Music to enjoy in 2018

There are bound to be some bright spots next year in music, as the following artists will have new releases:

• David Byrne (The Talking Heads leader has recorded a plethora of quirky rock with effective international enhancements throughout his long career.  I'm not sure what's left for him to accomplish, but I'm sure he'll come through.)
• Field Music (Field Music has shown some noteworthy Talking Heads sensibilities in its music, so if there's even one new track as remotely compelling as 2016's "The Noisy Days Are Over," their new release will be well worth hearing.)
• First Aid Kit (These sisters recorded a particularly strong, thoughtful release with "Stay Gold."  The 2014 release's title track is one of its highlights.  I look forward to hearing more of their captivating vocal harmonies next year.)
• I'm With Her (This is the release I'm most eager to hear next year.  Sara Watkins, Sarah Jarosz, and Aoife O'Donovan are consistently strong performers individually, so hearing this singer-songwriter trio together should be one of 2018's best treats.)
• They Might Be Giants (Whimsical, off-kilter...How else do you describe this unique vocals-with-accordion band whose underground following has stayed with them since the '80s?) 

I'm also curious to hear the music The Chick Corea & Steve Gadd Band, Cowboy Junkies, Scott Hamilton, and Johnny Marr will release.  2018 looks promising.

Persistent earworm alert LXXX

One recent night at work, someone had looked up how to spell separate and left the dictionary entry up on the screen.  That was all it took for a 1994 staple of KPNT's playlist, The Offspring's "Come Out And Play (Keep 'Em Separated)," to infiltrate my mind.  That song about senseless violence starting at a younger age, with its recurring Egyptian-style riff and memorable hook, "You gotta keep 'em separated," is still on my mind right now.

For some reason, it feels like Christmas was a long time ago.

Rockin' out--softly?

When I was in high school, one of my teachers announced to the class how much he disliked the terms "adult contemporary" and "soft rock."

"'Adult contemporary' makes me ashamed to be an adult," he told us.  "As for soft rock, those two words don't belong together.  How is it rock music if it's soft?"

He didn't suggest an alternative to either of those terms, however.  I wonder what he thinks of the term "yacht rock" that's often applied to soft rock artists of a certain time.

Online radio sampler highlights LXIX

Five noteworthy tracks heard today:

KQAL (Winona, MN)

• Ain't No Sunshine-New York Voices (Bill Withers still sings it best, but this is a respectable vocals-with-saxophone arrangement.)

WERS (Boston, MA)

• Motion Sickness-Phoebe Bridgers (Emotionally honest, somewhat hypnotic vocals make this one of 2017's winners.)

WFSK (Nashville, TN)

• Inseparable-Natalie Cole (The tune's warm sentiments bring Marilyn McCoo & Billy Davis, Jr.'s "Wonderful" to mind.)

WMBR (Cambridge, MA)

• 'B' Movie-Gil Scott-Heron (Sadly, the political observations Scott-Heron expressed in 1981 apply even more disturbingly today.)
• Brand New-Eddie Robinson (A life-affirming gospel/R&B tune from 1974.)

Yes, it's cold. Thanks for not belaboring it.

Thank you to the radio broadcasters I've heard giving weather forecasts lately.  I'm glad that, during these current three-degree conditions, no one has advised me to bundle up.  I appreciate it when I'm trusted to make the mental leap from "It's three degrees," to "It's cold out there."

A passive-aggressive review

Looking at FM dial scan notes I wrote years ago, I'd forgotten that I described an instrumental as a "seemingly endless yet pleasant enough accordion piece." 

Apparently, it wasn't pleasant enough, however, for me to track down its title or artist.

Persistent (Christmas) earworm alert LXXIX

2004: Sammy under the Christmas tree--a good location for napping and hearing Christmas music over nearby speakers.

