Online radio sampler highlights LXIV (Halloween edition)

With all due respect to Sting, you haven't heard the most gripping incarnation of "Moon Over Bourbon Street" until you've heard these three witch cats sing it.  Their balalaika accompaniment is also a key ingredient.

Six selections heard today whose titles, at least, relate to Halloween:

KWMU-3 (St. Louis, MO)

• William Bolcom: "Graceful Ghost" Rag (Paul Jacobs, piano) (Although ragtime classifies the piece's genre accurately, midtempo contemplative swing is just as accurate.  The production is appropriately airy for a ghost-themed composition.)
• Rudolf Friml: The Devil's Joke (Stephanie Chase, violin) (This piece demands considerable dexterity and precision from a violinist.  I'm no fan of the devil, but if he wanted to defeat Johnny in that Charlie Daniels-narrated "Devil Went Down To Georgia" fiddle playoff, he should have mastered this piece.)

WUMB (Boston, MA)

• Ghost Town-Dispatch (In case you were wondering, this isn't a cover of the Halloween-appropriate tune by The Specials.  It is, however, an effective, matter-of-fact look at a town whose businesses are mostly shuttered.)

WXPN (Philadelphia, PA)

• Ghost Writer-Garland Jeffreys (Not just any artist could sing about this profession and make it sound this appealing.  The organ intro gives the tune instant atmosphere.)
• Bury My Lovely-October Project (Weighty lyrics demand an epic vocalist, and Mary Fahl's grandiose alto is perfect here.)
• Haunt You-Mesa Jane (When wondering if you're on the right path in life, who doesn't feel like this, at least part of the time?  A steady dance groove underpins compelling vocals and accessible lyrics about second-guessing yourself.)

Wobbling the pitch sparingly

With stringed orchestral instruments, I've always thought of vibrato as a pinch of salt you add to a dish.  Typically, you don't pour a full shaker of salt onto your food; you might, however, season it sparingly with a little salt.  The same should be true of vibrato.  When it's appropriate to give a passage added warmth, wobble the pitch as needed.  If you use vibrato on every note, however, the effect is compromised, and it might look like you're showing off.

After reading about how vibrato used to be perceived in David Byrne's impressive book, How Music Works, I felt vindicated about using it sparingly on the upright bass.

FM dial scan highlights LXXXVIII

Wednesday through Sunday standouts:

KDHX 88.1 FM

• The Raven-The Flat Five (Edgar Allan Poe's famous poem, set to a Lambert, Hendricks & Ross-style vocal arrangement, with bass and drums. Credit to Dr. Jeff, host of "The Big Bang," for selecting this seasonally appropriate track and the next two songs.)
• The Kind Of Love We're In-Freedy Johnston (The tune's structure and arrangement brought Ambrosia to mind as I listened.  Also, it's not immediately obvious, but does the way Johnston sings the chorus remind anyone besides me of the "I just know we'll have a good time" section of Janet Jackson's "Runaway?")
• Paradiso Twist-The Kaisers (To me, this surf instrumental sounds like The Ventures with a hint of the early Beatles tune, "I Saw Her Standing There.")

WSIE 88.7 FM

• Moonlight In Vermont-Chet Baker (Sublime trumpet, with a moving piano interlude.)
• If I Tell You I Love You-Melody Gardot (If there's room for a song in film noir, this could work.  Gardot's assured, wise-beyond-her-years vocals somehow soften the blow of rejection.)
• Steppin' Out-Jeanette Harris featuring Tm Watson (A steadily energetic saxophone-and-bass groove, ideal for morning drive on smooth jazz stations.)

KSHE 94.7 FM

• Empty Pages-Traffic (Some of Steve Winwood's most appealing vocals, augmented by the keyboard's bounce.)
• Autumn/The Winter Long-Strawbs (Thoughtful ruminations on the transitions between seasons.  It's a shame album rock stations don't play songs like this more often.) 

W279AQ 103.7 FM, a.k.a. KLOU-HD2

• Sweep Around-The Williams Brothers (If you prefer to hear these sentiments in a gentler, less direct way, listen to The Mills Brothers sing "Brighten The Corner Where You Are.")

