Who knew?

My biggest music-related lesson of 2018:  Despite what Foreigner sings in "Hot Blooded," my stay in the emergency room convinced me that a fever of 103 is not something to which anyone should aspire.  Who would've thought...?

Lesson #1: Don't pan your own product.

One of the big rules about being a DJ in commercial radio is that you don't comment negatively about a song or artist on the air.  I was surprised, then, in the early '90s when a national countdown show finished playing the biggest hits of the year.  After the show ended, the station's DJ took a call from a listener, who said, "Can you believe what was number one this year?  Blech!"  The DJ admitted, "I know; I don't get that either."

Although I didn't care for the song in question, I was surprised to hear a DJ slam a song that his station had played frequently.

Baby steps

I enjoyed hearing a public affairs show host and guests on WSIE asking each other Christmas trivia questions this morning.  When you're not inclined to stop thinking about Christmas four days after the holiday, it's a pleasure to hear people learning that "Silent Night" originated in Austria, egg nog is also known as milk punch, and that Franklin Pierce was the first president to have a Christmas tree in the White House.

I'm a big fan of prolonging the Christmas spirit, so I say, "Good for them."

"This just in..."

It was getting close to the wire as I went on the radio with a list of basketball scores.  I had asked someone in the office to update the basketball ticker with one of the more hotly anticipated scores as soon as it came in.  While reading the scores on the air, I became concerned as I noticed certain scores hadn't come in yet.  They appeared on the online ticker, however, while I was on the air, so I printed them in the background and thanks to luck, was able to time things so that just as the scores finished printing, I was able to rip them out of the printer and preface them with "This just in..."

To anyone unfamiliar with the background noise of ripping a page off of the printer, it sounded as though I'd overturned a table for no apparent reason.  I met my deadline, however, so that didn't bother me.

Post-holiday orchestral malaise

It always seemed to me, between Christmas and the late January date of the chamber music concert, the high school/college ensemble in which I played just went through the motions.  One year, for two rehearsals in early January, a symphonic violinist filled in for our regular conductor.  I think we all knew, during the middle of one rehearsal, that he wasn't about to bestow accolades upon us.  When he started to tell the ensemble, "When you all made the commitment to play in this orchestra...," we knew he wasn't going to follow up with, "...you may have been somewhat tentative about what you were capable of, but from what I've heard, you've exceeded expectations many times over!  Seldom have I heard such gripping, robust playing..."  While what followed wasn't a severe tongue-lashing, the gist of the substitute conductor's message was, "This might not be one of your big subscription concerts, and it might not attract as much of an audience as your main concerts.  Nevertheless, you're still rehearsing for a scheduled concert; the music and the audience deserve your respect."

I can't say he was wrong to tell us that.

Persistent earworm alert CXVII

Of all the persistent earworms I've experienced, this has been one of the most enjoyable ones.  Multiple versions of "Frosty The Snowman," by Jimmy Durante, The Ronettes, America, Fiona Apple, and Leon Redbone with Dr. John have run through my mind in an unpredictable medley today.  I'm sure I have a subconscious wish for Christmas to come again right away, as the line, "I'll be back again some day," sounds loudest among the lyrics to me.

SiriusXM highlights CIII (Christmas edition)

2003: A cross section of ornaments from one of my family's Christmas trees.

Appealing Christmas selections I've heard today:

'70s/'80s Holidays

• God Bless The Children-B.J. Thomas (In the wrong voice, this could sound treacly or insincere.  Thomas pulls off the right mix of sincerity and perspective in his vocals here, though.  I used to look forward to this track during KYKY's 1985-1991 36--in later years, 24--hours of Christmas music rotation.)

Acoustic Christmas

• Christmas Wrapping-Denny Lloyd (I can't fathom ever wanting to skip Christmas, but after hearing this rendition, I have to respect those who downplay or don't celebrate the holiday.  Lloyd's vocals convey the right balance of fun and resignation, in a wider vocal range than that of the original version by The Waitresses.)
• Frosty The Snowman-Fiona Apple (If "Criminal," "Fast As You Can," or "Shadowboxer" come to mind first when you hear Apple's name, check out Apple's sense of whimsy here, which some listeners might not expect.)