If you're going to have a Christmas tune on involuntary repeat mode, Sammy Davis, Jr.'s "Christmas Time All Over The World"  isn't a bad one.  It conveys the universal euphoria that accompanies Christmas so joyfully that I wouldn't mind hearing it several more times today.  Granted, if it were being written today, it would be ill-advised to include the lyric, "Though the customs may change and the language is strange..."  Still, the sincere intent behind wishing everyone nearby and far away a merry Christmas comes through.

Merry Christmas to everyone who celebrates it.

SiriusXM highlights LXXX (Christmas edition)

Christmas Eve standouts:

Country Christmas

• I Heard The Bells On Christmas Day-Suzy Bogguss (The vocals stay true to the spirit of Harry Belafonte's rendition.  Also recommended: John Gorka's rendition, titled "Christmas Bells.")

Deep Tracks

• Oh Christmas Tree-California Guitar Trio (A respectful instrumental arrangement that wouldn't be out of place if played in a forest of evergreens.) 

Holiday Soul 

• Have Yourself A Merry Little Christmas-Take 6 (The ensemble's doo-wop arrangement does the tune justice.  I'd expect no less from the voices behind such first rate gems as "Gold Mine," "Get Away, Jordan," "Mary (Don't You Weep)," and an excellent rendition of "Hark! The Herald Angels Sing.")

Holiday Traditions

• It's The Most Wonderful Time Of The Year-Chris McDonald Orchestra (If Michael B. Nelson's big band arrangement of "It Came Upon The Midnight Clear" resonates with you, this instrumental arrangement likely will, also.)
• Santa Claus Is Comin' To Town-The Mills Brothers (The ensemble takes just the right tack with the vocals, harmonizing with a light, bouncy touch; this is a wise choice, as this tune about surveillance would sound leaden and off-putting if the vocals were too heavy-handed.  Their rendition of "Here Comes Santa Claus" is even more impressive.) 
• We Three Kings-Ella Fitzgerald (Fitzgerald sings "We Three Kings" with appropriate gravity, and the piano accompaniment underscores the arduousness of the trio's journey.)

The Loft

• Silver Bells-Booker T. & The MGs (The R&B-fashioned organ arrangement that brings The Temptations and The Four Tops to mind keeps the tune perking, making it suitable driving music.)

The Message

• Drummer Boy-Jars Of Clay (Too often, most renditions of "The Little Drummer Boy" are reverential but too repetitive.  Jars Of Clay's kick in the guitar and drums gives the carol a needed shot of energy and imagination, making it just contemporary enough for repeated listening.)
  

Navidad

• Silver Bells-Anne Murray (This rendition has gotten a healthy dose of deserved local radio airplay this season.  The piano intro, which reminds me of the Kenny Loggins tune, "Celebrate Me Home," and Elton John's "Your Song," catches my ears each time, and Murray's conviction sells the tune convincingly.) 

The Village

• The Peace Carol-John Denver & The Muppets (One of the strongest tracks from the soundtrack of the TV special, "A Christmas Together."  Denver and The Muppets harmonize beautifully on this earnest, reverential melody.  Why haven't I heard this on the radio every Christmas?)

Watercolors

• Deck The Halls-The Yellowjackets (This saxophone-led arrangement contains just enough dissonance to keep things interesting.)

A fresh yet familiar carol III

In honor of Jefferson Airplane guitarist Jorma Kaukonen's birthday today, I recommend his instrumental, "Downhill Sleigh Ride," not to be confused with "Sleigh Ride."  The guitar arrangement and sleigh bells make me envision someone trying to catch up to a sleigh in which the horses have gotten a head start.  Its melody brought Mason Proffit's "It's All Right" to my mind, which intrigued me right away.

