easily into a smooth jazz format between Al Jarreau and George Benson tunes.)
• Stay Faithful-Lynden David Hall (Elements of Al Green's voice are easy to detect in Hall's vocals here.  Conceivably, this could fit into a smooth jazz playlist.)

WCDB (Albany, NY)

• Saint Simon-The Shins (Impressively layered backing vocals underscore good lyrics about not overthinking things.)

An overlooked cover tune XXV

If you think of "Raindrops Keep Fallin' On My Head," you probably think of the B.J. Thomas hit.  Although it's a strong, definitive version of the tune, Nancy Wilson's version deserves its due, as well.  Wilson sings it as a contemplative jazz/easy listening number, which suits the lyrics.  Instrumentally, her version is a winner, as well.  The piano underscoring matches the eloquence of Wilson's vocals, and the piano intro brings to mind Richard Harris's "MacArthur Park."  The closing trumpet notes are par for the course in a Hal David-Burt Bacharach arrangement.  Mix those ingredients together, and you have a 1970 cover version that deserves airplay.

FM dial scan highlights LXXVII

Standouts heard on Thursday:

KDHX 88.1 FM

• Use Me-Bill Withers (An ear-catching keyboard intro, memorable lyrics, and some of the most attention-getting vocals I've heard from Withers; this is one of his best songs.  It's a shame radio stations only play it once in a great while.)
• Suspicious Minds-Dee Dee Warwick (Best known in its Elvis Presley incarnation, Warwick's emotive vocals show that the tune works as well or even better as R&B.)
• The Edge-David McCallum (This was playing as I drove to the recycling center.  Its wild west showdown vibe affected my outlook.  I wondered what I'd do if all the bins were full.  Would I have to challenge one or more of the center's negligent workers to a duel at 10 paces?  Fortunately, there was space in the bins, so I didn't have to resort to anything so drastic.  It's interesting, though, how a "High Noon"-style instrumental can shape your mindset.)

WSIE 88.7 FM

• Who's That Lady-Joe Friedman (The Isley Brothers hit, reinvented as a straight ahead stroll for guitar; if I heard this during a concert soundcheck, I'd know I was in for an evening of good jazz.)

KCLC 89.1 FM

• Older And Taller-Regina Spektor (Life wears you down sometimes.  Spektor captures this sentiment effectively, giving weariness and good lyrics such as, "'Enjoy your youth' sounds like a threat," a surprisingly jaunty bounce.  Her performance of this on the January 7 edition of "A Prairie Home Companion" was particularly impressive.  I'd be curious to hear how the band Hem would cover this.)

1982 memories, 2017 reality

In a previous post, "How my radio career began," I wrote about the first radio show I created on February 22, 1982.  Although the tape of it is no longer playable, I paused to remember that day today by playing two songs I played on that first show 35 years ago--The Police's "Spirits In The Material World" and "Lady (You Bring Me Up)" by The Commodores.  While listening to those same 45s I'd bought all those years ago, I thought about how music and radio fascinate me today as much as they did then.  Over the past 35 years, I've heard a wealth of great music in so many different genres, and I've been lucky enough to play some of it on the air.

After reminiscing, I snapped back to present day reality.  Unfortunately, the song I played next, Midnight Oil's "My Country," felt disturbingly appropriate in today's political climate.  (One lyrical example: "I hear you say the truth must take a beating, the flag a camouflage for your deceiving...")  I'm thankful for the 35 years of interest I've had in music and radio, but I'm concerned about what might happen to this world during my next 35 years--if I'm fortunate enough to live that long.

Online radio sampler highlights LIV

Seven of today's ear-catching standouts:

KBXR (Columbia, MO) 

• Alison-Elvis Costello (Comforting words, hopefully, from a friend.  Everything But The Girl covers the tune well.)
• My Emotions Are Blinding-Tennis (Elements of Carole King in the vocals and an appealing chorus make me curious about the rest of this band's "Yours Conditionally" release, due out March 10.)

KMHD (Portland, OR)

• Little Sheri-Stanley Turrentine (A sly midtempo saxophone groove, which Horace Parlan aids impressively on piano, that's ideal for an evening playlist.)
• Shelley's World-Eddie Higgins Trio (A beguiling waltz of a piano-anchored instrumental.)
• For Everyone Under The Sun-Jimmy Smith (Listeners can always count on Smith to deliver dazzling organ pyrotechnics.  This track has 1972 stamped all over it, as Smith and his band sound like they're underscoring an album rock tune from that era.)

