FM dial scan highlights LXXXI

Five of the most appealing selections I've heard over the past two weeks:

KDHX 88.1 FM

• Our New Blood-Anders Parker (A promising look at the future; Parker's thoughtful vocals are set to a waltzing guitar and violin backdrop in this enjoyable acoustic number, released in April.)
• I Like To Hear It Sometimes-Ray Charles (Charles and his band sing and play these say-how-you-feel lyrics with their customary conviction and power.)

WSIE 88.7 FM

• My Flame-Bobby Caldwell (Caldwell expresses universal sentiments of longing in a smooth R&B groove.  Caldwell is best known to many listeners for his strong hit, "What You Won't Do For Love."  This slower, subtler track deserves its due, as well.)
• Summertime-Kenia (Check out Kenia's performance of this at The Zinc Bar on YouTube to hear her vocal prowess and the rhythm section's more-than-able support.)

 K297BI 107.3 FM, a.k.a. KNOU-HD2

• Chelsea-The 442s (Vigorously played strings, punctuated by whistling that brings to mind a segment of Neil Young's "Lotta Love," best known to many listeners through Nicolette Larson's version.  It was great to hear this quartet of two Erin Bode Group members and two St. Louis Symphony musicians during morning drive time.  Also strongly recommended: "Heston's.")
  

An atypical standout IX

When most listeners think of Kenny Loggins, hits such as "This Is It," "Footloose," and "Danger Zone" likely come to mind.  In 1991, however, Loggins released an atypically sobering tune, "The Real Thing."  In the song, he explains to his daughter why her mother and he decided to get divorced.  Loggins tackles such a difficult subject as bravely and sensitively as possible in a song, explaining that love has to be real, and it can't be compromised.  I haven't heard "The Real Thing" on the radio since the early '90s, but I've never forgotten how gracefully Loggins handled such painful subject matter.

In recognition of Memorial Day...

...I've listened to "For Absent Friends" by Genesis.  Phil Collins and Steve Hackett wrote the 1971 track on the "Nursery Cryme" album; it was the band's first tune on which Collins sang lead vocals.  It's a short, slice-of-life song about two widows taking time to remember their dearly departed spouses.  Although longer prog rock epics on the album tend to overshadow it for many listeners, "For Absent Friends" deserves to be heard, especially on Memorial Day.

Persistent earworm alert LXI

Do the horns make Adam Ant's "Goody Two Shoes" plant itself in the listener's mind for days, or is it the chorus, "Don't drink, don't smoke...What do you do?"  Actually, it's symbiotic.  It's nearly impossible to think of either element of that song without the other.  I've reached this conclusion after having the tune on my mind for two days. 

There it goes again--the memorable horn part and the hard-to-forget chorus.  It'll probably repeat itself in my mind for several more hours.  Not uncommon for an '80s hit...

"Let's sing a dirge as a chorus of bears..."

If you receive a bundled prize package from a radio station, you probably won't get equal use out of each item.  You might drink many beverages from a radio station coffee mug, wear a station t-shirt, or enjoy listening to a CD you've won.  When one of the prizes is something you didn't expect, however...

...In the early '90s, I won a bundle of prizes from a soft rock station.  Although I used most of them, there was one prize I could never bring myself to use.  It was a comedy improvisation board game.  Members of my family and I have enjoyed the talented improvisers' wit on "Whose Line Is It Anyway?" for years.  Still, I couldn't imagine asking them, "Say, how about playing a game in which we cackle like witches, quack like ducks, and pretend we're celebrities selling concessions at a baseball stadium?"

That just isn't us--and that's OK.  I think we'd all agree that dignity is a virtue.

Incidentally, this is my 1,000th post in as many days on musicandradiomusings.blogspot.com.  Thank you to everyone who has enjoyed anywhere from one to 1,000 of the posts I've written so far.

