Cathartic days before a format change

When a radio station is about to change formats without retaining its on-air personnel, a devil-may-care attitude sometimes slips into the announcers' delivery during their final days.  On one station several years ago, I heard an announcer say, "I forgot to get an update on today's business report, but it's a little late to fire me now..."  Another announcer, during his last week on the air at a different station, had just read the weather forecast.  At the end of it, he said, "You know, I forgot to get a current temperature, but, hey, you're indoors.  What do you care?"

Although it's ill-advised to rant and rave on the air just before a format change, it's worth remembering that announcers are human.  A bit of subtle on-air venting now and then is understandable.

Cobbling those shoelike clocks

Sometimes, the most humorous bits of a radio show are unscripted, as in this Wit Twisters trivia game segment on KYKY from February 1986.  Admittedly, it's convenient to look up answers to trivia questions in search engines today.  Still, for the sake of comedy, it's a shame that exchanges like these are largely a thing of the past:

Guy Phillips: ...What was Geppetto's cat's name?
Listener #1: Sylvester?
Guy Phillips: No.  You know who Geppetto was?
Listener #1: No, I don't.
Guy Phillips: Geppetto was the shoemaker in Pinocchio...
Listener #1: Oh!
Guy Phillips: (To) give you an idea...So, Sylvester's...
Mike Wall: Clockmaker, but that's alright.
(Mike Wall and Heather Frampton, the newscaster, laugh.)
Guy Phillips: Clockmaker, shoemaker...
Mike Wall: He made those shoes that look like clocks.
Guy Phillips: Who made the shoes?
Mike Wall: Huh?
Guy Phillips: That's Geppetto.  Isn't that Geppetto the shoemaker?
Mike Wall: No, no.  He made the clocks.
Guy Phillips: Is that right?  Did he really?
Mike Wall: Yeah, oh, he's got thousands of clocks all over...
Guy Phillips: Is that right?  I thought he made shoes, for some reason.
Mike Wall: But he didn't make any (imitating Sylvester The Cat) puddy tats!
Guy Phillips: OK.  Hi!
Listener #2: Hi!
Guy Phillips: What's your guess?
Listener #2: His name is Figaro.
Mike Wall: Figaro.  That's right.
Guy Phillips. Yeah.  Now, what did Geppetto do for a living?
Listener #2: He was a puppetmaker.
(Mike Wall and Heather Frampton laugh.)
Guy Phillips: A puppetmaker.  That's right!  He made puppets!
Mike Wall: Well, he only made one!
Listener #2: He made clocks.
Mike Wall: Alright.  Now, we're talkin'...

Persistent earworm alert LVII

Other than the line about the chameleon lying in the sun, does anyone really know the lyrics of Slade's 1984 hit, "Run Runaway," offhand?  Regardless of whether they do, "Run Runaway"'s rhythm has staying power.  It has been stuck in my mind for over 24 hours--and, for the time being, I'm OK with that.

Can't connect with every listener...

Once, a broadcasting school instructor who hadn't heard my work before was critiquing one of my tapes.  He listened without comment and at the end of the tape, offered a critique I hadn't heard before and haven't gotten since.

"There's nothing distinctive about your voice," he said.  "Try putting up a photo of someone you know in the studio, and pretend that you're talking to that person."

I was a little put off.  I thought I'd been doing a good job of talking to, not at, listeners.  Then, I thought about it a little more and remembered that a person's impression of my voice, even when it's positive, is subjective.  We all bring our own preferences to the table when critiquing someone's work.  This was an album rock DJ listening to my tape, so chances are, his idea of a distinctive voice--especially mine, which sounded most at home in jazz, Classical, and soft rock formats-- differed from mine.  Everyone listens to the radio a little bit differently.  It's worth remembering that when you're a broadcaster, you won't reach every single listener--and that's OK.

SiriusXM highlights LXIII

Standout tracks heard this morning:

'70s On 7

• Rainy Days And Mondays-The Carpenters (Possibly the group's best hit, in my opinion; Karen Carpenter was masterful at conveying the emotion behind any lyrics, regardless of who wrote them.  I heard a Vietnamese version of this on KDHX years ago, and the feeling behind the tune was just as heartfelt.)

The Bridge

• Change Of The Guard-Steely Dan (This uptempo highlight from the band's first album, "Can't Buy A Thrill," sports a sing-along "Na, na-na, na, na, na-na-na-na" chorus that's unusual for Steely Dan.  Other sometimes overlooked "Can't Buy A Thrill" highlights: "Brooklyn" and "Only A Fool Would Say That.")