Hallmark Channel Radio

• Joy To The World-Bing Crosby (You're a commanding presence when you can ask everyone to sing in the family key, and everyone complies without question.)

Holiday Pops

• The Christmas Song-American Horn Quartet & Queensland Symphony Horns (A suitably nostalgic arrangement, with appropriately reflective-sounding brass.)
• Sleigh Ride-Imani Winds (If I were walking through the woods and came upon forest animals playing instruments, I suspect it would sound a lot like this.) 

Holiday Traditions

• Happy Holiday-The London Sound 70 Orchestra and Chorus (A throwback of an arrangement for carolers; I've always liked this version since first hearing it on KCFM in 1982.  Apparently, its decadent easy listening sound has kept if off the radio here since then; that's a shame, as this ensemble's 1970 treasure trove of tasteful Christmas carol arrangements deserves more recognition.)  
• Silent Night-The Carpenters (Karen Carpenter's moving voice fits sacred and secular material equally well.)
• Sleigh Ride-Ella Fitzgerald (One of the classier vocal renditions, with big band underpinning.)
• Winter Wonderland-Ray Charles (Everything about this rendition, from the vocals to the keyboard to the fadeout, radiates coolness.)

Holly

• It Feels Like Christmas-Ghost Of Christmas Present ("The Muppet Christmas Carol" soundtrack) (This joyous look at the feeling behind Christmas is a highlight from the movie soundtrack.  Also recommended: "Bless Us All" and "One More Sleep 'Til Christmas.")

Jazz Holidays

• Santa Claus Is Coming To Town-Don Patterson (A bouncy organ rendition, with plenty of room for the guitarist to improvise.)
• Winter Wonderland-Chet Baker (This fast trumpet-led rendition cooks.  If you want to breeze rather than stroll through a winter wonderland, this is your version.)

One "Merry Christmas" wish after another

Looking back at the Christmas Eve and Day radio shows I recorded for myself starting at age 12, it seems as though I said, "Merry Christmas," at least four times during every intro.  I know that's an exaggeration, but it seemed like each break sounded like, "Merry Christmas!  You're in the middle of another half hour of continuous Christmas music for your merry Christmas.  Merry Christmas to everyone, as Greg Lake sings 'I Believe In Father Christmas' on CATZ 105 FM.  Merry Christmas..."

Although I'd be more refined on the air now, this is a holiday for which I hope I never lose my enthusiasm.  So, even though I don't have a radio station of my own, Merry Christmas.

FM dial scan highlights CVII (Christmas edition II)

Weekend Yuletide highlights:

KDHX 88.1 FM

• While Shepherds Watched (Hail Chime On)-Artisan (After hearing a few different versions of this at varying tempos, I'm convinced Artisan's fast tempo is the most appropriate one.  After you hear the chorus enough times, it's difficult not to sing along.  I'd be inclined to give money to any carolers showing this much camaraderie, even if they aren't requesting it.  Also recommended: Kate Rusby's version, just titled "Hail Chime On.")
• Angels We Have Heard On High-Mayim (This beautifully sung rendition from these three women never wears out its welcome with me.  If this isn't a suitably angelic interpretation, I don't know what would be.)

WSIE 88.7 FM

• Snowfall-Ahmad Jamal (If you prefer that your Christmas music not be overtly Christmasy, this rendition, with its brisk piano part and percussive backbeat, might appeal to you.)

KEZK 102.5 FM

• Santa Claus Is Comin' To Town-Ray Charles (With the possible exception of Lou Rawls, no other vocalist presents his "Look, kids, be good because Santa's watching" case more persuasively than Charles.)
• Silver Bells-Johnny Mathis (Effectively placed bells during the intro start this rendition off on the right foot, and Mathis wrings more emotion from the tune than most vocalists.)

K297BI 107.3 FM, a.k.a. KNOU-HD2 and WSIE 88.7 FM

• Celebrate Me Home-Al Jarreau (As much as I like the original version by Kenny Loggins, I was pleased to hear two radio stations give this underplayed Jarreau cover its due within 12 hours of each other.  Jarreau conveys the feeling of being welcomed with open arms as effectively as Loggins.)
  

Credit for making an entrance

Credit to Steve Schenkel and Ashley Mason for one of the cooler versions of "What Child Is This?" I've heard.  Vocally and instrumentally, everything clicks.  I suspect that three wise men visiting the newborn Christ child with this as their theme music would put a lot of thought into the gold, frankincense, and myrrh they present.  After all, when you have a theme this hip to live up to...