Persistent (Christmas) earworm alert LXXVIII

I've listened to scores of Christmas carols over the past month.  I've heard tons of pop, rock, folk, jazz, easy listening, international, R&B, Gospel, and Classical arrangements of almost every remotely well-known carol.  Despite this range of diversions, however, one tongue-in-cheek Yuletide tune still infiltrates my mind at least once per day.  Last December, on "The Late Show With Stephen Colbert," Colbert debuted his own composition, calling it "the worst Christmas song of all time."  If you haven't heard it, find "Christmas Is Now" on YouTube and expect it to settle in your brain, possibly forever.  To his credit, Colbert's simple, repetitive tune benefits from the breathy vocal gravity of Norah Jones and vocals and piano accompaniment from the show's bandleader, Jon Batiste.  Last night, while taking an important message at work, I maintained my usual low-key, polite demeanor as I spoke to the caller.  The entire time, however, "Christmas is now, Christmas is now, Christmas is Christmas, and now it is now," stayed on a persistent mental loop.  It's still there now.

Admittedly, there are far worse fates.

Acceptable context for The Grinch

Kudos to KDHX for playing the entire audio from "How The Grinch Stole Christmas" on "Hip City" yesterday.  Can we all please agree that "You're A Mean One, Mr. Grinch" is best heard within the entire context of the show and not separately?  When played out of context on the radio, it doesn't segue with any Christmas carol and wears out its welcome quickly.  "Welcome Christmas," on the other hand, stands just as well on its own.  "Trim Up The Tree" does, too, to an extent.

A fresh yet familiar carol II

Rick Braun's "The Christmas Clock" is another familiar-sounding carol you might not have heard.  If you enjoy the instrumental scoring in the 1984 film, "A Christmas Carol," starring George C. Scott, you'll likely enjoy Braun's overlooked composition.

A fresh yet familiar carol

If you're seeking a carol that isn't played on the radio but still sounds familiar, listen to Nashville Mandolin Ensemble's "Christmas Is Coming (Around.)"  It captures the festive joy of the holiday while sounding like a brisker than usual version of "Simple Gifts."  At a minimum, radio stations should use it as a music bed.

FM dial scan highlights XCII (Christmas edition)

December 2010: Sylvia settles into her Christmas music listening post on top of the stereo.

Christmas standouts heard today:

WSIE 88.7 FM

• Frosty The Snowman-Monday Off with Bucky Pizzarelli (Singing about Frosty's prowess on guitar reveals another admirable facet of his character.)
• Santa Claus Is Coming To Town-Bill Evans (That must be one hip Santa, if he makes his entrance to this cool slice of piano jazz.) 

KEZK 102.5 FM

• Frosty The Snowman-The Ronettes (One of the tune's best arrangements, sung with a light, upbeat touch.)

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

• Pastorale (O Christmas Tree)-Canadian Brass featuring Eric Robertson (An interesting blend of hymnlike stateliness from the brass players and slightly whimsical, seemingly calliope-inspired underpinning from Eric Robertson on the organ.)
• Tchaikovsky: Dance Of The Sugar Plum Fairy-The 442s with Peter Martin (During today's interview with Radio Arts Foundation's Kathy Lawton Brown, 442s instrumentalist Adam Maness jokingly referred to this arrangement as a nightmare.  Actually, it's the freshest, jazziest take on this piece I've heard.  Peter Martin's piano accompaniment is a key ingredient of the arrangement's appeal.)
• Fanfare/Joy To The World (Live)-The Bach Society Of St. Louis & Dr. A. Dennis Sparger (The commanding, brassy introduction made me think The Boston Pops were about to play "Liberty Fanfare" by John Williams.  This beautiful blend of vocalists, recorded at Powell Symphony Hall, "repeat(s) the sounding joy" compellingly.)

A segue fit for Christmas Eve

Listen to the shimmering, quivering outro of the Smokey Robinson & The Miracles medley, "Deck The Halls/Bring A Torch, Jeannette, Isabella."  At the nanosecond it ends, launch into the comparable shimmering, quivering intro of Freiheit's "Keeping The Dream Alive."  You'll have a smooth transition from two Christmas standards into a tune whose lyrics fit Christmas Eve and New Year's Eve equally well.  I've had this idea for a segue since the mid '90s, but I've never heard anyone else play these two songs together.  If you're free to program your own music at a noncommercial station this Christmas, however, this is a transition worth making.