Escape

• Proud Mary-Floyd Cramer (The Creedence Clearwater Revival tune, interpreted as an easy listening piano instrumental.  Points for chutzpah?)

The Pulse

• Maybe-Ingrid Michaelson (Universal, realistic lyrics about the pain and awkwardness of a breakup.)

Real Jazz

• Swingin' (Live)-Kenny Burrell with Art Blakey (A great, cookin' take on a Clifford Brown number.  There should have been more applause at the end of it!)
• Salt Peanuts-Dizzy Gillespie (Absolute precision between instruments and the vocalist is needed to pull off this melody.  With all-star trumpeter Gillespie at the helm of an excellent band, though, the listener shouldn't worry.)

SiriusXM Limited Edition 3

• You're Not The Only One I Know-The Sundays (The album from which this originates, "Reading, Writing, And Arithmetic," was among my most-listened-to ones in college.  I still haven't heard a voice with a touch that's as light and ethereal as Harriet Wheeler's.  Also recommended: "Here's Where The Story Ends.")

Soul Town

• Love's Theme-Love Unlimited Orchestra (An approximately 40-year-old memory: My parents, brother, and I were waiting for friends of the family to arrive.  My dad put this tune on the stereo as I sat on the family room sofa, watching the lava flow in the lava lamp on the piano.  I thought then and still think now that this is one of the most appealing instrumental hits ever recorded.  Decades later, the song's of-its-time instrumentation and joyous vibe hold up.)

The Village

• Something's Coming-The Waifs (The "something" is intentionally vague, but with a voice and a guitar that are this endearing, you have to hope it's positive.  This tune and the one listed below were highlights of this morning's "Songs To Hang On Stars" program.)
• Fishing In The Morning-Dar Williams (Williams captures the beauty of everyday moments that are often taken for granted.  Also recommended: "I Saw A Bird Fly Away.")

Watercolors

• Mornin'-George Benson & Al Jarreau (Benson shines on guitar, and Jarreau shines on background vocals in this cover of one of Jarreau's best tunes.)

FM dial scan highlights LXXX

Standout tracks from recent days:

KDHX 88.1 FM

• Beautiful View-Brookville (Atmospheric new age chords set the scene of a compellingly catchy, melancholy tune.)
• Care Of Cell 44-The Zombies (Possibly the bounciest, most impressively layered vocals ever arranged for a tune about coming home after a rough patch in one's life.)

WSIE 88.7 FM

• Speak Low-Eliane Elias (A cool, sly arrangement of this jazz standard, with compelling vocals from Elias and trumpet accompaniment from Randy Brecker.)
• Summer Horns-Dave Koz And Friends (A sunny sax-drenched melody that would segue well with the Boney James/Rick Braun version of "Grazin' In The Grass.")
• 7th Avenue South-Jonathan Butler (This guitar instrumental would segue smoothly with any number of Earl Klugh tunes.)

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

• Route 101-Herb Alpert (Alpert's best instrumental single, in my opinion; a great energetic melody for trumpet that should have been a bigger hit in 1982.  Kudos to "The Jazz Collective" for playing it.)

Sound commencement advice

Leave it to perceptive singer-songwriter Carrie Newcomer to give sound advice to college students about to graduate.  For a guide to a fulfilling life, read her 2016 Goshen College commencement address, "Be Kind, Be True, And Pay Attention," in her poems, essays, and lyrics compilation, The Beautiful Not Yet.  Her tips are far more heartfelt and genuine than those of most commencement speeches, in which speakers typically offer advice such as, "Whatever you do in life, always strive for excellence.  Let's break down the letters of that word.  E is for egg, a protein-rich food which will give you the energy needed to tackle your endeavors.  X is for xylophone, an instrument that is the underpinning of beguiling jazz music.  Learning to play the xylophone will broaden your horizons.  C is for cat, an animal I strongly recommend keeping as a pet, as cats have been proven to lower blood pressure.  E is for edifice.  Learning to build an edifice will give you confidence and a sense of accomplishment.  If you build your edifice well, it may house countless families or serve as a workplace for many generations.  L is for Lana, who works in our job placement office and can help you get started on the right foot after you graduate.  L is for Larry, who also works in our job placement office and can help you get started..."