FM dial scan highlights CVI (Christmas edition)

Six of the better Christmas selections I've heard recently:

KDHX 88.1 FM

• Jingle Bells-Booker T. & The MGs (A hip organ instrumental, as expected.  Based on the intro, I half-expect The Supremes to start singing "You Can't Hurry Love."  Later, when the guitar kicks in, I half-expect The Ventures to hijack the tune for at least a few measures.)
• Christmas Time Is Here-Kermit Ruffins (One of the many deservedly acclaimed melodies from "A Charlie Brown Christmas."  Ruffins shows that the plaintive piano part translates perfectly to the trumpet.)

WSIE 88.7 FM

• Winter Wonderland-Brother Jack McDuff featuring John Hart (A fine, straight ahead organ-and-guitar rendering with a bounce.)
• The Christmas Waltz-Jane Monheit (Brisk, cheery vocals with appealing vibraphone backing.)

WFUN 95.5 FM

• Have Yourself A Merry Little Christmas-Brian McKnight (Smooth-as-silk vocals and harmonica.)

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

• Leroy Anderson: A Christmas Festival (BBC Concert Orchestra/Leonard Slatkin, conductor) (There's a classic recording of this, which The Boston Pops Orchestra performs under Arthur Fiedler.  Its majestic opening that meshes "Joy To The World" with "Deck The Halls" is ingrained in my memory, and those of many listeners, at Fiedler's tempo.  Slatkin's interpretation, in a slightly faster tempo, is equally enjoyable, however.)
  

The warmth of Christmas, conveyed through winds

If you can find it, it's worth tracking down the Oklahoma Woodwind Quintet's "Christmas Spiritual Medley" of "Go Tell It On The Mountain" and "Sweet Little Jesus Boy."  The ensemble's version of "Go Tell It On The Mountain" got my attention, as it sounds more like forest animals playing than any other piece I've heard.  That's a heartwarming image to have any time, but especially during Christmas.

(Credit to my brother for finding out who recorded this track that our former Classical station, KFUO, used to play at Christmas.)

Humor in the eye of the beholder?

Kudos to the talk show host who, when his co-host recommended watching a video today of someone falling, said he didn't find such incidents funny.  He added sarcastically that if the person in the video had coughed up blood and died, it would have been hilarious.

I've said, only half-jokingly, that the decline of civilization started with "America's Funniest Home Videos."  It's good to know someone else thinks the same way.

Not a mandate, but...

Just because Karen Carpenter sings, "Greeting cards have all been sent.  The Christmas rush is through," doesn't mean I have to wait until that's the case before listening to the song.

And yet, I did that once again this year.  I know it's not a mandate, but it just feels right.

Train horn/Christmas carol synchronicity

A train conductor blew the warning horn today as I sat inside, listening to Take 6's rendition of "O Come All Ye Faithful."

My first reaction: "If the horn had to be blown, that was a good place in the music for it; the horn fits reasonably well with this passage."

My second reaction: "I hope anyone who was standing, sitting, or walking on the train tracks moved to safety in time."

While that wasn't the correct order in which to react, I do hope everyone's safe.

Music for seasonal ambling

About to mosey back to a ranch with your horse?  At this time of year, let Tommy Emmanuel's instrumental rendition of "Winter Wonderland" be your accompaniment.  The tempo and feel that the guitar, fiddle, and mandolin convey are ideal for this--provided neither your horse nor you suddenly picks up speed and starts galloping off.

A caroler's challenge

Yesterday, I made my annual call to a dial-a-carol hotline.  The caroler, Elizabeth, honored my request of "Do You Hear What I Hear?"  I thought she was wise to change the key to fit her voice when needed.  My singing range is limited, so I would have done the same.

That's a reasonable form of Christmas cheer while staying in one's comfort zone.