WUMB (Boston, MA)

• I Never Cared For You-Alison Krauss (Krauss's voice fits this Willie Nelson tune compellingly, and this cover version is a highlight of her new release, "Windy City."  Check out her strong performance of it on last night's "...Late Show With Stephen Colbert.")
• No Matter Who-Margaret Glaspy (It's a tricky feat for any singer-songwriter to capture universal feelings in ways that sound original yet familiar.  Glaspy pulls that off here.  Her unusual voice, paired with engaging guitar backing, has grown on me the more I've heard this tune from last year.)

You think you know someone, but then...

Once you've been a student in a teacher's class for a while, you might think you know how the teacher will react in any situation.  Sometimes, however, the teacher shows a flash of personality you didn't expect.  Two examples from grade school:

Mrs. M., who taught vocal music when I was in second and third grade, had a low-key, grandmotherly presence.  Once, however, our class was singing Woody Guthrie's "I'll Race You Down The Mountain."  As Mrs. M. led the singing and played the tune on the piano, she suddenly sped up the tempo at the end, singing the last line as "We'llseewhogetstherefirst!"  "I win!" she exclaimed.  "I got there first!"

More surprising than Mrs. M.'s yelp of victory, however, was Mrs. S.'s portrayal of a character during fourth grade story time.  Mrs. S. was a stickler for proper behavior, insisting that her students show courtesy at all times, particularly by saying, "Please," and "May I...?"  She was the last teacher I ever expected to hear portray Sheila in Judy Blume's Tales Of A Fourth Grade Nothing in a childlike, singsong voice.  Assuming the role of Sheila getting on Peter's nerves, she sang, "Peter's got the cooties!  Peter's got the cooties!"  This startled all of us.  This was the teacher, after all, who reminded students sharpening pencils without asking, "You need to ask permission to do that!"

Just because a teacher has a low-key or a stern demeanor, don't assume that (s)he doesn't have at least an occasional whimsical side.

A scene fit for "Whose Line Is It Anyway?"

In my high school drama class, Mr. Z. asked a student to begin a scene nonverbally.  A girl walked to the center of the stage, pretended to turn on the stereo, and started to rock out to the music.  Mr. Z. then asked for a volunteer to walk into the scene and react nonverbally to what she was doing.  I walked in, pretending to be her disapproving father who switched the music to a Classical station; I started conducting in time to the music, for good measure.  Each of us kept running back to the stereo to change it to our preferred station.

In most classes, you're graded on your ability to solve math problems, write essays, retain the names and accomplishments of historical figures, or summarize lab experiments.  It was refreshing to have one class, however, in which I could elicit an A by pretending to clash over a radio station.  Not just any course gives you that chance.

Persistent earworm alert LI

The Clash's "Rock The Casbah" contained one of late 1982's more memorable driving melodies.  I don't hear it on the radio very often these days, but I've been thinking about it today.  Because I'm under the weather and had just purchased medicine when it came to mind, my recurring hope of what the medication will accomplish, i.e. "Thin the mucus, thin the mucus," is running through my mind to the tune of "Rock The Casbah."  I mean no disrespect to the song; bizarrely, however, my memory of the song and my desire to stop irritating sinus drainage intersected at the same moment.

A considerate compliment

After playing a bass concerto with my high school orchestra in the '80s, another student's father gave me a compliment I've always appreciated.

"Take a longer bow next time," he said.

I thought that was a considerate way of saying, "Good job."  If I'm ever in a situation in which it's appropriate for me to congratulate another musician, I hope I'll have the opportunity to say that.

Persistent earworm alert L

Sometimes, it's wise to start with the chorus.  Maxine Nightingale's "Right Back Where We Started From" does this, and it implants the song's hook firmly in the listener's mind.  The tune was a big hit in 1976, thanks to an easy-on-the-ears, uptempo hook that stands up to repeated listening.  I don't know what made me think of it tonight, but it's on a continuous loop in my mind--and that's OK.

FM dial scan highlights LXXVI

Wednesday night standouts:

WSIE 88.7 FM

• Like The Morning-Mulgrew Miller (Despite its title, this sublime piano/vibes/horns track from the "Hand In Hand" CD is ideal for late night programming on a traditional or smooth jazz station.  For a tasty, more uptempo sample of what this combo can do, check out the CD's title track.)
• All I Need Is You-David Sanborn (Looking back, I'm surprised this wasn't in KNJZ's regular rotation.  This 1981 track, with background vocals and Sanborn's forthright saxophone playing, is a natural fit for a smooth jazz station.)