Breaking format on Halloween

I remember tuning into big band/jazz/oldies station WEW on Halloween 1996 and hearing the swingin' sound of...Alice Cooper.  In the spirit of the holiday, the DJ was playing Cooper's "Welcome To My Nightmare."  Earlier that day, the morning host had turned the first hour of his shift over to his "vampire brother who somehow got into the studio." (Actually, it was the host himself, assuming the role of a vampire.)

If I'd been on the air then, I probably would have done something subtler to mark the holiday, such as playing Martin Denny's "Quiet Village" and Bob McFadden & Dor's "Mummy."  Looking back, though, I say, Good for those two DJs...Why not?  It's once a year, after all.

"Company's here! There's the interval!"

When the doorbell rang years ago, it hit home just how fully into music I was.  Most people, upon hearing a doorbell, would look to see who was at the door or open the door.  I opened the door, but before I did, I said, "Those doorbell notes are a perfect fifth interval."

Who does that?

SiriusXM highlights LXXVII

Standout selections heard this morning:

'70s On 7

• Right Down The Line-Gerry Rafferty (Another way of conveying the sentiments expressed in Jim Croce's "I'll Have To Say I Love You In  A Song."  As much as I've always liked Rafferty's "Baker Street" and "Get It Right Next Time," this, to me, is Rafferty's best song, by a nose.)

The Coffee House

• Stay (I Missed You)-Lisa Loeb (I've always liked the honesty and vulnerability with which Loeb sings this.  Her new release of covers, "Lullaby Girl," is also recommended; her rendition of "Dream A Little Dream" is a highlight.)

Escape

• Who Can I Turn To?-Beegie Adair (An elegant piano cover, fit for a traditional jazz station.  I also recommend Nancy Wilson's vocal rendition.)

The Loft

• Second Nature-Neil Finn (A highlight of the Crowded House singer's latest release, "Out Of Silence."  A well-put-together arrangement of lead and backing vocals, keyboard, and strings coalesces effectively in this tale of a match between a man and woman that probably should happen but won't.)  

Margaritaville

• Pata Pata-Miriam Makeba (A well-known, much-covered dance number with strategically placed spoken word interludes about the dance.  A dance this joyous should have a difficult time wearing out its welcome.)
• You Can Get It If You Really Want-Jimmy Cliff (One of Cliff's best-known recordings, for good reason; it's a sunny, singable tribute to what one can achieve through hard work and perseverance.)

Real Jazz

• It's Only A Paper Moon-Marcus Roberts Trio (With solid, well-covered material like this, the trio is already halfway home.  In a configuration of piano, bass, and drums, it's impressive and unusual to hear the bass carry the melody.)
• Satin Doll-Ray Bryant (It's impressive to hear a piano take the place of a big band in this Duke Ellington classic.  I hear elements of "Let It Snow, Let It Snow, Let It Snow" in this rendition.)
• When I Fall In Love-Chucho Valdes (In most renditions, this is a sensitively sung ballad.  Valdes, however, shows that it also works as a brisk piano instrumental.)

Soul Town

• For Once In My Life-Stevie Wonder (One of Wonder's best early hits; it expresses the exuberance virtually anyone would feel upon finding the one for whom they've searched.)
• Hello Stranger-Barbara Lewis (Sultry vocals and one of the best uses of "shoo-bop, shoo-bop"s in a pop song.  Yvonne Elliman also sings it well.) 

Symphony Hall

• J.S. Bach: Lute Suite in C minor, BWV 997 (Ricardo Gallen, guitar) (Gallen pulls off the uptempo yet somber aspects of the suite with aplomb.)

Watercolors

• Mt. Airy Road-George Benson & Earl Klugh (It's puzzling that former smooth jazz radio stations here didn't have this immediately accessible, uptempo guitar track in heavy rotation.)

In memory of Fats Domino

In memory of Fats Domino, who passed away yesterday at 89, here are five of his best songs, in my opinion:

• Blueberry Hill (If you watched "Happy Days" for any length of time, you heard this.  It contains one of the most memorable piano intros and one of the most memorable hooks of any '50s recording.  It's not surprising this was Domino's biggest hit.)
• I'm Walkin' (Another Domino hit that some listeners might have encountered through "Happy Days."  It's possibly his catchiest uptempo hit, with a hook that grabs the listener right from the beginning.)
• It Keeps Rainin' (I don't hear this played anywhere today, but it conveys universal sentiments about the sadness of romantic rejection effectively.)
• Jingle Bells (The song isn't one of my favorite Christmas tunes, but Domino recorded one of the best renditions.  He rocks the rhythm on the piano and vocals, giving the tune a boogie woogie feel.)
• Walking To New Orleans (Possibly Domino's best song.  Other artists sing about climbing the highest mountain or swimming the deepest ocean, and you know they're only speaking metaphorically.  Domino sings this so convincingly, it's easy to believe he's actually heading to New Orleans on foot.)