Hightailing it to Bethlehem

To me, Bing Crosby's version of "Do You Hear What I Hear?" is definitive.  His voice exudes regal authority as he proclaims the news of Christ's birth.  Last night, however, I listened to another take on the carol I hadn't heard in a while.  Instead of playing up the royal proclamation aspect, The New Christy Minstrels focus on the urgency of going to Bethlehem.  Although Charlie Byrd's guitar rendition achieves this to some degree, The New Christy Minstrels pull off an even faster tempo.  They play and sing "Do You Hear...?" as though the head of the recording studio is going to barge in any second, end the session, and cut the building's electricity.  Although it doesn't have quite the wacky, manic vibe of "Yakety Sax," it's in the ballpark.  Apparently, however, it's possible to sound reverential even when you're in a hurry.

Context? XXXV

Yesterday, I heard a morning DJ promote an upcoming DJ rather unconventionally.  As Jimmy Eat World's version of "Last Christmas" faded out, he said, "This will be (the next DJ's) last Christmas...I don't know why I said that."  I hope nothing ominous happens to that next DJ.  The radio business, much like life itself, is fickle.

The deserved longevity of Dial-A-Carol

It's reassuring to be reminded, in an era of so much technology, that the human touch still endures. The Dial-A-Carol volunteer's commitment to pulling off a reverential rendition of "What Child Is This?"  impressed me when I called this morning.  "What Child Is This?" isn't the easiest carol to sing, considering the swooping vocal range it requires.  The caroler sang it well, however, and I was particularly impressed with her fortitude in conquering the drama and inflection needed when singing, "This, this is Christ the king..."  Kudos to that caroler, and if you're calling one of those services this year, may the rendition of your requested carol be as heartfelt and on-key as hers was.

Favorite music of 2017

Here are my subject-to-change top 20 favorite songs of 2017:

   20.  Moving On-Anna Of The North
(The ethereal, airy vocals in this lyrical pep talk, released in September, remind me of The Cocteau Twins.)
   19.  Patient Zero-Aimee Mann
(Well-written lyrics that I gather are about being in the early stages of one's career, having a cautiously optimistic outlook, and grappling with fame when it's new to you.)
   18.  Higher Ground-Nathan East featuring Kirk Whalum
(When you play jazz bass the way East does, Stevie Wonder's "Higher Ground" is a natural choice for an instrumental cover.  I've been glad to hear WSIE playing it this year, as it's one of the more appealing smooth jazz cuts of 2017.)
   17.  Cozy-D-ROCKSTEADY
(This appealing groove, released in February, features chill instrumentation and recurring vocals that would flow well after the Boehm featuring Melody Noel track, "Future Self.")
   16.  The Rush-Treasureseason
(A memorable soprano-voiced hook over an electronic backdrop.  The band's own "Blurred Edges" segues well with this track.)
   15.  Speak Low-Eliane Elias
(A cool, sly arrangement of this jazz standard, with compelling vocals from Elias and trumpet accompaniment from Randy Brecker.)
   14.  Boy, Don't Be Afraid-79.5
(Possibly the most appealing dance groove of the year, with vocals and flute-dominated jazz instrumentation seemingly pulled out of the '70s.)
   13.  We Could Fly-Rhiannon Giddens
(A beautifully sung, heartbreaking reminder of inhumanity and injustice throughout history.  One of 2017's more bracing songs.)
   12.  Song For My Father-Louis Hayes featuring Gregory Porter
(A compelling blend of vibes, drums, and resonant vocals; this impressive rendition of Horace Silver's tune is one of 2017's stronger jazz tracks.  Also recommended: Porter's tribute release to Nat King Cole, featuring beautiful renditions of "The Christmas Song," "Mona Lisa," and "Pick Yourself Up.")
   11.  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.)
   10.  When I Woke-Beth Bombara
(This St. Louis artist's March-released tune about looking for love or something less in the wrong places made an immediate impression on me; its tone and energy remind me of Maia Sharp's "Something Wild.")
    9.  Crying In The Chapel-Regina Carter
(A warm, moving violin interpretation of a much-covered song, which Ella Fitzgerald, among others, brought to the public's attention.)
    8.  Gentle On My Mind-Alison Krauss
(As I've written previously, this uptempo tune should have been a bigger hit for the departed Glen Campbell.  It contains some of the more compelling lyrics about a couple's chemistry that I've liked, and Krauss strikes the right emotive tone in her vocals.)
    7.  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.  It would be ideal background accompaniment in any number of "This Is Us" episodes.  I'm curious to know if the chord sequence on the guitar reminds anyone other than me of Fairport Convention's "Bring 'Em Down.")
    6.  My Emotions Are Blinding-Tennis
(There are appealing elements of Carole King's approach to songwriting and vocals in the chorus, and the tune has stayed with me since first hearing it in February.)
    5.  Darling-Real Estate
(One of 2017's more tuneful gems.  The pleasant guitar melody and vocals convey the softer, Kings Of Convenience-style side of power pop.)
    4.  24 Hours From London-Little Murders
(If you're waiting for a yes or no answer from someone about the future of your relationship and you expect to be rejected, this is about as tuneful as waiting music gets.)
    3.  Shine On Me-Dan Auerbach
(If you have a pulse, singing along with the tune's poppy chorus is almost involuntary.  It doesn't hurt that the tune's feel brings Pete Townshend's "Let My Love Open The Door" to mind.)
    2.  Old Churchyard-The Wailin' Jennys
(Beautiful vocal harmonies, as expected, make this cover of a traditional English tune about grieving for the deceased in the right measure shine.  The group's cover of Tom Petty's "Wildflowers" is also excellent.)
    1.  Early Spring-Finn's Motel
(This St. Louis band's tune, released in April, is my favorite song of the year.  I was primed to like it immediately, thanks to its guitar-and-vocals arrangement that brings The Jayhawks and many "How I Met Your Mother" episodes to mind.  Further keys to its first place ranking for me are the second verse and follow-up coda after the second chorus.  The protagonist has a potentially life-changing decision to make.  What does he decide?  Listen and find out.)

FM dial scan highlights XCI

Saturday through Tuesday standouts:

KDHX 88.1 FM

• Light One Candle-Yale University Out Of The Blue (Peter, Paul & Mary's live version, with its conviction and urgency, remains the definitive rendition for me.  Still, hearing "Light One Candle" with fewer backing vocalists acknowledges the suffering and the deceased more plaintively.)

WSIE 88.7 FM

• Consequence Of Love-Gregory Porter (Porter's rich, heartfelt vocals make this one of the highlights of last year's "Take Me To The Alley" release.  The title track is also one of the CD's highlights.)
• The Christmas Song-The Manhattan Transfer (I mean it as a compliment when I say this is a sleepy, warm blanket of a vocal arrangement.)
• Frosty The Snowman-Marcus Roberts Trio (One of the strongest versions I've heard; the bounce Roberts gives it makes it ideal for a piano instrumental.)
• Flipside-Norah Jones (It's gripping to hear Jones sing and play with this much force.  Other  standouts from 2016's "Day Breaks" release: "Peace" and "It's A Wonderful Time For Love," which would segue with Van Morrison's "Moondance.")