Other sound advice came from the conductor of one of my high school ensembles.  During a speech to the orchestra, he advised all of us, "Always approach your music as well as your life with integrity."  While that's easier said than done sometimes, his advice isn't wrong.  Neither is Carrie Newcomer's.  If you're about to graduate from college, read her advice, and let it lift your spirit.

Recording deadline approaching?

Stuck for songwriting inspiration?  Sometimes, just singing about your lack of inspiration or what it's like trying to write a song might do the trick.  Three Dog Night did this with the song, "Our B Side," asking the audience in tongue-in-cheek fashion, "Our B side, are you hummin' it?"  The Beats took a similar approach in "Just Another Pop Song."  Joe Jackson had perhaps the most clever take on this with his tune, "Hit Single."  Rather than just singing, "I'm a hit single," Jackson acknowledges that a lot of us have short attention spans, at least part of the time.  "...Please, not the whole damn album.  Nobody has that much time," is one of anyone's most refreshingly frank songwriting admissions.

You can't do it often, but sometimes, a song about how challenging it is to come up with a song is the answer--at least for contractual purposes.

A commendable make-believe sale

Although most students in broadcasting school intended to become radio announcers, we were all required to do a mock sales call with a radio station's sales manager.  Although I've never wanted to have a career in sales, I found I was better at presenting a case for buying commercials than I realized.  I thought my presentation went well, as did the sales manager.  I was a little disappointed to learn at the end of my sales call that there were no letter grades attached to the presentation; it was strictly pass/fail.  The sales manager admitted that "unless you vomit in my office, you're not going to fail.  This is really about getting a taste of what it's like to be in radio sales."  As I was leaving, I thought to myself, "I wouldn't ever want to be a salesperson, but I surprised myself with my ability to get through the sales call while sounding knowledgeable and well-prepared.  Granted, it helped a lot that it was just a pretend sales call, and no actual money was at stake."  There's nothing like the satisfaction you get, however, when you sell make-believe commercials to a station that isn't actually buying them.

"Tell me the news!"

During newscast critique sessions in broadcasting school, one instructor had a unique method of getting students to write and deliver the news effectively.  After listening to a student's newscast on tape, he would say to the student, "Tell me the news!"  Sometimes, he'd interject during a newscast with questions.  "There's a proposal that would cut the sales tax on food?" he'd ask.  "How will that affect me?"  A student would answer, "If the tax cut is approved, St. Louis county residents can expect to save three percent on their grocery bills."  "That doesn't sound like much," the instructor would reply.  "My hand is on the door, and I'm about to leave.  When might this go into effect, though?"  "If approved on September 5, the measure will take effect on January 1," the student would answer.  No other instructor at that school approached newscasts that way.  It was an effective tactic, however, because it...

...forced students to anticipate questions listeners might have and answer them in their reports.  As often as possible, a newscaster needs to inform or remind listeners of the relevance the news has or will have on their lives.

...made students deliver the news urgently and efficiently instead of passively and leisurely.  A key part of any commercial broadcaster's goal should be to keep listeners tuned in as long as possible.  If you picture the listener with a hand on the door, just about to leave, or about to punch another button on the car radio, it makes you hone your focus and speak with more authority.

...reminded students that they aren't just giving listeners the news to fulfill a public service requirement.  They're informing listeners of news developments they might have missed otherwise.

The first time the instructor jumped in with questions and pretended he was about to leave the room, I thought his approach was a little overbearing.  In retrospect, however, I think his approach was valid.  Media consumers have so many options through which to get their news.  His probing methods reminded students that effective newscasters deliver well-explained relevant stories, urgently and efficiently.  In an era of so many sources, not all of which are credible, it's more important than ever for radio newscasters to be accurate, effective truth tellers.

"O Canada?"

It's odd what triggers certain stories and ads that you see online.  Since last night, an increased number of stories about Canada have shown up among the articles and news feeds I read.  Most likely, this started happening because I watched a "Mystery Science Theater 3000" excerpt on YouTube in which Mike Nelson and robots Tom Servo and Crow sing "The Canada Song."

Serious aside: I can't imagine why anyone would want to actually lampoon Canada.  Every nation ought to provide health care for all its citizens, as Canada does, and strive to have a much lower rate of gun violence than our country.