Stingray Music highlights XLVIII

An eclectic array of compelling tunes I heard on U-verse this morning:

Big Band

• Don't Get Around Much Anymore-Duke Ellington Orchestra (If this stately Ellington number isn't on the ballroom's dance playlist, the playlist is incomplete.  My high school jazz band played this; even though I was a bassist who didn't get to play the melody, I was honored to provide the rhythmic underpinning of such a renowned classic.)

The Chill Lounge

• Polarnacht-Palfinger (A hypnotic, swampy-sounding instrumental, recorded with the subtle ambience of crackling vinyl.)

Classic R&B And Soul 

• It's My Thing-Marva Whitney (This record was released in 1969, but I'd never heard this James Brown vocalist's clever response to "It's Your Thing" by The Isley Brothers until today.  Whitney uses "It's Your Thing"'s template to state her case without hesitation.)

Gospel

• I'll Be The One-Bri (Briana Babineaux) (A convincingly sung proclamation of volunteerism for a noble mission.) 

Holiday Hits

• The Raven-Alan Parsons Project (A raven's caw opens this spooky 1976 blend of electronically altered vocals, powerful instrumental crescendos, and a recurring fanfare that reminds me of Joe Walsh's "Life's Been Good," released two years later.)

Jazz Now

• My Ship-New West Guitar Group featuring Peter Eldridge (Charlie Watts and Bernard Fowler recorded the definitive version, in my opinion, but this is a jauntier arrangement with pleasant guitar and vocals.  I can imagine Livingston Taylor and Kenny Rankin approaching the song similarly.)

The Spa

• Saturday-Zanaelle (This plaintive piano instrumental could pass for a soap opera theme.)

A defiant right-handed lefty

When I played the upright bass, my strongest assets were my intonation and rhythm.  In the eyes of some judges, however, my left hand position on the bass left something to be desired.  I usually didn't curve my left hand properly on the bass because it was uncomfortable.  Because I played in tune and in time, however, I never understood why it mattered.  One judge at a solo/ensemble festival in high school noted his dislike of my left hand position three times.  On the evaluation sheet, he wrote, "Your left hand position is bad," and "The next time you go to a professional symphony concert, watch the left hand position of every player, and copy it!"  Even when praising my intonation, he couldn't resist slamming my left hand.  "Considering the way you hold your left hand, your intonation is quite good," he wrote.

Reading that qualified compliment taught me what a left-handed compliment was.  Nevertheless, my left hand remained defiant, as I continued to play in tune and in time.

SiriusXM highlights LXXVI

Noteworthy songs heard this morning:

The Coffee House

• You Really Got A Hold On Me-She & Him (An effective cover of the Smokey Robinson & The Miracles doo-wop number.  The seemingly-recorded-in-a-tunnel echo on the vocals captures the intimacy of the lyrics convincingly.)

Escape

• Dancing On The Ceiling-Jack Jezzro (A bouncy acoustic guitar rendering of the Rodgers & Hart tune.  If you like the way Earl Klugh covers "It's Only A Paper Moon," "If I Only Had A Brain," and "You Make Me Feel So Young," Jezzro's take on "Dancing..." should satisfy you, as well.)

Kirk Franklin's Praise

• I've Seen Him Work-Anita Wilson (A powerfully sung case for trusting that God won't abandon you.  I hear elements of Joe Sample, the Luther Vandross hit, "Stop To Love," and '80s power chords in the instrumental accompaniment.)

The Loft

• Movies-Hothouse Flowers (One of the more semi-lighthearted singer-songwriter gems on the band's strong album, "Home."  Not just any tune advises you to "find a friend in a film."  Also recommended from the album: "Christchurch Bells," "Dance To The Storm," "Give It Up," and the cover of "I Can See Clearly Now.")