KLOU 103.3 FM

• Deck The Halls With Boughs Of Holly-Percy Faith and his orchestra (One of the better, statelier orchestral renditions.  The consistency throughout Faith's "Music Of Christmas" album makes it an ideal Christmas morning accompaniment.  Also recommended: "Joy To The World," as the orchestra captures the carol's triumphant nature perfectly.)
• Sleigh Ride-Andy Williams (The sleigh bells, lead and backing vocals make this an appropriately carefree, spirited rendition.)
• Hark! The Herald Angels Sing-Amy Grant (One of the most endearing versions of this carol that captures your ear with Grant singing a cappella, at first, and other voices lending support in good measure.)

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

• What Christmas Means To Me-Stevie Wonder (I'm glad Wonder's infectious excitement about all that Christmas offers still gets radio airplay so many decades later.)

Late '80s recording tech humor

I've written numerous posts about the quirky personality my high school orchestra director, Mr. D., displayed in and out of class.  Here's some very of-its-time dialogue from orchestra class, circa 1988:

Student: How do you like CDs?
Me: It's good that they exist, for the convenience factor and the sound quality that tops a record that's warped or skips.  I just wish they made blank CDs I could record onto, like cassette tapes.
Mr. D., walking by with uncanny timing, grinning from ear to ear: They do.  You just have to have your own factory.

Mr. D. then laughed his trademark, "Ha, ha, HA!" and walked on.

Time for "Name That Conductor..."

While listening to a Boston Pops CD, "A Christmas Festival," yesterday, I remembered an early '80s moment from the TV game show, "Tic Tac Dough."  Host Wink Martindale asked a contestant to name the longtime Boston Pops conductor.  The contestant didn't know that Arthur Fiedler was the conductor, but I did, having checked out several Boston Pops Christmas albums from the library.  I still think it speaks well of the show's question writers that they assumed a contestant would know Fiedler's name.  With the possible exception of "Jeopardy," I doubt that any TV game show today would expect contestants to know Fiedler's name or the name of the ensemble's longtime current conductor, Keith Lockhart.  Although that doesn't indicate the downfall of civilization, it's still slightly unfortunate.

Awaiting an important trio of boats

Thanks to pandora.com, I heard my new favorite instrumental version of "I Saw Three Ships" on Thursday.  Jon Schmidt approaches the carol with a unique blend of force and grace on the piano.  The interlude he plays from :59 to 2:18 stays true to the song's central theme while expanding on it; during that stretch, it's easy to imagine the three ships coming closer to their destination and onlookers chomping at the bit to greet the passengers.  Schmidt's rendition strengthens my appreciation of "I Saw Three Ships" as a carol.  It's amazing how much just the right amount of embellishing can make you see a carol you've heard hundreds of times in a new light.

"This isn't a quiz, but your answer is correct."

Years ago, I mentioned to a co-worker that I thought "Wassail, Wassail" was one of the Christmas carols Mannheim Steamroller performs best.  She surprised me by singing the first verse of it.  I thought, "You win the farmer's market poll, then.  If I surveyed 10 random people, most respondents would say they haven't heard of 'Wassail, Wassail' or would confuse it with 'Here We Come A-Wassailing.'  A smaller number of respondents would be familiar with the carol but wouldn't be able to match Mannheim Steamroller's instrumental rendition with its lyrics.  Well done..."

I still think "Wassail, Wassail" is one of Mannheim Steamroller's best tracks; its lack of an overly synthesized arrangement makes it work for the same reason as their version of "In Dulci Jubilo."

The solemnity of "Up On The Housetop?"

It dawned on me today that nearly all of the many Christmas selections I've listened to from my own collection are about the solemnity of the holiday.  I've listened to multiple renditions of "The First Noel," "Away In A Manger," and "It Came Upon The Midnight Clear," for instance.  Subconsciously, I think I've reasoned that I've already heard Bobby Helms singing "Jingle Bell Rock" or Andy Williams belting out "It's The Most Wonderful Time Of The Year" repeatedly, as they're the two Christmas tunes I've heard most on KEZK and KLOU so far this season.  Still, at the pace I'm going, I'll have heard all of the solemn, reverential Christmas carols in my collection before Christmas Day. At this rate, I'll be acknowledging Christ's birth with The Ventures tearing into their guitars on "Rudolph, The Red-Nosed Reindeer" or America singing "Frosty The Snowman" with a more contemporary feel than the tune usually receives.  Nothing wrong with that, of course...Still, the occasion calls for something more reverential...Wait a minute...