That said, in the song, all three characters give Canada a ribbing--especially Tom Servo, who gets carried away and admits that he has "no sense of proportion" in his sung criticism.  It's ironic that viewing that one supposedly anti-Canadian performance triggered an influx of Canadian news.

Persistent earworm alert LVI

Let's clarify something.  An earworm isn't always a pejorative label for a song.  One song that I've been glad to have stuck in my mind since Easter is "Every Country Has A Monster," performed by Jonah Heston (Jonah Ray) and robots Tom Servo and Crow in the first episode of the recently released "Mystery Science Theater 3000" reboot.  I  don't know of any other rap song that supports its thesis this well and would work musically with Beck's "Where It's At" before it and Marvin Gaye & Tammi Terrell's "You're All I Need To Get By" after it.  After watching the first five episodes of the new MST3K series, I'm convinced it's as good as ever.  "Every Country..." is Exhibit A among the reasons why.

Spreading the gospel of hydration

Sylvia, staying hydrated.

Tonight, my cat surprised me.  When I got home, she told me she was devoting herself to a worthy cause--making sure that every animal has easy access to working faucets and clean drinking water.  She rapped about her cause for me, which was impressive.  Her arguments were unassailable, and her rhymes were impeccable.  She told me she was recording her first album under the moniker The Notorious R.H.T., i.e. Really Hydrated Tabby.

I'm proud of her.  You just don't expect that sort of justice-crusading initiative from your cat.

KCOU playlist flashback: 2-6 a.m., 4/17/92

The music I chose to play on the air 25 years ago today:

   1.  Smoke From A Distant Fire-The Sanford/Townsend Band
(If you're a one-hit wonder, this is a well-constructed, well-sung, and well-played standard for which to aim.)
   2.  Goin' Back To Kingston-The Scofflaws
(Cool ska with brassy accompaniment.  Also recommended: "A Shot In The Dark," "The Man With The Golden Arm," and the band's cover of the jazz standard, "Night Train.")
   3.  This Is A Perfect World-The Staple Singers
(The tune's lyrics differentiate the world from the people in it effectively.  It also weaves "My Country 'Tis Of Thee" appropriately into the mix.  This energetic track from 1971 about trying to show the creator that people from different backgrounds can coexist peacefully holds up today.)
   4.  Everyday Life Has Become A Health Risk-Disposable Heroes Of Hiphoprisy
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   5.  Strum-Minerva Strain
   6.  The Guitar (The Lion Sleeps Tonight)-They Might Be Giants
(A fun reworking of the hit best known as an oldie by The Tokens.)
   7.  The Life Of Riley-The Lightning Seeds
(A catchy early '90s track with an early-to-mid '80s feel.  Also recommended: "Happy" and "Sense.")
   8.  It'll All Catch Up To You-The Shams
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   9.  Jazz From Hell-Frank Zappa (*)
 10.  Caseworks-Art Ensemble Of Chicago
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 11.  Whirly Girl-Oxo
(I remember this being played a lot for the brief time it was a hit but not after that.  It blended in easily with the catchy hooks played on top 40 stations in Spring 1983.)
 12.  Johnny B. Goode-The Chambers Brothers
(The Chambers Brothers also cover "Good Vibrations" by The Beach Boys, and it's worth seeking out.)
 13.  Machine Gun-The Commodores
(Interesting to hear the band's first hit, an instrumental that segues smoothly with Billy Preston's first hit, "Outa-Space.")
 14.  School Days (Live)-Stanley Clarke
(A great opening bass riff grabs the listener's ears and holds onto them for the tune's duration.)
 15.  I Can Make You Dance-Zapp
 16.  Rising Above Bedlam-Jah Wobble's Invaders Of The Heart
---
 17.  Almost Gold-Jesus & Mary Chain
 18.  Up Before Dawn-Orchestra JB
 19.  No Disguise-The Looserails
 20.  Morning Is The Long Way Home-Leo Kottke
(As usual, Kottke plays the guitar as though he has four hands.  Seek out the version on the "Ice Water" album.)
 21.  Days Like These-Janis Ian
(Thoughtfully sung lyrics about remembering what--and who--is really important, aided by moving piano accompaniment.)
 22.  Grey Victory-10,000 Maniacs
---
 23.  Paradise Cafe-Arcangels
 24.  Favorite Son-Ellen James Society
 25.  Simple Visions-Strawbs
(As I wrote in 2014, this is a core piece of "Amazing Grace" transformed into a song with poppier sensibilities.  This is my favorite track from the "Deep Cuts" album; "Charmer" and "Wasting My Time (Thinking Of You)" are also highlights.)
---
"Mellow Out" hour (Tracks 26-37; 4-5 a.m.) (During this semester, I used this hour to play softer, generally introspective tunes that would be underplayed or not played during the rest of the day.)
 26.  East River Drive-Grover Washington, Jr.
(Instant atmosphere, thanks to the saxophone...)
 27.  Neither One Of Us (Wants To Be The First To Say Goodbye)-Gladys Knight & The Pips
(I was always glad to hear this moving ballad on our former smooth jazz station, WSSM.)
 28.  Since I Fell For You-Bob James, David Sanborn & Al Jarreau
 29.  Promise (Beyond The Mountain)-Ottmar Liebert & Luna Negra
 30.  I Remember You-Marcus Roberts
(My invention of this "Mellow Out" hour was intended for tracks like this; outside of "Jazz Odyssey," you wouldn't ordinarily hear a subtle, sublime piano instrumental such as this.)
 31.  Dream Weaver-Gary Wright
 32.  Because It's There-Michael Hedges
(A captivating, ominous guitar instrumental, suitable for a science documentary.)
---
 33.  Since The Last Time-Lyle Lovett
 34.  Constant Craving-K.D. Lang
 35.  You're My Latest, My Greatest Inspiration-Teddy Pendergrass
 36.  Time Passages-Al Stewart
(This is an essentially perfect tune about feeling wistful and nostalgic.)
 37.  I'm Fine, How Are You?-Bob Baldwin
---
 38.  People Get Ready-The Persuasions
(Hearing this sung a cappella makes the lyrics sink in all the more.)
 39.  Sometimes-No Doubt
 40.  Shock The World-Tom Tom Club
 41.  Everything-Adrian Belew
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 42.  That's The Question-The Harper Brothers
 43.  Honey-The Jazz Butcher
 44.  Honeychild-Ghost Of An American Airman
 45.  Take It Easy On Me-A House
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 46.  Velouria-The Pixies
 47.  Teresa, Give Me That Knife-No Means No
 48.  Out Of Work-Gary U.S. Bonds
 49.  Mother Earth-Kool & The Gang
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 50.  Everybody's In The Park-Tiny Lights
 51.  Two Hangmen-Mason Proffit
(An anthem for anyone who is persecuted despite being on the humane side of an issue.  Also recommended: "It's All Right" and "Let Me Know Where You're Going.")
---