In memory of Nancy Wilson

I was sorry to learn that jazz vocalist Nancy Wilson passed away yesterday.  Tracks I'd recommend from her long career are:

• The Christmas Waltz (I listen to Wilson's 1968 version of this every year around Christmas; it conveys the warmth and beauty of the season compellingly, and it deserves more radio airplay than it usually gets.)
• Love Won't Let Me Wait (A go-to track when I wanted to follow one thoughtful, elegant vocal number with another on WEW.)
• Raindrops Keep Fallin' On My Head  (If you think of "Raindrops Keep Fallin' On My Head," you probably think of the B.J. Thomas hit.  Although it's a strong, definitive version of the tune, Wilson's version deserves its due, as well.  Wilson sings it as a contemplative jazz/easy listening number, which suits the lyrics.  Instrumentally, her version is a winner, as well.  The piano underscoring matches the eloquence of Wilson's vocals, and the piano intro brings to mind Richard Harris's "MacArthur Park."  The closing trumpet notes are par for the course in a Hal David-Burt Bacharach arrangement.)
• Save Your Love For Me (with Cannonball Adderley) (Classy and heartfelt.  Al Jarreau's version is also excellent.)
• Trip With Me (I wonder if any airline, division of tourism, or travel agency has ever used Wilson's version of "Trip With Me" in a commercial.  This track from 1970, in which Wilson sings about inviting someone to go on vacation with her, makes a getaway sound enticing.  Vocally, it reminds me of '60s era Dionne Warwick and The Fifth Dimension.  Its endearing retro vibe would likely catch a lot of customers' ears.) 
• Turned To Blue (Thanks to stations like WSIE and SiriusXM's Real Jazz, I've come to realize how strong of a vocalist Wilson is and how she sings with just the right amount of emotion on songs like this.)
• The Very Thought Of You  (Polished, elegant vocals on this well-covered standard.)

When not to sound manic

When having to announce and back announce Sting's version of "Gabriel's Message" on the air, I made sure not to sound overly upbeat.  It's a good rendition but a stark, solemn carol, so it's appropriate to dial back one's cheeriness when announcing it.  "Sting starts off another set of Christmas music on (name of station)," should suffice.

Motley sources for a fine carol

Credit for imagination should go to Donald Moore, who arranged the Holiday Brass rendition of "God Rest Ye (listed as You on the label) Merry, Gentlemen."  Not just anyone would think to have the Kirkwood Children's Chorale singing while Robert Souza plays some freewheeling jazz trumpet, and the piano accompanist plays the rhythm from Dave Brubeck's "Take Five."  It's an unlikely blending of influences that works, giving the carol a hip yet reverential sound.

Five gold rings, with a bonus

Back announcing I heard on KCFM in 1984: "John Denver and The Muppets there with 'The 12 Days Of Christmas,' and Miss Piggy on the Ba-dum-bum-bums."

At just about any other time of year, sung Ba-dum-bum-bums would be left uncredited on the air. 

For a reverential holiday, Christmas has its appealing irreverent aspects, as well.  Adding some levity to the "Five gold rings" lyric is one of them.

An ambiguous ending

I listened to a version of "Sleigh Ride" today in which a chorus cried out, "Ohhhhhhhhhh!" at the end of the song.  I'm still not sure if that was meant to indicate exhilaration or if the sleigh ran into a tree.  Either way, it was an unusual choice.

Honoring my Christmas tree's expectations

This afternoon, I almost played The Norman Luboff Choir's version of "O Tannenbaum."  I refrained, however, because I thought, "It's still light outside.  Better to play it tonight when I've moved the tabletop Christmas tree into the living room and turned it on..."

"...And, then what?" I thought.  "Am I expecting that the Christmas tree will say, 'Thank you for that. That choir's version is reverential, and I appreciate that?''"

Well, yes...During a season when toys allegedly come to life and start marching, maybe I do expect that--in the back of my mind, at least.

Stretching the definition of Christmas music

Approximately 20 years ago, an adult contemporary station here included Eddie Money's "Peace In Our Time" as part of its Christmas music rotation.  If I'd been a program director, I wouldn't have included it, as it isn't a Christmas song.  Still, its message is in keeping with the Christmas spirit, so I can't fault the p.d. who programmed it.

"Enjoy our background music randomizer..."

Recently, while grocery shopping, I heard Al Jarreau's rendition of "Carol Of The Bells," followed immediately by the Genesis tune, "I Can't Dance."

Programming music for shoppers must be easy when you have no regard for segues.