Stingray Music highlights XXXIX

Standout selections heard yesterday:

The Blues

• Guitar Duet Stomp-Jeff Healey (A fun romp, seemingly from a bygone era of fingerstyle guitar.)

Cool Jazz

• Wild Rose-Dianne Reeves featuring Esperanza Spalding (If I didn't know otherwise, I would have thought this was an R&B gem from the '70s.  Reeves also sings a solid cover of "Stormy Weather.")

Everything '80s

• Theme From "Chariots Of Fire"-Vangelis (My father mentioned recently how effectively the right theme music--and this theme, in particular--sets a scene.  He's right.  Decades later, the majestic, orchestral "Chariots Of Fire" theme has lost none of its scene-setting ability.)

Folk Roots

• Forever Mine-The Greencards (Endearing lead and harmony vocals and strong production values make me curious to hear more of this group's work.)

Jazz Masters

• Put On Your Old Grey Bonnet-Coleman Hawkins Quintet (It's easy to imagine a melody like this being played in a dimly lit, smoke-filled nightclub.  It would segue with the Norah Jones interpretation of Willie Nelson's "Crazy.")

Pop Classics

• J.S. Bach: Cello Suite No.1 in G major, BWV. 1007 (Janos Starker, cello) (You've almost certainly heard at least the prelude of this suite, in one form or another--performed by Yo-Yo Ma, perhaps, or by guitarist Steve Hackett in the Genesis tune, "Horizons."  This is yet another expressive reading of one of the most famous works ever composed for the cello.)

Retro R&B

• Things Get Better-Eddie Floyd (There are so many ways to tell someone you enjoy being with her; Floyd sets his commendable way of conveying this to a catchy backdrop of brass and an infectious rhythm section.) 

Silk (Love Songs)

• Piece Of My Heart-Beverley Knight (An impressively emotive cover of the Janis Joplin tune.)

SiriusXM highlights LXVII

Noteworthy tunes heard this morning:

Carolina Shag

• Workin' On A Groovy Thing-Patti Drew (An invitingly sung midtempo R&B gem that deserves more radio airplay.)

Escape

• Honey-Floyd Cramer (Cramer's piano arrangement is similar to the way I'd expect him to cover Glen Campbell's "Gentle On My Mind.")

On Broadway

• The Lees Of Old Virginia-"1776" soundtrack (If you've watched "1776" as a movie or seen it on stage, you know that Richard Henry Lee didn't lack confidence.  At Benjamin Franklin's urging, he proposed American independence to Congress.  In "1776," prior to securing the proposal, he sings about his certainty that he'll be able to get the job done.  My favorite section of the tune begins, "They say that God in Heaven is everybody's god...")

Real Jazz

• Blue Ammons-Gene Ammons (Cool keyboard underpinning propels this bouncy, not especially blue saxophone melody.)
• It Might As Well Be Spring-James Moody (Sublime, confident saxophone playing over impressive accompaniment.)

Siriusly Sinatra

• Willow Weep For Me-Louis Armstrong/Oscar Peterson (An effective pairing of sincere vocals with excellent piano accompaniment.) 

Soul Town

• I Heard It Through The Grapevine-Gladys Knight & The Pips (Emotive vocals in an arrangement with a great kick.)

Watercolors

• So Flute-St. Germain (A captivating extended flute-centered smooth jazz/dance instrumental.  If an equivalent of the SiriusXM Jam_On channel existed for jazz, this would likely be a core track.)

Persistent earworm alert LX

I can't be the only one whose mind works this way.

In recent days, when storm clouds have gathered, I've started hearing the Kenny Loggins tune, "Welcome To Heartlight," on a recurring loop in my mind.

I'm sure I'm not the only music fan of a certain age who starts paraphrasing the lyrics so they sound like, "I like the rain...I like the thunder," in such instances.

Stingray Music highlights XXXVIII

A sample of interesting tracks played on U-verse Monday and Tuesday morning:

Alt Country-Americana

• The Road To Ensenada-Lyle Lovett (Some of Lovett's most effective melancholy lyrics.)