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

An Easter PSA that still works today

Easter 2016: A quartet of happy, low-maintenance rabbits and their Easter eggs.

A PSA read on KWK 106.5 FM, March 8, 1986: "Easter is just around the corner, and the Humane Society strongly urges everyone, do not buy those little baby chicks, ducks, or bunnies for Easter.  They might be kind of cute while they're babies, but they are unsuitable pets later on.  Make this year's bunny a chocolate one instead.  For more info, call us..."

I'm not sure what the DJ would have added if listeners called, as all of the necessary information is in the PSA.  Still, it's sound advice; hopefully, people are heeding it this Easter.

An atypical standout VII

John Gorka is one of the most consistent singer-songwriters from album to album.  If you like his songwriting, vocals, and guitar playing on one album, you'll almost certainly enjoy them on any other release of his.  One standout track that features an unusual arrangement, however, is "I Miss Everyone."  The tune is lighter in tone, sports a faster tempo, uses the guitar to punctuate the ends of certain sentences effectively, and has more of a country feel than most of his work.  Unlike a lot of artists whose lyrics would express regret for not staying in touch with people, Gorka finds a lighthearted way to convey that we sometimes don't or can't keep in touch with people as much as we'd like.  I've never heard "I Miss Everyone" on the radio, but despite its subject matter, it's a pick-me-up worth seeking out.

Context? XXIV

A brief portion of a traffic report on KMOX this morning: "...A report of geese on Interstate 44..."

You don't hear that every day.  Presumably, the geese weren't staging a demonstration; most likely, they just needed to get to a not-so-accessible destination.  Hopefully, they made it across the highway safely, and there were no auto collisions, as a result.

Persistent earworm alert LV

Walking past the bakery section of a grocery store triggered an earworm for me two days ago.  If you watched the sketch comedy show, "Exit 57," on Comedy Central, featuring Stephen Colbert as one of five performers, in 1995 or '96, you might remember it as the show's theme song.  Eileen Barton had the biggest hit with it in 1950, but "Exit 57" used a different, arguably catchier version of "If I Knew You Were Comin,' I'd've Baked A Cake."