Real Jazz

• Cry Me A River-Jim Rotondi (The longest, most reassuring version of "Cry..." I've heard; Renato Chicco's organ playing and Rotondi's trumpet runs mute the sorrow you hear in other versions, such as Ella Fitzgerald's, of this much-covered song.)
• Maiden Voyage/Everything In Its Right Place-Robert Glasper (On Tuesday, I wrote about how seamlessly Kerri Anderson wove Bob Dylan and Blue Oyster Cult together in her cover, "All Along The Watchtower (Don't Fear The Reaper.)"  I never would have imagined anyone pairing Herbie Hancock's jazz landmark, "Maiden Voyage," with Radiohead's "Everything In Its Right Place."  Hearing Glasper's excellent traditional jazz piano rendition shows the common ground between two seemingly disparate tunes.  When I take notes on appealing SiriusXM, Stingray Music, FM dial scan highlights, and Online radio sampler highlights contenders, I write, "BLOG?" in the margin by selections I'm most likely to cite here.  Hearing the intro of "Maiden Voyage..." made me, in a rare occurrence, write "BLOG," without a question mark next to it.)

XL Backspin

• Tennessee-Arrested Development (Why do bad things happen to good people?  Why do some of the same good people get hit with tragedies repeatedly?  "Tennessee" addresses these injustices directly by asking the hard questions.)

Stingray Music highlights XLVII

Ear-catching tunes heard this morning:

Classic R&B And Soul

• Atlantic Avenue-Average White Band (I've owned this tune on vinyl for decades and thought since childhood that it should be a hit, but this was the first time I'd ever heard anyone else play it.  Vocally and instrumentally, the tune justifies the appeal of what many listeners would consider an enjoyable getaway locale.  If I were programming a smooth jazz station, "Atlantic Avenue" would be in the rotation.)
• I'll Never Love This Way Again-Dionne Warwick (Throughout her entire career, Warwick has been an engaging vocalist.  Although many listeners gravitate toward the soaring, leave-nothing-on-the-table emoting of Whitney Houston on "I Will Always Love You," Warwick's subtler emoting on "I'll Never..." and scores of other hits strikes me as more realistic and suited to repeated listening.)

Cocktail Lounge

• Half Forgotten Daydreams-John Cameron (A beguiling fusion of easy listening and Quiet Storm formats; not just anyone can blend the best elements of laid back R&B and lush strings, but Cameron pulled it off.  The recurring "wah-wah-wah-wah-wah" cements the tune firmly in 1974.  It would flow well after Love Unlimited Orchestra's "Forever In Love.")

Folk Roots

• The Beaches Of St. Valery/Elizabeth Clare-Battlefield Band (A compelling tale about the horrors of war and the lack of appreciation that some combatants face.  It's a pleasure to hear such a well-written Celtic narrative on this channel.)
• Illinois-Anna Tivel (Unsettling lyrics, sung hauntingly.  I'd be curious to hear Sara Watkins cover this.) 

Jazz Masters

• The Peacocks-Jimmy Rowles & Stan Getz (Setting the scene for some film noir?) 

Jazz Now

• Emily-Mike Rud (An uptempo guitar rendering of the Mercer/Mandel tune.  I also recommend Nika Rejto's more expansive, flute-based rendition.)
• Never Let Me Go-Helen Sung (This contemplative piano-anchored instrumental allows the tender contributions of violinist Regina Carter and the rhythm section ample room to breathe.)

New Age

• The Fifth Wave-Suzanne Ciani (Anyone who thinks all new age music involves just holding the same synthesized chord down for an eternity and performing inoffensive but unmemorable melodies should listen to "The Fifth Wave."  Ciani displays a moving range of emotion and force on the piano here.)

A byproduct of good medical news

Earlier this week, I was a nervous wreck.  I was fairly certain I'd get a tough-to-handle medical diagnosis.  Fortunately, however, things turned out much better than expected.

Suddenly, Neil Diamond's "I'm Alive" sounds more resonant to me than ever.

SiriusXM highlights LXXV

Standout tunes heard this morning:

'90s On 9

• Prayer For The Dying-Seal (One of Seal's most gripping songs; somber lyrics, sung with exactly the right degree of emotion.)