Caribbean Vintage Vibes

• Land Of The Sea And Sun-Lord Jellicoe (A worthy cover version.  If you know this tune, you probably think of Harry Belafonte's version first; it's similar to such other standouts of his as "Don't Ever Love Me" and "Jamaica Farewell.")  

Cool Jazz

• Tell Me A Bedtime Story-Robert Glasper Experiment (Yet another good version of the Herbie Hancock tune; it's interesting to hear it with vocals that would have been at home on the R&B charts in the early '80s.  There's plenty of room in this incarnation for imaginative keyboard runs.  "Rhapsody And Blues" by The Crusaders would work well in front of any version I've heard of this.) 

Folk Roots

• Long Way From Home-The Waifs (Plaintive lyrics remind listeners that the past is always with us.  Other highlights from the band's "Ironbark" CD, released in March: "Higher Ground" and "Something's Coming.") 

Greatest Hits

• Cat's In The Cradle-Harry Chapin (One of the best-written songs about missed opportunities and the need to make time for one's family.) 
• I Hope You Dance-Lee Ann Womack (In a palatable blend of adult contemporary and country styles, Womack sings lyrics fit for a commencement address about not losing one's sense of wonder and making the most of opportunities.)

Rewind--'80s & '90s

• A Better Love-Londonbeat ("I've Been Thinking About You," the group's big hit, stands up as a pop and dance hit, but this subtler tune of theirs deserves its due.)

World Carnival

• Flight Of The Ancients-The Shaolin Afronauts (Despite its discordant ending, this is an interesting, brassy instrumental, with an early '70s movie soundtrack vibe.)

SiriusXM highlights LXVI

Standout tracks heard yesterday:

Classic Vinyl

• Hand Me Down World-The Guess Who (Although it might not hold up in the way the universal sentiments of "These Eyes" do, "Hand Me Down World" is a very 1970 sentiment expressed in a memorable chorus.  This is one of the band's better hits; unfortunately, radio stations sometimes overlook it.)

The Coffee House

• Don't Know Why (Live)-Norah Jones (Jones sings off the beat at times here, and it works.  If music-of-your-life radio stations are around 20 years from now, this tune should be a primary staple of any playlist.)

Escape

• You Send Me-Tony Mottola (I can't imagine anyone improving upon Sam Cooke's version of this, but Mottola pulls off a respectable guitar instrumental here, and the faster tempo works better than you might expect.)

Real Jazz

• Tell Me A Bedtime Story-Herbie Hancock (One of Hancock's most memorable melodies, with an effectively dreamy atmosphere.  Quincy Jones covers it effectively, as well.)

Siriusly Sinatra

• My Funny Valentine-Linda Ronstadt (Some pop artists start recording standards late in their careers when they haven't hit the charts for a while; it's not an advisable pursuit, however, for every artist, as not every voice is suited for Great American Songbook tunes.  Ronstadt, on the other hand, enhanced her long, respected career by doing so; her voice was a natural, emotive fit for "My Funny Valentine" and other standards.)

SiriusXMU

• Darling-Real Estate (One of 2017's more tuneful gems, so far.  A pleasant guitar melody and vocals that convey the softer, Kings Of Convenience-style side of power pop.) 

The Spectrum

• Waiting On The World To Change-Taj Mahal/Keb' Mo' (I've praised both of these artists previously on this blog, so it's a pleasure to hear their new release, "TajMo."  Bonnie Raitt's vocals blend well with theirs on this song about waiting for justice.)

Underground Garage

• Infinite Soul-The Grip Weeds (Guitar-heavy, energetic sing-along rock that deserves more radio airplay.)

That settles that, then?

A supervisor at one of my former workplaces once told me, "I don't like rap.  Rap is not music."

"Actually, it is music," I replied.  "As with any genre, though, some of it is bad music."