Good luck getting that melody out of your mind now.

FM dial scan highlights LXXIX

Tuesday and Wednesday morning highlights:

KDHX 88.1 FM

• Stoned Soul Picnic-Laura Nyro (The 5th Dimension recorded a pleasant version of this, but it was a pleasure to hear Nyro, the song's composer, show off her strong vocal chops.)
• The Vegetables Are Singing-Adam Hucke (If this St. Louis artist's chorus and layered, Beach Boys-style vocals don't make you smile, I don't know what to tell you.)
• Careless-Sarah Harmer (A singer-songwriter whose music deserves more airplay; this 2010 track makes a solid companion piece with one of 2004's best songs, Harmer's "Almost.")

WSIE 88.7 FM

• Drown In My Own Tears-Johnnie Taylor (Heavily emotive blues.  Ray Charles recorded a stellar version of it, as well; surprisingly, though, it's not on his "Crying Time" LP, where it would have fit in perfectly with the album's concept.)
• Birdland-The Manhattan Transfer (Weather Report recorded the definitive instrumental version of the tune.  The Manhattan Transfer added vocals effectively.  Also recommended: The Carolbeth True Trio's piano-anchored instrumental cover.)

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

• Aldemaro Romero: Fuga con Pajarillo (Simon Bolivar Youth Orchestra Of Venezuela/Gustavo Dudamel, conductor) (A dynamic reading of a dramatic showcase for strings.)
  

Persistent earworm alert LIV

Since yesterday, a Talking Heads song, "Blind," has run through my mind.  Once the recurring horn riff enters my mind, it doesn't leave right away.  Throw in David Byrne's unconventional songwriting and vocals on top of that--Who else would improvise a lyric such as, "Got a face of stone and a ghostwritten biography," and make it sound natural?--and you've got a tune that just might push the memory of something more pressing aside.  Listeners will have to decide for themselves whether the tune's ominous cold ending is worth temporarily forgetting their social security numbers or where they put their keys.

Finishing the sentence XII

Here's another unfinished music-related sentence I wrote and some responses it received in April 1989:

In the Beatles classic, "Let It Be," Paul McCartney sings, "When I find myself in times of trouble, mother Mary comes to me, speaking words of wisdom, 'Let it be.'"  Other than "Let it be," these words of wisdom should be...

..."Stop the violence!" (Shawn R.)

..."Follow your heart.  Go with that feeling." (Sue A.)

..."Don't let drunks navigate oil tankers!!" (Nick K.)

..."Speak softly, and carry a small stick that turns into a bigger one." (Peter H.)

Humanity in the radio business?

If you've listened to the radio in any city for any length of time, you know that sudden format and personnel changes are common.  Once in a while, however, a broadcasting company shows its humanity.  When WMLL 104.1 FM, "The Mall," switched from an '80s/'90s format to lounge music and became WRDA, a.k.a. "Red at 104.1," in January 2004, I figured the station would hire all new announcers.  Logically, you wouldn't expect DJs who back announced Oingo Boingo's "Weird Science" to start introducing Frank Sinatra's "Zing! Went The Strings Of My Heart."  Surprisingly, however, the station retained the announcers from the previous format and gave them a chance to switch from Talk Talk to Tony Bennett.  Considering how vastly different those formats are, it impressed me that the station chose to bet on the people it already had while forging ahead with a very atypical FM format.

Now and then, you'll find humanity when you least expect it.

SiriusXM highlights LXII

Saturday night highlights:

'50s On 5

• It's All In The Game-Tommy Edwards (A smoothly crooned doo-wop favorite that I enjoyed playing on WEW; its arrangement is heavily of its time, but its lyrics hold up in any era.)

'60s On 6

• A Summer Song-Chad & Jeremy (A subtle, appealing breeze of a tune; radio stations with music-of-your-life formats still play it.  They should, as it's one of the most palatable folk-rock oldies.)

The Bridge

• Was A Sunny Day-Paul Simon (An enjoyable soft rock/reggae blend in this highlight from the album, "There Goes Rhymin' Simon."  Also recommended: "American Tune" and "Learn How To Fall.") 