The Beatles Channel

• In My Life-The Beatles (Some of the most thoughtful lyrics about appreciating one's past and present; the Baroque harpsichord solo fits perfectly with the song's blend of sentimentality and nostalgia.  For years, I've said that "Rubber Soul" is my favorite Beatles album, and this reflective tune is the best of the bunch, in my opinion.)

The Coffee House

• Santeria-Aimee Allen (No disrespect to the band Sublime, but Allen's thoughtful acoustic cover gives the lyrics more heartfelt delicacy.  Her approach to the vocals reminds me of Ani DiFranco.)

The Groove

• Strawberry Letter 23-The Brothers Johnson (The Brothers Johnson put some gloss on this strong Shuggie Otis tune, resulting in a big hit 40 years ago.  The more I hear this, the more I appreciate how difficult it must be to sing.  As in "Across The Universe" by The Beatles, there isn't a true chorus; both songs keep building lyrically on what they've started and don't allow much room for the singer to take a breath.)

Heart & Soul 

• Gold-Andra Day (Honestly, powerfully sung lyrics about the consequences of choosing the wrong partner in life.)

The Loft 

• Book Of Dreams-Suzanne Vega (We can all be strong and resilient in our dreams, if not in everyday life.)

Tom Petty Radio

• The Woods (Exclusive)-Tom Petty (Sadly, when quality musicians pass away, you sometimes notice aspects of their music you wish you'd appreciated more when they were alive.  That's the case for me with "The Woods."  Listening to this acoustic version now, I hear elements of The Beatles, Eric Clapton, and "Wake Up Little Susie" by The Everly Brothers; that's a respectable trio of influences, to say the least.)

Stingray Music highlights XLVI

Standout tracks heard today:

Adult Alternative

• Like Fugitives-Rosanne Cash (Cash's heartfelt vocals are perfect for conveying narratives of loss and injustice.) 

Canadian Indie

• Evelyn-Hannah Georgas (The chorus of steely yet soft-spoken resolve should amp up a lot of listeners.  John Parr's "St. Elmo's Fire (Man In Motion)" segues well with this, to my ears.)

Classic R&B And Soul

• Inspiration Information-Shuggie Otis (Considering how accessible the vocals are, it's puzzling that Otis didn't have the commercial success in the '70s that he deserved.)
• I Want You-Marvin Gaye (It's deceptively difficult to pull off lyrics that are direct yet laid back, but Gaye pulls it off here.) 

East Africa Gospel

• Katonda Muliro-Angel Kisakye (Kisakye sings reassuringly about God's role as a consuming fire.)

Jazz Now

• Easy Walker-Christian McBride (Christian Sands carries the tune's elegance on piano.) 

Rewind--'80s & '90s

• Your Woman-White Town (Offbeat vocals, covered with electronic gauze; for a brief time in 1997, you couldn't get away from this song on the radio.  I remember WVRV, in particular, playing it frequently.  If I'd been writing this blog then, this could have qualified easily as a persistent earworm.)

An overlooked cover tune XL

I never would have thought to weave a Bob Dylan and a Blue Oyster cult tune into a mash-up, but it makes perfect sense when you hear Kerri Anderson's "All Along The Watchtower (Don't Fear The Reaper.)"  Her rendition of "...Watchtower" begins quietly, building to furiously strummed guitar at the 1:26 mark, with belted vocals to match 15 seconds later.  Anderson detours seamlessly into "...Reaper" with a deft blend of delicacy and directness, then returns to "...Watchtower."  It's a clever idea, executed impressively.

"No stitches after taking it on the chin..."

Writing yesterday about varying my baseball doubleheader scores phrasing triggered a memory.  I once heard an AM radio talk show host do his "free association" list of the day's baseball scores.  Instead of just saying that the Rockies defeated the Marlins, he said, "The Marlins found the Rockies impassable."

I'm still conflicted about whether the host was being clever or trying too hard.

Overhyped twosomes

When I used to write and broadcast radio sports reports, days with lots of baseball and softball doubleheaders challenged me.  I didn't want the scores to become monotonous, so I'd vary my word choices as much as possible.

What I would typically say during a scores report:

• Team A notched two large victories over Team B by scores of 23-5 and 15-4.
• Team C won twice, as well, downing Team D, 9-7 and 14-3.
• Team E eked out a couple of close wins over Team F, 2-1 and 3-2.
• It was a mixed day for Team G in its doubleheader.  It was Team G 9, Team H 6 and Team H over Team G, 13-2.
• It was also a split decision for Teams I and J.  In game one, Team I topped Team J, 10-3.  In game two, Team J outscored Team I, 9-2.