"No, rap is not music," she repeated.  "I decree it is not music."

I didn't argue any further but thought, "Talk about an 'ears of the beholder' format..."

Shortly after that exchange, I remembered a conversation I'd had in college with a noncommercial FM DJ.

"When I was going through the training process to become a DJ, someone passed out rap tapes at a music meeting," she said.  "At the time, I said, 'The day I own a rap tape is the day Hell freezes over,' and I really hurt someone's feelings."

She said that while rap didn't become her favorite type of music, she came to at least respect some of it, the more she listened to it.

I thought her open-minded change of heart was admirable.  I still think, however, that rap and country are probably two of the most divisive genres for a lot of listeners when determining what is and isn't music.

When was the last time...

...a TV show theme song had an appealing bluesy tint and was allowed to breathe?  This came to mind while watching a first season episode of NBC's "A Different World."  Phoebe Snow's vocals lay out the show's high school to college transition premise in no great hurry and allow for an instrumental interlude.  Today, a viewer is lucky to be given even a few notes to set the scene of any program.

Persistent earworm alert LIX

I have no idea why a song our vocal music class sang frequently in the early years of grade school would lodge itself in my mind tonight.  It did, though, and it's that paragon of subtlety and nuance, "Clap Your Hands Together."

Of course, I'm being sarcastic about the tune's subtlety and nuance.  If you also sang it in grade school, you know the tune.  Everything's right there on the surface.  Kids sing about clapping their hands together, throw in some "la, la, la, la, la, la, la"s, and that's it.  They learn to clap along in rhythm--and recall the tune as an earworm four decades later.

Wish I hadn't heard that

Years ago, I was listening to an album rock station.  A caller told the DJ he was fed up with his job and was going to tell off the boss.  The station didn't air the confrontation, but not surprisingly, after giving his boss a piece of his mind, the caller was fired.  To add insult to injury, his wife called the station and told the DJ, "You tell him that if he has lost his job, he has also lost his wife."  The DJ was clearly uncomfortable when the caller who'd just been fired got back on the line, and told him, "Well, buddy, I'm sorry; clearly, this has been a really bad day for you..."

Although that listener chose to call the station of his own free will, I remember thinking, "Why was any of this being aired?  I don't want to hear someone's life unravel on the air.  What am I supposed to take from this?  Am I supposed to think, 'At least, I'm not that person?'"

"It sucks to be you" is not my idea--and shouldn't be anyone's idea--of entertainment.  To the station's credit, I've never heard them air any segment like that again.

A prize that keeps on giving

So often, radio station contests award cash, vacations, or concert tickets to the listener who calls in first, fifth, or tenth or calls in with the correct answer to a trivia question.  It was refreshing, in the mid '80s, to hear WLS in Chicago award something different--a college education.  "Think about what you could do, what you could be," the announcer said in a promo.  Entrants were required to write an essay about why they wanted to attend Roosevelt University. 

I hope the winner of that contest made good use of his or her college education and that it was a springboard to a fulfilling career.  It's impressive to hear a radio station offer a prize that goes beyond instant gratification and, if used wisely, provides dividends for a listener's future.

Online radio sampler highlights LVIII

Recent ear-catching tracks:

KWMU-2 (St. Louis, MO)

• Mambo Bounce-Sonny Rollins (A hip tenor sax melody that would serve traditional jazz and easy listening playlists well; although it might be a stretch for some listeners, it could segue with Percy Faith and his orchestra's "Go-Go-Po-Go.")

WREK (Atlanta, GA)

• The Day The Crickets Listened-Amongst Myselves (A spacey, ambient instrumental with shades of Tangerine Dream.)

WTUL (New Orleans, LA)

• Until You Find Your Green-The Baird Sisters (A sustained new age acoustic guitar melody, enhanced by quiet vocals and bird sounds.)