Chill

• Slide (Instrumental)-Calvin Harris (A subtle, laid back dance groove that works as a prelude to Ray Parker, Jr.'s "For Those Who Like To Groove.")

Oldies Party

• Lies-The Knickerbockers (How do you craft a catchy garage band tune with a heavy early Beatles influence and an infectious hook?  Like this...)  
• Red Rubber Ball-The Cyrkle (One of the bounciest oldies with the right attitude about overcoming rejection.  Seek out Simon & Garfunkel's early live performance of this Simon-penned tune, not only for the song but for Garfunkel's humorous intro.) 

ONEderland

• In A Big Country-Big Country (I'd be curious to hear Men At Work cover this drum-propelled one-hit wonder from 1983.  Check avclub.com's archives for a spirited cover of this, complete with audience participation, by The Cheatahs.)

Outlaw Country

• My Little Town-Simon & Garfunkel (Outlaw Country isn't the right category for this 1975 Simon & Garfunkel hit about childhood memories and the decay of one's hometown.  Its bittersweet feel keeps it from being played on oldies radio stations today; that's unfortunate, as it's an appealing, well-constructed tune.) 
  

Siriusly Sinatra

• Georgia On My Mind-Louis Armstrong (There's no topping the way Ray Charles sings this, but Armstrong and his band deserve attention for the more upbeat way they pull this off...)
• They Can't Take That Away From Me-Margaret Whiting (...and Whiting's jaunty optimism in the vocals here make this a solid cover version, as well.  Good segue, SiriusXM...If I had known of this version during my WEW days, I would have played it on the air.)

Soul Town

• Good Morning Heartache-Diana Ross (I've praised Laura Fygi's breathy version of this before; that's the rendition that stays with me most often.  Ross, however, recorded a nice take on it that was a minor hit in 1973.)

Velvet

• City-Sara Bareilles (A strong voice paired with effectively used strings and electric guitar.)

Context? XXIII

"Thanks for the pity," the announcer on an Illinois college radio station said on-air Wednesday afternoon.  At first, I wondered what she meant.  Actually, she was thanking the one person--me--who was listening online then.  The DJ and her co-hosts were pleased when their show's listening audience soon increased to three and then eight.  She wondered if the show would top its record of 18 people listening online. 

Learning that 18 listeners was the show's record and that a California station playing good jazz was only attracting 25 online listeners that afternoon made me wonder how many people listened to my KCOU shows in the pre-Internet early '90s.  I used to believe that there was always an audience when I was on the air, even if only three people were listening.  After learning these online statistics, however, I'm convinced that, at least part of the time, I was only playing music for myself.

An unorthodox intro that works

You're a DJ on a noncommercial station who gets to choose your own music.  You're about to start a brassy funk tune.  Do you simply announce the title and artist?  No.  If you're truly into the tune you're about to play, you can take the approach one KDHX DJ did last week, and just say, "Alright, bring it."  With the right tune, it just works somehow.

Online radio sampler highlights LVI

Standout tunes heard today:

KCOU (Columbia, MO)

• The Rush-Treasureseason (A memorable soprano-voiced hook over an electronic backdrop.  The band's own "Blurred Edges" segues well with this track.)

KWMU-2 (St. Louis, MO)

• Weaver Of Dreams-Freddie Hubbard (A sublime, airy ballad picks up the tempo at the 2:18 mark, returns to its original tempo at 5:11, and stays there until the end.  Hubbard's trumpet runs shine in both tempos.)
• Blue Walk-Benny Golson (A smooth, midetmpo walk of a melody, with Golson's tenor sax in command.)

KZSC (Santa Cruz, CA)

• Ario-Dave Holland Quintet (An expansive piece for saxophone, with vibraphone that brings to mind the backing on the Stan Getz's "Grandfather's Waltz.")

WUMB (Boston, MA)

• Son Of A Gun-Shelby Lynne (Yet another appealing midtempo Lynne track, sung with her customary depth and feeling.)
• Sweet Jane-Cowboy Junkies (Subtle, quiet vocals from Margo Timmins propel one of the band's most memorable tunes.  Also recommended: "Angel Mine.")
• When You're Gone-Amanda Shires (An ear-catching uptempo powerpopish/countryish tune; the strategically used echo on Shires' voice gives the tune an appropriately spacey feel.)

Is it art? Maybe, but...