...I've got it.  Dan Fogelberg's "The First Christmas Morning."  I haven't played that yet.  There's the appropriate degree of reverence needed for December 25...I've solved this problem that isn't really a problem.

Online radio sampler highlights LXVIII

Ready for your Beach Boys-style falsetto?  Here goes, then..."They're the caaaaaaats with allllllll the toyyyyyyyyys..."

Early morning standouts:

KAFM (Grand Junction, CO)

• Songbird-Eilen Jewell (A lyrically effective metaphor for anyone whose help is essential for your survival; Jewell's voice and a guitar are all that's needed to pull it off.)

KBOO (Portland, OR)

• Don't @$&* Around With Love-The Blenders (You don't usually hear profanity in this type of tune.  At first, I thought this was a modern vocal group doing a '50s R&B/doo-wop pastiche.  Per multiple sources, though, it's actually an alternate version of the band's "Don't Mess Around With Love," recorded in 1953.  Both versions contain equally smooth harmony singing.)

KOSI (Denver, CO)

• The Man With All The Toys-The Beach Boys (A fun, short tribute to Santa Claus; in my opinion, it holds up better than "Little Saint Nick.")
• Caroling, Caroling-Nat King Cole (Cole's rendition of "The Christmas Song" gets a lot of radio airplay at this time of year.  His elegant version of "Caroling, Caroling" deserves its due as well, however, as does his moving rendition of "Away In A Manger.")
• Mary's Boy Child-Celtic Woman (Celtic Woman honors Harry Belafonte's reverential version while picking up the tempo.)

WBGO (Newark, NJ)

• Let It Snow-Kitty Margolis (Margolis makes the vocals swing, and the piano underpinning gives the tune a glossy sheen I wish other renditions of it had.)

WXXI (Rochester, NY)

• Franz Schubert: String Quartet No. 14, "Death And The Maiden" (Hagen Quartet) (Convincing portrayals of tenderness, somberness, and ferocity, especially from the violins.)

A function of age?

Maybe it's because I expect life to be more of a mixed bag as I get older, but this year, I've been less inclined to hear "Coventry Carol" as one of the drearier Christmas carols.  Today, after listening to versions by John Denver and Joan Baez, I realize I haven't given it enough credit for its reverence.

However, if I ever start feeling that way about "Carol Of The Bells," I'll know I've gone off the deep end.

A record store's welcoming ambience

Spring 2010: The welcoming atmosphere of Webster Records.

Sometimes, it isn't just the music that draws you in.  I always enjoyed the inviting vibe that Webster Records gave off.  It was obvious upon a quick glance around the store that the staff of Webster Records put thought not only into the music it sold but to the decorations on its walls and bins.  The store's bright lighting illuminated the posters, plates, and other musical mementos, providing a welcoming atmosphere in which to shop.

Webster Records closed at the end of January 2012, and I still miss it--not only for its music but its ambience.

Persistent earworm alert LXXVII

Watching "Saturday Night Live"'s sketch,  "The Race," brought to mind an '80s tune that's almost impossible to forget once you hear it.  Are you ready for it to lodge itself into your brain for an hour or, more likely, a day?  If not, feel free to go back three years and read one of my favorite Christmas-themed blog posts.