WXPN (Philadelphia, PA)

• Going Home-Liset Alea (A compelling highlight of Tuesday's "Echoes" program; Alea's breathy vocals and guitar convey the feeling of returning to a favorite place and time that you can only visit in your memory.  Also recommended: "Serenade For Dogs And Mermaids.")
• Familiar Orbits-Nathan Speir (A pleasant piano melody; space ranks second only to nature in its influence on new age music.)

SiriusXM highlights LXV

Standout tunes heard yesterday morning:

The Bridge

• Finding Home-Tim Grimm And The Family Band (A moving acoustic number, with appropriately sensitive instrumentation and vocals.  I'd be curious to hear Peter Mulvey or Ellis Paul sing this.)

Classic Vinyl

• Spirit In The Sky-Norman Greenbaum (Few songs about transitioning into the afterlife have a melody this catchy.  Oldies radio stations still play this, as a result.)

Enlighten

• When They Ring Those Golden Bells-Kim Collingsworth (A lush piano arrangement; Collingsworth's interpretation on the piano includes many sweeping flourishes.  It could segue with Ferrante & Teicher's rendition of "Shenandoah.")

Soul Town

• Knock On Wood-Eddie Floyd (It's no surprise that this is one of the most frequently played R&B oldies.  After all, you don't forget a hook that grabs you from the first note.  In addition, the tune is a perfect marriage of brassy instrumentation and powerful vocals.  It segues smoothly with Wilson Pickett's "In The Midnight Hour.")

The Spectrum

• Want You Back-Haim (Although not quite on the same tier lyrically as the band's previous standouts, "Forever," "Falling," and "The Wire," it's a pleasure to hear new, catchy vocal harmonies from these three sisters.  This single is from their "Something To Tell You" release, due out July 7.)

Tom Petty Radio

• Alone Again Or-Love (One of the most appealing, spirited odes to loneliness ever recorded and ideal for its era, the late '60s.  Calexico and UFO recorded strong covers of it.)

Watercolors

• Under The Sun-Michael Franks (An inviting tune about the appeal of getting away from it all.)

Stingray Music highlights XXXVII

Standout selections heard yesterday:

Adult Alternative

• All For You-Fairground Saints (A midtempo acoustic charmer with an appealing blend of voices.)

Chamber Music

• Robert Schumann: Gesange der Fruhe, Op. 133: IV. Bewegt (Mitsuko Uchida, piano) (A lyrical and delicate yet forceful performance.)

Cocktail Lounge 

• Handicraft-Charly Antolini (An energetic workout for brass, organ, and rhythm section; it reminds me of The Electric Flag's "Soul Searchin'," a similar tune that I used to play on KCOU.)

Folk Roots

• The Warmth Of Other Suns-Spuyten Duyvil (The tune would segue well with The Band's "The Weight" or Watkins Family Hour's cover of the Grateful Dead's "Brokedown Palace.") 

Indie Classics

• Summertime-The Sundays (I'm not sure any Sundays tune could top "Here's Where The Story Ends," other strong tracks from the "Reading, Writing, And Arithmetic" album, or their cover of "Wild Horses."  Nevertheless, this was a pleasant return to form for Harriet Wheeler's distinctive voice with a laid-back hook that received radio airplay in 1997.) 

Jazz Now

• In The Slow Lane-Kenny Barron Trio (This elegant piano-anchored number proceeds appealingly in its own good time.)

Revival--'60s & '70s

• The First Cut Is The Deepest-Cat Stevens (Many listeners will recognize Sheryl Crow's strong cover of this Stevens tune.  It was a pleasure to hear Stevens sing this cathartic tune himself, as his own version isn't usually played on the radio.)

"Ye shall know me by the puns I speak..."