Multiple Carols Amalgamation Central

Looking for a carol that sounds original but simultaneously familiar?  Listen to The Four Freshmen's version of "And The Bells Rang!"  It covers most of the secular basics you'd expect in a carol--bells ringing, obviously, but also children singing, tinsel on a tree, reindeer, and snow.  I was surprised to read that it's a traditional Swedish carol, as it sounds like an in-studio answer to the question, "How do we come up with lyrics that capture a lot of the things people like about Christmas while saying them in a relatable way that hasn't been said before?"  It's sung pleasantly, though, so I let play it out when it came up frequently on WRTH years ago.  If you get to the end of the tune and find it doesn't do much for you, it's only two minutes out of your life.

Three other notes about The Four Freshmen's "Freshmas!" CD:

• If you like the unhurried way The Beach Boys approach their vocals on "We Three Kings," you'll probably enjoy The Four Freshmen's similar take on the carol.
• The Four Freshmen's version of "The First Noel" approximates what The Beach Boys might have sounded like performing before a church's congregation in the '60s. 
• When iTunes pulled up the "Freshmas!" CD, it misidentified the group as Fat Beat Soundsystem.  I'm still having trouble imagining how a group by that name would approach "And The Bells Rang!"

Favorite music of 2018

Overall, I'd characterize 2018 as a commendable year for music, particularly for indie rock and tunes with echoes of the 1970s in their step.  There were also some gems in the singer-songwriter, jazz, and R&B genres.  I always find it somewhat challenging to rank music, as it requires making apples-and-oranges comparisons.  Nevertheless, here are my 25 favorite songs of the year:

25.  Lovely Day-Shamie Royston
(A fine piano cover of my favorite Bill Withers tune; despite its title, Royston's interpretation brings a contemplative rainy day to mind.)
24.  Short Court Style-Natalie Prass
(This is one of 2018's more pleasant melodies.  If I didn't know otherwise, I might have thought this was a '70s R&B track.)
23.  This Will Be (An Everlasting Love)-Dave Koz featuring Kenny Lattimore & Shelea
(This strong cover of Natalie Cole's hit replicates the original version's exuberance compellingly.)
22.  Lash Out-Alice Merton
(A cathartic track from Merton's EP, released in April.  If you usually hold your tongue and let your anger well up inside, you might feel like this.  Merton's forthright vocals mesh well with the bubbling undercurrent of bass that would have fit in on either of Joe Jackson's 1979 albums.)
21.  Whistle On Occasion-Kim Richey featuring Chuck Prophet
(Released in March, this is a highlight of Richey's "Edgeland" release.  Two voices and a guitar illustrate how  satisfying it is to savor life's pleasant, so-called minor moments.  This could segue with Shawn Colvin's version of Bob Dylan's "You're Gonna Make Me Lonesome When You Go.")
20.  Happy Unhappy-The Beths
(Catchy power pop lead and backing vocals in this appealing tune for driving, released in August.  Cruiserweight's "Slack" could segue with it.)
19.  Whatever It Takes-The James Hunter Six
(Hunter and company capture the spirit and vocal stylings of Sam Cooke impressively.)
18.  Smilessence-The Reggie Pittman & Loren Daniels Quartet
(How the Beatles tune, "You Never Give Me Your Money," would sound as a trumpet-led, tropical fiesta instrumental.)
17.  Sidekick-Soulive
(Jazz meets R&B in this smooth, steady instrumental groove, with more than a hint of the '70s in its arrangement.)
16.  General Thunder-Julian Lage
(This uptempo guitar instrumental made an immediate impression upon me.  There's a general consistency throughout Lage's "Modern Lore" album, released in February.  Much of it fits under the smooth jazz banner, but if you're looking for a more experimental track, check out "Earth Science.")
15.  Everyone Acts Crazy Nowadays-Unknown Mortal Orchestra
(1978 meets 2018 in this dance track with a motif late in the track that reminds me of 7 Worlds Collide's "Reptile.")
14.  Can't Run But-Paul Simon with yMusic
(It's ear-catching to hear Simon sing this reworked version with backing that's reminiscent of "Peter And The Wolf.")
13.  The Paradise Within (Paradise Found)-The Manhattan Transfer
(I had a preconceived notion while listening to the group's release, "The Junction."  I expected their version of US3's "Cantaloop (Flip Out!)," which WSIE has played numerous times, to be the standout track.  While it's a fun rendition, the grace and sensitivity with which the group sings, "The Paradise Within...," made an even stronger impression on me.)
12.  All This Love-Take 6
(As with The Manhattan Transfer, I had certain expectations before hearing Take 6's latest release, "Iconic."  I was expecting this longtime a cappella group's cover of Al Jarreau's "Roof Garden" or Christopher Cross's "Sailing" to be my favorite track.  Although they sing solid versions of both songs, their rendition of this DeBarge hit is, to my ears, the best fit for their voices.)
11.  Sovay-Low Lily
(This strong, brisk rendition of a traditional English tune, released in March, features excellent Celtic-style singing, mandolin, fiddle, and guitar.)
10.  I Was A Fool-Sunflower Bean
(This track from the "Twentytwo In Blue" release combines at least four strong elements; Julia Cumming's vocals remind me of Blondie and Harriet Wheeler from The Sundays, there's a definite resemblance to Fleetwood Mac's "Dreams," the guitar arrangement brings the best of Real Estate to mind, and the alternating vocals between Nick Kivlen and Cumming remind me a bit of The Human League.)
  9.  Nobody-Mitski
(I have to respect any song that can combine such disparate elements as Isaac Hayes's "Theme From 'Shaft,'" ELO's "Livin' Thing," and Keren Ann's "Not Going Anywhere," while still sounding fresh and original.  These are some of 2018's most endearing vocals and piano playing.)
  8.  Old Stuff, New Glass-The Orielles
(Great jangly synergy between the guitar, bass, and vocals; a power pop highlight of 2018.)
  7.  Have Faith-Sloan
(Another power pop highlight of the year; pairing encouraging lyrics for someone going through a rough time with a melody similar to Tom Petty's "A Higher Place" is a winning formula.)
  6.  Golden Ticket-The Bamboos
(This release from July is a catchy blast of positivity; who couldn't root for someone who finds happiness this way?  This sounds like an early '70s R&B groove, to its credit.  Swing Out Sister's "Am I The Same Girl?" would sound great before it, and Natalie Prass's "Short Court Style" would fit well after it.)
  5.  Move-Milo Greene
(Mysterious, breathy vocals; lyrically, this haunting track could segue with Karla Bonoff's "Somebody's Eyes" or Snow Patrol's "Shut Your Eyes.")
  4.  A Little More Love-Juliana Hatfield
(Back in 1992, when I was playing Hatfield's music on KCOU, I never imagined she'd release an album of Olivia Newton-John covers.  She did, however, in April, and it suits her vocal range well.  Unfortunately, "A Little More Love" didn't usually receive radio airplay here after it dropped off the charts.  Hatfield sings one of Newton-John's stronger hits with appropriate resolve, and the crunchy guitar underpinning makes it sound as if Hatfield wrote it.  Also recommended: "Have You Never Been Mellow" and "Magic.")
  3.  High Horse-Kacey Musgraves
(With a hook reminiscent of late '70s Bee Gees tunes and Luscious Jackson's "Here," "High Horse"  doesn't leave a listener's mind easily.  The tune's hook, combined with direct lyrics about someone who has an inflated opinion of himself, make this one of 2018's standouts.  It's one of the most tuneful ways of conveying that you can't stand someone that I've ever heard.  Turning such Carly Simon-like, "You're So Vain"-ish irritation into a groove this danceable warrants respect.)
  2.  The Duke's Message-Tommy Emmanuel featuring Suzy Bogguss
(One of the year's most beautifully sung tunes; Bogguss approaches the vocals as she does in "Shenandoah.")
  1.  See You Around-I'm With Her
(Generally, it isn't easy to break up with someone and bid that person farewell.  This excellent trio of singers and acoustic players--Sara Watkins, Sarah Jarosz, and Aoife O'Donovan--captures this heartbreaking difficulty perfectly in their vocals, with the most movingly sung chorus of the year.)

An overlooked cover tune XLV

I praised The Bamboos recently for pulling off an appealing early '70s R&B sound on this year's "Golden Ticket."  I discovered recently that they also nailed a late '60s sound on their instrumental cover of the Archie Bell & The Drells tune, "Tighten Up."  As catchy as the original version is, The Bamboos make the tune work equally well with a flute and rhythm section.  If this doesn't get you moving or at least shaking your head in time, people might justifiably wonder if you're a cyborg.