KCLC 89.1 FM

• Dreams-The Cranberries (Dolores O'Riordan's lyrics and vocals from 1993 still hold up.  This is still a great song for driving, and it's one of the highlights of the CD, "Everybody Else Is Doing It, So Why Can't We?"  Also recommended: "Linger" and "Wanted.")
• Vowels-Capital Cities (Released as a single last September, the tune's dance-worthy hook grabs the listener by the ears.  Its lyrics capture a universal feeling effectively; words fail all of us at one time or another, so it's understandable that we might sometimes want to resort to saying only vowel sounds.  I'd be curious to hear Field Music tackle "Vowels.")
• Anywhere-Passenger (Propelled by a tropical-style guitar riff, this is an earnestly sung vow of commitment to someone.  It would segue well with Heather Nova's "London Rain.")

KSHE 94.7 FM

• Runaway Train-Soul Asylum (The tune, which covers the grim topics of depression and homeless kids, is still worth hearing today.  The 1992 album from which it comes, "Grave Dancers Union," is an interesting mix of tunes that work in multiple eras, such as "Runaway Train," and tunes like "Somebody To Shove" and "99%," that were most compelling in their own time.)

WFUN 95.5 FM

• Rock With You-Michael Jackson (An "Off The Wall" standout that equals or surpasses the best tunes on the "Thriller" album, in my opinion.)

KLOU 103.3 FM

• For What It's Worth-Buffalo Springfield (Disturbingly appropriate in today's night-is-day/day-is-night political climate.)

Fitting sentiments for Valentine's Day

Recently, I heard a tune that radio stations don't play often today.  Climax Blues Band's "I Love You" was a hit in 1981 and sported a more intimate sound than the group's previous hit, "Couldn't Get It Right."  Aside from the rather off-putting lyric, "Ooh, babe, you got what it takes, so I made you my wife," "I Love You" is well-crafted.  The short, quiet instrumental opening and well-placed, emotive guitar punctuation contribute to the tune's appeal.  The song's greatest strength, however, is the singer expressing how thankful he is to be with his beloved; he thanks her not only for being his wife but also his friend.  That's a smart lyrical distinction you don't hear so often these days.  The group's vocals on the final chorus, "If ever a man had it all, it would have to be me...," are especially effective and made me realize how much I've missed hearing soft rock stations play the song regularly.  Overall, 1981 was one of pop music's stronger years, and "I Love You" was one of that year's better soft rock staples.  In honor of Valentine's Day, I hope that at least some oldies stations do their listeners the favor of resurrecting it.

As I said, conductors are eccentric...

One of my orchestra conductors surprised the ensemble by using slang when no one expected it.  He said he wanted to rehearse a passage one more time; he said he wanted it to sound "bad, meaning good!"  The orchestra burst out laughing.  As he gave the downbeat, and we began playing, he turned to the first violins and declared, "See?  I know what bad means!"

I wonder how we would have reacted if he'd told us he wanted the passage to sound groovy or funky.

In memory of Al Jarreau

You know an artist's music has moved you when you're caught off guard by his obituary and let out a sharp "Nooooooooo!"  I was extremely saddened to learn of Al Jarreau's passing today at age 76.  If you've read this blog for any length of time, you might have gleaned that Jarreau is one of my favorite singers.  I knew that I could buy any of his albums, even without hearing any of the tunes ahead of time, and I would never be disappointed.  These are 15 of his best tunes, in my opinion:

• Across The Midnight Sky (To this day, I've only heard this tune on the radio once.  That's a shame, as its dreamy vibe catches fire early and makes it one of Jarreau's best, most overlooked tracks.  In 1989, I saw a great Al Jarreau concert at The Muny, with stellar opening act Take 6.  My ears perked up when Jarreau said, "Here's a tune that doesn't get played on the radio a lot," before launching into the tune.  My date that night has mentioned how much she enjoyed that concert at each of our class reunions.)
• After All (One of Jarreau's smoothest, most accessible ballads.  I'm still puzzled that it wasn't a hit.)
• Blue Skies (One of the coolest versions of "Blue Skies," sung at a breakneck pace.  Short of pairing this with a frantic piece, such as "Sabre Dance," it seemed best, when playing this on KCOU's "Jazz Odyssey," to return to a more sedate tempo in the next track.)
• The Christmas Song (As much as I enjoy the rich vocals of Nat King Cole's rendition, I like Jarreau's 1982 recording even more.  Vocally and instrumentally, this is a warm blanket of an arrangement that I never tire of hearing each December.)
• Distracted (A somewhat overlooked track from Jarreau's album, "This Time."  I remember hearing it on the radio only sparingly during the '80s and early '90s.  Jarreau maintains a steady midtempo groove that deserves more airplay.)
• Jacaranda Bougainvillea (Live with The Metropole Orkest) (Jarreau sings tenderly about trees and flowers as metaphors for hope; the orchestra enhances the song's optimistic vibe.)
• Just To Be Loved (The second song ever played on our former smooth jazz station, WSSM.  It sports one of Jarreau's most inviting choruses and should be played more often today.)
• Letter Perfect (Live) (A great concert opener showcasing some of Jarreau's best vocal acrobatics and scatting; it's one of several highlights from his "Look To The Rainbow" album.)
• Mornin' (Jarreau's sunniest vocals; to my ears, it's a strong highlight of Jarreau's most appealing album, "Jarreau."  Also recommended: "Save Me," "Love Is Waiting," "Trouble In Paradise," "I Will Be Here For You," and, really, the rest of the album.)
• Roof Garden ("Roof Garden" is equally infectious in its studio incarnation or live, as I discovered at that 1989 concert.  Its steppin'-out-on-the-town-for-the-evening arrangement is instantly welcoming.) 
• Save Your Love For Me (Live) (The song's opening, a descending scale of four bass notes, sets the mood immediately, and Jarreau's vocals soar.)
• Somehow Our Love Survives (Joe Sample with Al Jarreau) (One of many highlights from keyboardist Joe Sample's excellent release, "Spellbound."  Sample lays down an appealing, uptempo keyboard part, and Jarreau's vocals invite the listener to sing along.)
• Step By Step (One of the most appealing uptempo tracks on the "Jarreau" album; this was the cassette I listened to most frequently during college, especially in the laundry room.  The tune never failed to brighten my mood, no matter how often I heard it.)
• Take Five (Live) (A great interpretation of the Dave Brubeck standard; another "Look To The Rainbow" concert highlight, with extended stretches of Jarreau's impressive vocal acrobatics and scatting.)
• We're In This Love Together (Jarreau's biggest hit, with lyrics and an arrangement that hold up.  In a more just world, Jarreau would have had far more hits.  In my view, his "Breakin' Away" album had more potential hits, such as "Roof Garden," on it.)

You also have a DJ's mindset when...

April 2006: A fox I saw in my backyard.

...your initial reaction upon seeing a fox in the backyard, "Foxes are beautiful creatures, and you hardly ever see them around here," is followed quickly by, "That fox would have made a good mascot for WFXB 101.1 FM, 'The Fox,' when that station was around in the '90s."

You have a DJ's mindset when...

...you put the digital thermometer to your forehead, check the result, and announce the temperature in your raspy sick voice as an FM radio station moniker.  I just did this a little while ago and announced, "100.3, The Fever." 

Once a DJ, always a DJ, apparently...

Persistent earworm alert XLIX

Although I haven't heard Valpak's radio commercials in years, I often think of the jingle, "Valpak! It's like money in the mail!" when clipping coupons.  I'm sure I'm not the only one.

Online radio sampler highlights LIII

Six standouts heard this morning:

KAFM (Grand Junction, CO)

• Your Word-Eleanor Friedberger (Effectively sung lyrics about an unhealthy relationship.)

KFJC (Los Altos Hills, CA)

• You're Leaving-Parlet (A 1979 tune that I hadn't heard in years.  I'd forgotten how well these Parliament-Funkadelic singers keep the groove going.  The tune would flow well after Rufus and Chaka Khan's "Tell Me Something Good.")

WBER (Rochester, NY)

• Praise You-Fatboy Slim (I don't usually listen to Fatboy Slim's music, but his well-placed piano sampling and use of Camille Yarbrough's "Take Yo' Praise" as the tune's springboard deserve their due.) 

WHRB (Cambridge, MA)

• But Not For Me-John Hicks (Hicks leads this excellent trio on piano, making this Gershwin tune swing.)

WIIT (Chicago, IL)

• A Shot In The Arm-Wilco (The Wilco tune I've listened to most; the piano intro and the opening lyric, "The ashtray says you were up all night," draw me in every time.  It's no wonder fans sing along with it so enthusiastically during the band's concerts.)