Years ago, at a previous job, a co-worker with a penchant for puns had a side job as a radio announcer for basketball games.  He invited all of us to tune in at work.  None of us had heard him on the radio before.  A co-worker turned on the radio, heard a voice calling a game, and asked, "Is that him?"  His radio announcing voice was slightly different than his everyday speaking voice.  When a player with the last name of Bone flubbed a play, he asked on the air, "Would that be a bonehead play?"  As soon as he said that, those of us listening in the office said, almost in unison, "Yep, that's him."  It still amuses me that it was our co-worker's use of a pun, rather than his voice, that made all of us recognize him.

SiriusXM highlights LXIV

Noteworthy retro selections heard yesterday:

'60s On 6

• My Cherie Amour-Stevie Wonder (Not just anyone can write and sing universal sentiments in a unique way that stands the test of time.  Wonder has accomplished this since the '60s.)

Classic Vinyl

• Rock & Roll Woman-Buffalo Springfield (The vocal harmonies match the guitar line effectively in one of the band's best songs.)

The Loft

• Summertime (Exclusive)-Melody Gardot (Gardot's rich, throwback voice is an ideal fit for this Gershwin tune.)
• I'll Fly Away-Alison Krauss & Gillian Welch (This is a perfect blend of two voices; it's the reason I've listened to their version of this well-covered standard more than any other.)

Love

• You're The Love-Seals & Crofts (This isn't usually played on the radio these days, and that's a shame; it's as accessible and easy on the ears as many of their other hits.)

Siriusly Sinatra

• Fly Me To The Moon-Ella Fitzgerald (Fitzgerald doesn't rush the melody, and it serves the tune well.) 

Soul Town

• Games People Play-The Spinners (Three voices in distinctly different ranges carry off one of the band's best-structured and best-written hits.)

Stingray Music highlights XXXVI

Standout selections heard on U-verse yesterday:

Canadian Indie

• When You Once Were Wild-The Young Novelists (The piano part brings England Dan & John Ford Coley to mind.  The vocals are more contemporary.  Overall, the tune has a thoughtful vibe.)
• Wondering-Beyries (Sensitively written, played, and sung; I look forward to hearing more of her music.)

Classic R&B And Soul

• The Dap (Part 2)-Porgy Jones (This instrumental could segue with "The Horse" by Cliff Nobles & Co.)

Cool Jazz

• I Can't Help It-Esperanza Spalding (See my positive review of this tune in my previous post, "An overlooked cover tune XXVII.")

Folk Roots

• Once In A Very Blue Moon (Live)-Nanci Griffith (Some of Griffith's most endearing vocals, enhanced by the intimacy of the concert setting.  When looking for CDs years ago, the person I was shopping with thrust Griffith's "One Fair Summer Evening" into my hands and said, "Get it!"  Her insistence was justified.  Also recommended: Griffith's live version of "More Than A Whisper.") 

Jazz Masters

• Impossible-The Hi-Los (Impressive vocals from an era in which harmony and precision were prerequisites for vocal groups.)
• Don't Blame Me-Yusef Lateef (An elegant, well-produced saxophone number.)

Jazz Now

• How Deep Is The Ocean-Bob James & Nathan East (A well-known melody that's this thoughtful deserves this type of graceful reading on the piano and bass.  Also recommended: "Waltz For Judy" and, basically, the rest of this duo's "The New Cool" release.)

KCOU playlist flashback: Jazz Odyssey--5/10/93

The music I chose for my last 11 a.m.-1 p.m. "Jazz Odyssey" show before graduating from college:

   1.  When Will The Blues Leave-Kenny Kirkland
(The brisk intro draws the listener right in.  Kirkland lets the brass and winds carry the tune, at first; then, he takes the melody and flies with it on the piano.)
   2.  Solar-Renee Rosnes Trio with strings
(An excellent cover of the Miles Davis tune; Rosnes transfers the trumpet line to the piano and speeds up the tune's tempo.  Also recommended: Rosnes and company's outstanding versions of "Misty" and "I've Got You Under My Skin.")
   3.  Like A Lover-Gene Harris Quartet
(An enjoyable, uptempo title track from a strong CD.  I hear elements of Vince Guaraldi in the piano and guitar parts.  Also recommended: "Strollin'.")
   4.  To See Her Face-Bobby Watson
   5.  Passion Dance-McCoy Tyner Big Band
---
   6.  I'll Remember April-Earl Klugh Trio
 (This is a more a traditional jazz sound than usual for Klugh.  His approach to the guitar here gives me an idea of how me might cover the tune, "Brazil.")
   7.  Early Spring-Alphonse Mouzon
   8.  Groovin'-Ryan Kisor
   9.  Strollin' With Pam-Phil Woods Quartet
---
 10.  All The Things You Are-Ahmad Jamal
 11.  Phases-Cannonball Adderley
 12.  The Long Two-Four-Pepper Adams
 13.  L's Bop-Various Artists; The Griffith Park Collection (Stanley Clarke, Chick Corea, Joe Henderson, Freddie Hubbard, Lenny White)
---
 14.  Blues (Untitled)-Chucho Valdes
(Despite its title, this is actually an upbeat tune, with an engaging steppin'-out-on-the-town feel in its piano line.)
 15.  Sweet 'N' Sour-Art Blakey
 16.  Milenberg Joys-Dirty Dozen Brass Band
 17.  I'll Be Seeing You-Holly Cole Trio
 18.  Nice Work If You Can Get It-Edythe Wright with Tommy Dorsey & The Clambake Seven
(George Gershwin's sentiments in this tune's chorus sum up the enjoyment I had in working at KCOU.  The station offered a great, wide range of music, interesting people, and a chance to program radio shows that reflect my own sensibility.  That's truly nice work if you can get it.)
 19.  Arise And Shine-Vanessa Rubin
---
 20.  Way Back Home-The Crusaders
(I still think this was a strong final note on which to depart from "Jazz Odyssey" and my stint as KCOU's jazz director.)
---

--- indicates a station break between songs.

No shortage of orchestral stories

I've written many times on this blog about my middle and high school orchestra director, Mr. D., who was never at a loss for words.  One day, I told him as such.

"You sure have a lot of stories," I said.

"I've got a million of 'em," he replied.

And, so he did...So do most band, orchestra, and chorus directors, I'd imagine.  Sometimes, they'll bring up those stories at the oddest times.  I guess that shouldn't be too surprising, though.  As one of my blog readers says, "Hearing all those wrong notes must do horrible things to a person."

Online radio sampler highlights LVII

Five standout tracks heard today:

KKJZ (Long Beach, CA)

• I Can't Give You Anything But Love-Oscar Peterson (Peterson is known for his excellent command of the piano, so it's an interesting change of pace to hear him sing this.  Also recommended: Peterson's instrumental rendition of "I Can't Give You..." on the compilation, "The Complete Songbooks:1951-1955.")

KZSC (Santa Cruz, CA)

• Rotten Decay-BadBadNotGood (Don't let the title turn you off.  This piano instrumental is ideal for days when you're in a melancholy mood and your thoughts are muddled.)

WFUV (Bronx, NY)

• Missing-Everything But The Girl (Haunting, effective lyrics about missing someone.  I also recommend the Ultramarine remix of "Missing.")
• Patient Zero-Aimee Mann (Well-written lyrics that I gather are about being in the early stages of one's career and having a cautiously optimistic outlook.)

WXOU (Auburn Hills, MI)

• Right On-Marvin Gaye (The "What's Going On" album's most-played radio tracks, "Mercy Mercy Me" and the title track, often eclipse this track.  "Right On" deserves its due; it acknowledges the world's unfairness while offering a more hopeful outlook than "Inner City Blues."  It also sports some impressive, perfect-for-their-era piano, flute, and string parts.)

Only in college XXXI

I once saw a play in college.  I've forgotten the name of it, but I remember thinking, "If I wanted to convince someone who had never seen a play before to go see one, I wouldn't recommend this one."  It wasn't the actors' fault.  They did the best they could with the material.  The flaws were in the writing--and one other aspect.