For the brave readers still remaining, my earworm this morning is Matthew Wilder's "Break My Stride."  That tune ran through my mind prominently one night during college.  I took a nap before an orchestra concert in which I was supposed to play.  I slept through the alarm and woke up at 7:45, 15 minutes before the concert's starting time.  I changed into concert garb hastily, darted out of my dorm room, flew down six flights of stairs, and ran faster through the streets of Columbia than I ever had.  In my mind, Wilder was singing, "I've got to keep on moving," about eight times louder than usual.  I arrived at the theater out of breath but on time.  My fellow bass players, not knowing if I'd make it in time, had considerately unpacked my bass for me.  I learned my lesson that night; leave nothing to chance on the night of a concert.  Even if you've only had an hour of sleep that day, don't take a nap.  Also, head to the venue much earlier than I did.

An impressive Christmas songwriting feat

Composing an original song about the true meaning of Christmas is no easy feat.  After all, how does anyone compete even remotely with the poetry of standards such as "Silent Night," "The First Noel," or "It Came Upon The Midnight Clear?"  Two artists, however, pulled it off.

Peter Mayer's "Love Is Born Anew," which received airplay on KDHX's former singer-songwriter show, "Blue Highways," sports a flute-based introduction reminiscent of R. Carlos Nakai and William Eaton.  The contemplative, wandering-through-the-woods intro gives way to Mayer's guitar and vocals, conveying the rejoicing that followed Christ's birth.  It's difficult not to sing along involuntarily with "Won't you sing the song of love made new, born on this Christmas day...?"

Erin Bode's "The Star's Song" accomplishes a similar feat.  This Adam Maness-Erin Bode composition chronicles God's selection of the star that would guide the three wise men to the stable of Christ's birth.  Its captivating, declarative chorus, "Follow me down the road that leads to Bethlehem," stays with me whenever I hear it.

Just when you think you've heard the story of Christmas already conveyed in every imaginable form...

SiriusXM highlights LXXIX

Standout tunes heard this afternoon:

The Bridge

• I Don't Want To Know-Fleetwood Mac (Some of the most immediately accessible uptempo Lindsey Buckingham-Stevie Nicks vocal harmonies matched with equally accessible, hook-laden guitar accompaniment.)

Holiday Traditions

• Jingle Bell Rock-Chet Atkins (In some ways, this version holds up as well or better than the Bobby Helms original.  Brisk guitar and subtle backing vocals are a smart way to go here. Another highlight of the "East Tennessee Christmas" album: the appropriately somber solo guitar rendition of "God Rest Ye Merry Gentlemen.")
• Santa Claus Is Comin' To Town-The Mills Brothers (The Mills Brothers sing this as a straightforward, matter-of-fact, midtempo guide on how to stay in Santa's good graces.  Also recommended: the best, bounciest version of "Here Comes Santa Claus" anyone has ever recorded and everything else on the ensemble's "Merry Christmas" album.)

The Loft

• Gone, Gone, Gone-The Everly Brothers (One of the catchiest, most concisely arranged tunes about a relationship ending abruptly.  Fairport Convention covered it impressively, with strong group vocals and equally crisp guitar accompaniment.)

ONEderland

• I've Been Thinking About You-Londonbeat (Over a quarter-century later, this still holds up as a pop/dance hit with easily relatable lyrics.)

Rock & Roll Hall Of Fame

• Back On The Chain Gang-The Pretenders (A well-written and well-sung '80s hit about carrying on after a loss.  Decades later, it hasn't worn out its welcome, and it shouldn't.)

Silk

• One Last Cry-Brian McKnight (The universal feeling of pain after a rejection, sung with the right level of emoting.  This tune came up frequently in KNJZ's rotation.)

Soul Town

• Until You Come Back To Me-Aretha Franklin (To my ears, this is one of Franklin's most appealing melodies.  I'm surprised it doesn't get more radio airplay, given how accessible and memorable the tune is.  I also recommend Basia's excellent cover of it.)

Watercolors

• Angels We Have Heard On High-Spur Of The Moment (A fine driving, sax-dominated smooth jazz rendition.)