Further into a report, however, I felt I was starting to sound like this:

• Ye Gods, it was a two-pronged barn burner for Team K in its 9-8 and 10-9 wins over Team L!
• Nothing could deter Team M in its maniacal 12-3 and 14-4 manhandlings of Team N.
• Heavily caffeinated Team O shut out seemingly somnambulant Team P, 8-nothing and 9-zero.
• The scales of justice balanced for Teams Q and R.  In game one, Team Q got past Team R, 5-3.  Team R, however, summoned its collective inner Libra in game two to best Team Q by that same score. 
• Here's what you call a lopsided, leaping-off-the-teeter-totter-with-abrupt-alacrity-when-a-swarm-of-bees-seeks-its-revenge-upon-you-for-denigrating-its-species-as-good-for-almost-nothing-but-honey pair of outcomes.  In the first contest, Team S stuck out its metaphorical feet, tripping up Team T, 15-5.  Team T didn't mope about its battle scars between games, however, as a quick jaunt to an urgent care center and unanimous resolve not to ride a 50-year-old, splinter-laden bench resulted in its 16-1 conquering of Team S in their second out-for-blood-but-not-in-a-life-threatening-way-because-there-are-laws confrontation.

Although that's obviously exaggerated, you can just imagine how my sports reports sounded on a day packed with doubleheader makeups after two straight weeks of rain.

Haven't heard enough live music to sell it?

I once heard of a potential record store employee not being hired because the manager thought she hadn't gone to enough concerts.  I never understood that.  This wasn't a concert promoter's job.  If you know music reasonably well, have a positive attitude, and can work the register, why wouldn't you be a good fit for a music store?

"You win, pending red tape clearance!"

Years ago, a soft rock station here aired a contest promo telling listeners they could "win a day off, pending (their) supervisor's approval."

I still wonder how that worked.  How can even an exemplary employee win a day off, when the radio station has no connection with the winner's employer?  Even if a supervisor granted his or her approval, did the station compensate the employer for the worker's missed time or provide a temporary employee to work in the winner's absence?

Imagine this flawed contest idea being taken to extremes.  (i.e. "If you've had a perfect driving record for at least 10 years, with no accidents or tickets on your record, you could win our 'Drive Like A Maniac For One Hour' contest.  During an hour of your choosing, the speed limit on the highway closest to your residence will be increased to 90 miles per hour just for you, pending your local police department's approval.")

An Aztec qualifier

I heard this exchange on an AM radio sports talk show in the '80s:

Caller: I saw in a baseball record book that (so-and-so) holds the record for (a particular category), but there was an Aztec next to his name.
Host: I think you mean an asterisk.

Online radio sampler highlights LXIII

All five of these standout late night tracks were released this year:

KBEM (Minneapolis, MN)

• Cherry Blossom Song-Allegra Levy (Torch music meets jazz through Levy's breathy alto voice and the band's more-than-able support.  Although the person about whom she sings sounds generally depressed, the upbeat melody of Levy's original tune, released in March, suggests that there's hope.)
• Brothers Under The Sun-Steve Nelson (This uplifting vibraphone melody is the title track of Nelson's latest CD, released in April.)

KCR (San Diego, CA)

• Real Stuff-Leif Erikson (There aren't a ton of catchy lyrics about living simply and idealistically to which a listener could almost dance.  Erikson pulls this off, however, in this indie rock release from July.)

KVSC (St. Cloud, MN)

• Count Your Blessings-Mattiel (The discomforting yet memorable hook and lyrics suggest a Wild West showdown.  This is another standout indie rock release from July.)

WHRB (Cambridge, MA) 

• Greeney Blue-Mellah (An interesting mood piece, released in May; the guitar and vocals are repetitive in a positive, mantra-like way.)

Context? XXXII

I swear I heard this yesterday on the radio.  There was a sponsor's mention of a product that "contains 47% alcohol..."  I switched away for a second then switched back to hear, "(The product's manufacturer) promotes drinking responsibly..."

Even without hearing the whole plug, it couldn't help but sound disingenuous.