WNMC (Traverse City, MI)

• Cassidy-Holly Bowling (Bowling's Classical piano training shines in this great instrumental cover a Grateful Dead tune.  It's a poignant, forceful, new age-style rendering of the tune that works extremely well.  If you like the way Rachel Z covers disparate tunes, ranging from Sade's "Kiss Of Life" to Johnny Cash's "Ring Of Fire" on the piano, Bowling's interpretations of jam band tunes will likely appeal to you, as well.  Also recommended: Bowling's cover of "Franklin's Tower.")

Scene from a silent movie?

A woman I know was trying to avoid another member of an orchestra whose personality exasperated other orchestra members and her.  One day before a rehearsal, she went to the storage room, grabbed her instrument, and headed off to the elevator.  A few seconds later, she heard footsteps behind her.  Seeing who it was, she started running.  He began running, as well.  Beating him to the elevator, she closed the door quickly and headed to rehearsal alone.

That doesn't sound out of the ordinary--except that both players were running with double basses.  If they'd been carrying harps or pianos, it would have been even more unusual.

Persistent earworm alert XLVIII

For some reason, an '80s KYKY jingle, sung to the tune of the Hallelujah Chorus from Handel's "Messiah," has been on my mind:

"Phillips and Wall!  Phillips and Wall!  In the morning, in the morning, on KY98!"

When the station changed its abbreviated identifier from KY98 to Y98 FM in 1985, different singers cut another jingle in a similar style, but it just wasn't the same.  Y98 FM has too many syllables to work effectively in that context.

More than a fair weather fan

An inevitable constant of sports talk radio--having the illusion, as a fan, that you can change a player's or the management of a team's mind about going to another team, retiring, or broadcasting the team's games on a different radio or TV station.

I remember a fan calling KMOX's "Sports Open Line" in the '80s, upset that our hockey team, the St. Louis Blues, was taking its broadcasts to another radio station.

"I'm upset.  I'm disturbed," the caller said.  "Can we do anything?"

"No, there's nothing we can do," host Dan Dierdorf responded.  "They signed a five-year contract, by my understanding, over at another radio station...It's out of my hands.  It's out of our hands..."

Although it isn't realistic for a fan to think (s)he can prevent a team from seeking a new outlet for its broadcasts, there's something heartening in hearing from a fan who cares that much.  That tenacity keeps people following their favorite hometown teams and attending their games, even during their weaker seasons.  Those are a team's true fans.

No pesky newscast necessary

I've written before about how I used to record radio shows I created in grade school and middle school.  One friend, hearing that a friend and I recorded such shows, decided to try his own hand at radio shows.  He liked the idea of having a newscast but didn't want to bother with tracking down news copy and rewriting it for the radio.  His solution?  He started each of his shows by saying, "And that's the news..."

And, why not?  After all, when the radio station is your own creation and isn't actually on the air...

A song's (and book's) worth of theories

Inspired by the Bob Welch-penned Fleetwood Mac tune, "Bermuda Triangle," I once bought a book about the eerie phenomenon of ships and planes disappearing in that area.  As I started reading it, I thought, "I can see how there's a song in this, but maybe I shouldn't read about it.  It's disturbing, and this entire book, as expected, is just conjecture.  It could easily have been titled No One Really Knows."

An overlooked cover tune XXIV

While introducing it in concert, Gordon Lightfoot called it his "first real good song."  Peter, Paul & Mary lent their vocal harmonies and guitar playing to an excellent version of it.  Sara Watkins and Eva Cassidy sing it impressively, as well.  The tune: "Early Morning Rain."  Those versions are among the better known ones.

Dr. Corn's Bluegrass Remedy recorded a somewhat obscure concert version of it that's worth seeking out.  Their version of it on the "Live (It'll Tickle Your Innards)" album showcases the ensemble's vocal and bluegrass pickin' abilities. Listening to them perform it in concert reminded me of how strong Lightfoot's tune about watching planes while not being in the best of spirits is.  Regardless of who sings it, though, the tune's wistfulness should resonate with the listener.

Appropriate Groundhog Day Eve listening?

The sentiments Jane Kelly Williams sings in "Come On Spring" struck me as appropriate for Groundhog Day Eve--at first.  Then, it occurred to me that, we've already had more January days than usual in St. Louis when temperatures climbed into the 60s and even 70s.  Although it's cold at this moment, climate change has already made Spring show up ahead of schedule. 

That said, singer-songwriter Williams should be better known for her "Tapping The Wheel" CD.  Among its highlights: "Show Me How To Catch A Fish" and "15 Seconds Of Grace."