In the late '80s, I came home from an orchestra rehearsal not knowing what to think.  The piece we'd rehearsed that day was modern, enigmatic, and to my ears, a discordant mess.  In a fit of sarcasm, I opened a book of musical staff paper and started composing a piece I titled "Future Of Synthetics As Envisioned By A Midwestern Box Turtle."  The fact that I abandoned my effort after only a few measures made me respect the piece I'd played during rehearsal a little more.  After all, composing an orchestral piece with compelling themes for so many diverse instruments isn't easy.

Still, the modern piece we'd played struck me as the musical equivalent of two art exhibits I once saw.  One was titled "Dust Glued To The Wall," and the other was "The Lights Turning On And Off."  My reaction to both exhibits was the same; I thought, "Maybe these artists should be in advertising instead.  After all, if they can sell such simple, obvious concepts to a gullible public..."  I was tempted to think that the composer knew his piece didn't have much of a discernible, accessible melody and wouldn't go over well with most audiences.  However, after several rehearsals, I realized that the piece had more coherence than I'd heard initially.

Today, I wouldn't likely be so dismissive when playing or hearing a modern piece.  Respecting a piece of music, an exhibit, or a book, however, doesn't mean I'm obligated to enjoy it.

An overlooked cover tune XXVI

"Since I Fell For You" has proven its durability in multiple formats.  Lenny Welch had a big hit with his crooned-with-piano-and-strings rendition in late 1963 and early '64.  I used to play his version on WEW.  On KNJZ, the excellent, expanded Bob James/David Sanborn/Al Jarreau version made the playlist frequently.

There's another version of the tune, however, that deserves more recognition.  On her self-titled debut album from 1971, Bonnie Raitt's take on "Since I Fell For You" makes it sound as though she's musing to herself in a bluesy mode while jazz musicians accompany her.  There isn't the level of grit that her voice would later acquire, but her conviction is no less sincere than that of her later work.

Buddy Johnson composed an enduring tune in the '40s, and Raitt showed in the '70s that Johnson's lyrics hold up in any era.

In memory of cousin Jessi

A recurring theme of this blog is that time passes much too quickly.  Today's post exemplifies that in a very unfortunate way:

I'm still trying to process the sad news that my cousin, Jessi, passed away today.  Thirty-eight, in my view, is much too young of an age at which to pass. 

One memory keeps coming to mind.  It's 1985, and my parents, brother, grandmother, aunts, uncles, cousins, and I are having a get-together soon after Christmas.  All of the cousins are in the playroom at my parents' house, talking and listening to music.  Jessi is at the stereo, singing along with the 45 of Starship's "We Built This City."  At age seven, she already has a performer's ease and confidence, one that will manifest itself years later as the singer in a band.

I hope that wherever Jessi is now, she's able to recall that memory and smile.  I also hope that she's able to listen to, sing along with, and dance to any music she likes.

Bringing the muse to the masses

One aspect of being KCOU's jazz director that I miss is providing record labels with positive feedback about the music they sent us.  An example from 1992:

Record label rep: So, how are you liking Kenny Blake's new CD, "Rumor Has It...?"
Me: I think it's one of the strongest jazz CDs we're playing right now.  Blake's a smooth saxophonist, and his covers of standards like "Night Train" and "Satin Doll" are especially strong.  "Black Hat" is an interesting vocal track, as well.  Peter Morley's vocals remind me of Ben Sidran on that tune.  We're playing the CD a lot on our "Jazz Odyssey" show, five days a week.
Record label rep: Wow, so it's in heavy (rotation), then.  Is KCOU piped into the cafeterias at lunchtime?
Me: In some places, yes.  It's also used as the background for the cable channel listings on the Residence Hall Association's station.
Record label rep: Let's stir up some excitement for the album, then.  How about if I send you some cassettes to give away during the jazz show?
Me: Sure, that would be great...

The other jazz DJs and I gave away "Rumor Has It..." cassettes on the air soon after that.  That, in part, is one of the reasons I enjoyed KCOU so much.  It was a pleasure to play music that deserved airplay and might not have gotten it otherwise.  It was also satisfying to make listeners aware of a good artist's music and prompt them to buy it, when they might not have otherwise.

I meant what I said 25 years ago about Blake's "Rumor Has It..." CD.  Looking back, his music would have fit in well on our former St. Louis smooth jazz stations, KNJZ and WSSM.

Even when your radio station doesn't draw a ton of listeners, it's still a pleasure to know that you helped further a talented artist's career, at least in some small way.