Persistent earworm alert LXXV

If this isn't an earworm, I don't know what is.  I imagine almost everyone has gone through something like this: You're reading a thoughtful article about the dangers of climate change or an email recommending an informative, moving documentary.  Incongruously, one of the silliest lyrics ever written or sung enters your mind and won't leave.  In my case, the lyric that kept repeating itself recently was, "I saw Mr. Bigfoot.  Boogie, boogie, boogie."  It's from "Bigfoot" by Rick Dees, a song I haven't heard in decades.  It would have been a logical flip side for the 45 of the hit, "Disco Duck."  Why it chose those moments to lodge itself back into my brain after so long remains a mystery.

Only in college XXXVIII

In 1993, KCOU improved its signal, allowing listeners who weren't able to pull in the station before to hear it.  If this had happened at a commercial news/talk station, it would likely be promoted in a stately, matter-of-fact recurring promo.  When you work at an irreverent college station, you might be more likely to promote it as I did in May 1993:

"...Hey, we have more power now.  We have more watts.  So, turn us up.  Blast us into oblivion, especially if you weren't able to hear us before or there was a lot of static."

An atypical standout X

To most listeners, Boz Scaggs is best known for catchy radio hits such as "Lowdown" and "Lido Shuffle" or ballads like "We're All Alone" and "Look What You've Done To Me."  An atypical closing instrumental on his 1971 "Moments" album also deserves recognition, however.

"Can I Make It Last (Or Will It Just Be Over)," is a moving guitar, piano, and orchestra instrumental that keeps a subtle melody flowing for over five minutes.  Sometimes, a melody matches its album cover design perfectly; "Can I Make It Last..." could easily underscore the "Moments" cover painting of an onlooker observing the sunset.

Just when you think you know an artist, exploring the musician's catalog and underplayed album cuts reveals a facet that you wouldn't glean from the greatest hits.

I'm 47, not 87.

This morning, on my 47th birthday, the first ad that Yahoo showed me was for a company called Elderly Instruments.  I don't recall that coming up before.  A few minutes later, I turned on KYKY and heard the Phillips & Company morning crew discussing a list of "signs you're getting older."  Apparently, if I take my search engine-triggered ad and radio seriously, I'm now supposed to purchase a banjo and start saying, "Back in my day," or "Back in the day..."

I haven't done either of those things yet.  Then again, it's still early in the day.

SiriusXM highlights LXXIV

Monday through Thursday highlights:

Deep Tracks

• Wooden Ships (Live)-Crosby, Stills & Nash (Despite a bit of talking through formerly sung lyrics, this is a captivating rendition of one of the band's most gripping, ominous songs.  The blistering, expansive guitar runs are particularly impressive.)

The Loft

• Autumn Song-Van Morrison (Morrison captures Autumn's essence well in his ode to the season.  I "(took) a walk when Autumn (came) to town" yesterday, per his advice, and was glad to see as many hints of Fall colors as I could take in.  No doubt, they'll be more prominent in a few weeks.)
• I Love You More Than Words Can Say-Otis Redding (Anyone who sings with such conviction, grit, and sincerity in this situation has clearly been pining for someone.  It's puzzling that this wasn't a hit.)

Real Jazz

• Desafinado-Steve Nelson (A week ago, I praised Karrin Allyson's vocal rendition of this famous Antonio Carlos Jobim tune.  Nelson shows that a vibraphonist can tackle this melody just as effectively.)
• I Thought About You-Christian McBride (Fine bass underpinning from McBride and resonant trumpet from Brandon Lee on this cover of the Jimmy Van Heusen-Johnny Mercer tune.  It segues well with "In The Wee Small Hours Of The Morning," another highlight of McBride's new release, "Bringin' It."  Other recommended cuts: "Gettin' To It" and "Optimism.")

SiriusXMU

• Moontalk-Laurel Halo (Strangely compelling processed vocals and laughter.  The recurring use of the three tones that typically precede the "You have reached a number that has been disconnected or is no longer in service" announcement isn't out of place in this spacey sound collage, released in June.)
• Moving On-Anna Of The North (The ethereal, airy vocals in this lyrical pep talk, released last month, remind me of The Cocteau Twins.)

Soul Town

• Hip Hug-Her-Booker T. & The MGs (If the backing track of the Otis Redding/Carla Thomas track, "Tramp," appeals to you, this instrumental likely will, too.)