Early in the play, one of the cast members turned to the audience unexpectedly and sang, "They have no money.  They have no food.  How can they be blamed?"

I thought, "This isn't a musical.  Why was that sung?"  The actors continued to sing lines at odd, sporadic intervals throughout the play.

A few days later, I talked with a DJ I knew, who was one of the cast members.

"No one wanted to do the singing," she told me.  She explained that the play wasn't written that way, but the director wanted the actors to punctuate specific lines by singing them.  She told me that one night, an audience member, upon seeing an actress about to start singing, exclaimed, "Oh, not again!"  The actress struggled to stifle her laughter while singing.  I don't blame her.

An atypical standout VIII

If asked to name an Eric Clapton tune, most listeners would likely mention a hit such as "Layla," "After Midnight," or "Tears In Heaven."  Typically, people associate Clapton with hot guitar licks, powerful, bluesy vocals, or the softer vocals of his ballads. 

There's an atypical tune of his, however, that also warrants attention.  "Reptile" is a pleasant, laid-back guitar instrumental that our former St. Louis smooth jazz station, WSSM, used to play.  Its memorable melody perks along unobtrusively, and if you didn't know otherwise, you probably wouldn't guess it was Clapton.  It is, though, and it's a shame it isn't usually played on the radio today.  Also recommended: Clapton's "Son & Sylvia."

Persistent earworm alert LVIII

It puzzles me that ELO's "Twilight" wasn't a bigger hit in 1981.  The characteristics of big ELO hits--a memorable chorus, grand orchestral backing, and spacey backing vocals--are all present, and it's one of ELO's most energetic hits.  The prologue to it on the "Time" album dates it now, but I'm puzzled that "Twilight" wasn't more popular in its time.  It's a welcome tune to have in my mind tonight.

An overlooked cover tune XXVIII

Although I'm not a huge Journey fan, I'll admit that "Who's Crying Now" stands up as one of the band's stronger hits.  Although I've only heard Randy Crawford's rendition of it on the radio once, her strong, emotive vocals made me consider the song in a new light.  Prior to hearing her cover of it, it never dawned on me that "Who's Crying Now" would make a credible jazz tune, but Crawford's powerful interpretation shows it does.

An overlooked cover tune XXVII

A while back, a blog reader advised me to check out the "Nights In Brazil" album by Judy Roberts, a vocalist whose music deserves more attention.  I listened to the album tonight and was impressed by its general consistency and, among other tracks, her cover of "I Can't Help It."  "I Can't Help It," which Stevie Wonder and Susaye Greene co-wrote for Michael Jackson, is one of the highlights of Jackson's "Off The Wall" album.  Roberts sings the verses with a breezy ease while giving the chorus an added punch.  Once you've heard it, listen to Esperanza Spalding's especially powerful rendition.  Spalding sings and plays it on the bass with conviction that should win over any listener of taste.

Staying safe during a flood

John Gorka's "Out Of The Valley" keeps coming to mind when I read and hear about recent flooding and the likelihood of more rain on Wednesday and Thursday.  Here's hoping that everyone who needs to get out of the valley is able to do so and stay safe.

Only in college XXX

In looking at my KCOU playlist for the 2-6 a.m. shift on May 1, 1992, I see that I chose to mix two seemingly disparate tracks together.  I'd forgotten that I'd played Shel Silverstein reading his poem, "The Peace Proposal," over an excerpt from the University Of Colorado Wind Ensemble's rendition of Igor Stravinsky's "Symphonies Of Wind Instruments."  Looking back, I think I see why I did that.  Stravinsky's piece underscores the turbulence of going to war.  I'm pretty sure that's what I intended.  That, or it was just such a novelty to have a Classical CD in the KCOU library that I was determined to find a way to use it...On a college radio station, in the middle of the night, either rationale could enter just about any DJ's mind.