Spa

• A Pillow In The Sky-Ann Sweeten (A warm, serene melody for piano and flute.  Given the flourishes in the piano part, this instrumental's title could just as easily be "Ripples In A Stream.")

20 questions but no correct answers

From time to time, my high school German teacher would start a game of Botticelli.  A student or he would think of a famous person, and the rest of us would guess, by asking yes/no questions, who it was.  When a student deduced that the person I was thinking of was a musician whose last name started with W, Mr. D. asked, "Is it someone I would know, too?"  I said it was.  Neither the students nor Mr. D. guessed that the musician in question.  When I announced it was Stevie Wonder, Mr. D. exclaimed, "Oh!  Even I've heard of Stevie Wonder!"

I hadn't expected to stump the class, but surprisingly, I did.

In memory of Tom Petty

It's chilling to realize how many influential musicians have passed away since I started this blog.  Sadly, Tom Petty became a member of that group yesterday.  Here are six of his best songs, in my opinion:

• Breakdown (In his debut top 40 single, Petty assumes an accent that you wouldn't hear in any of his subsequent hits.  Coming from almost anyone else, the lyrics might sound like an unwelcome come-on.  Coming from Petty, however, the attraction between the man and woman in the song comes across as mutual.)
• Feel A Whole Lot Better (Petty cited Roger McGuinn, lead singer of The Byrds, as an influence, and this Byrds tune, known originally as "I'll Feel A Whole Lot Better," is a great fit for his voice.  The word, probably, in the chorus, "And I'll probably feel a whole lot better when you're gone," makes all the difference in the song's attitude.  This is my second favorite Petty recording.)
• A Higher Place (Jangling guitar, sing-along verses and chorus, humility in the lyrics, and an infectiously brisk tempo make this my favorite Petty tune.)
• Learning To Fly (Who doesn't feel uncertainty like this at one time or another?)
• My Back Pages (Live with Bob Dylan, Roger McGuinn & Neil Young) (Contains one of my favorite Dylan lyrics, "...I was so much older then.  I'm younger than that now."  I especially enjoy how The Byrds covered it, so it's good to hear McGuinn as part of this quartet.  In terms of vocals and attitude, all four artists are logical choices to tackle this song.)
• Runnin' Down A Dream (One of the most instantly recognizable, get-in-the-car-and-go guitar riffs, coupled with Petty's assured vocals.  It, and "Feel A Whole Lot Better," are still two of the best standouts on the "Full Moon Fever" album 28 years later.)

Stingray Music highlights XLV

Standout tracks heard this morning:

Adult Alternative

• All Downhill From Here-Lyle Lovett & His Large Band (An honest expression of gratitude for a good life while fearing that things might deteriorate.  As Lovett says in concert, "It's a sobering thought.")

Alt Country-Americana

• Perfect-The Mastersons (Endearing vocal harmonies in this request for reassurance.  Also recommended: "Cautionary Tale.")

The Chill Lounge

• Mirror-ORG Lounge (A somewhat spooky, trance-inducing instrumental.)

Cocktail Lounge

• On A Clear Day You Can See Forever-The Peddlers (The ideal cross-section of organ-based jazz and orchestral accompaniment, paired with laid-back vocals, make this a strong cover tune.)

Everything '80s

• Who's Zoomin' Who?-Aretha Franklin (Still a good driving tune; the synthesized, overtly '80s backing vocals and instrumental touches serve the song well.)

Folk Roots

• My Old Brown Coat And Me-Tim O'Brien (There's a commendable lesson in the lyrics about not being too snobbish.)

Jazz Masters

• I Got It Bad-Sonny Criss (Appealingly airy production values allow the tender yet forceful saxophone melody to breathe.)

Persistent earworm alert LXXIV

For the past week, a St. Louis radio commercial jingle has been stuck in my mind.  I don't know how many years have passed since I used to hear it.  Does anyone else remember the jingle, "We care about your smile at Dental North...Dental North...Dental North?"  I've never gone to that dental office.  The jingle, however, left a positive impression.  Its main singer and the vocalist who echoes him elongate the r in North somewhat and end each North on an upward inflection, making an appointment there sound like a pleasant experience. 

Not every dentist could pull that off.