"A field trip? Bah humbug!"

During my junior year of high school, I had the privilege of playing with a national string orchestra in Indianapolis.  I asked each of my teachers to sign a permission slip.  All of them congratulated me--except one.  My Algebra II teacher initialed the form grudgingly, saying, "I don't promote things like that (i.e. field trips.)  If the (principal's) office says I have to, though, I'll sign this."

Wisely, I just thought my response instead of saying it.  As the teacher initialed the form, I thought, "Let's see...A once-in-a-lifetime chance to play with other musicians from around the country at an advanced level or drawing lines on graph paper and finding x and y-intercepts.  I think the choice is clear."

Caught up in the moment II

Years ago, I had a dream about a square dance.  That surprised me, as it was out of character.  I was even more surprised, however, when the square dance caller cried out while playing a fiddle, "Dance around!  Dance around!  Dance around with a calico!"  The dancers didn't question this.  Each of them picked up a conveniently stationed calico cat and started dancing around with her.  In the dream, I asked one of the cats, "Doesn't it startle the other calicos and you to have people pick you up and dance around with you?"  She replied, inexplicably in English, "It does sometimes, but I don't question it.  After all, 'Dance around with a calico,' is a decree I could have written."

It's interesting, in the spirit of a song, how people--and calicos--will sometimes respond.

One hip Santa

I've written previously that The Mills Brothers, in my opinion, sing the best version of "Here Comes Santa Claus."  My pick for best instrumental rendition of it, however, goes to the Ramsey Lewis Trio.  Lewis replaces the somewhat stately nature of most renditions with a cool, syncopated rhythm on the piano.  I'd like to think Santa would leave an extra present--or at least a note of appreciation--for anyone thoughtful enough to have this playing when he arrives.

Persistent (Christmas) earworm alert CXVI

For the past hour, Dean Martin's version of "Rudolph The Red-Nosed Reindeer" has stayed in my mind.  It must be due to the formality in the intro and chorus, with the backing singers saying, "Rudolph," that plays against Martin's relatively informal take on the lyrics.  After all, do you know of any other version offhand in which the singer refers to Rudolph as Rudy?

Inevitable aging

Apparently, my memory isn't what it used to be.  I can hear my high school orchestra director asking the ensemble, "Do you...know the difference...between a fugue and a passacaglia?"

I used to know the difference offhand.  Now, it escapes me.  I guess it's a function of my semi-advanced age.  Thank goodness for Wikipedia.

FM dial scan highlights CV

Five of the best tunes I've heard in recent days:

KDHX 88.1 FM

• Golden Ticket-The Bamboos (This release from July is a catchy blast of positivity; who couldn't root for someone who finds happiness this way?  This sounds like an early '70s R&B groove, to its credit.)

WSIE 88.7 FM

• Skating-Erin Bode (I've always enjoyed hearing Bode sing this in concert; one of many highlights from Bode's album, "A Cold December Night," it's suitable for any time of year, especially when you're relieved to be returning home.  Also recommended: "The Holly And The Ivy" and "The Star's Song.") 
• Soul Shadows-The Crusaders & Bill Withers (It's great to hear this tune get its due on the radio.  The lyrics pay tribute to the way well-performed music changes a person; it's a fine tribute to Louis Armstrong, Jelly Roll Morton, and Fats Waller, especially.  Other standouts from the excellent "Rhapsody And Blues" album: "Elegant Evening," "Last Call," and the title track.) 
• Winter Wonderland-Eric Reed (If you like the way Herbie Hancock acknowledges the theme of "Deck The Halls," juts off into a freewheeling improvisational jam, and eventually returns to the theme, you'll likely enjoy Reed's similar approach to "Winter Wonderland" on the piano.)

WSDZ 95.1 FM

• Go Tell It On The Mountain/Ain't No Mountain High Enough-Anita Wilson & Gregory Porter (An appealing approach for "Go Tell It...," making it sound simultaneously contemporary and giving a nod to "I Heard It Through The Grapevine."  Wilson and Porter segue it smoothly with "Ain't No Mountain...")

Blind optimism

It amused me when any conductor of a non-professional orchestra would advise, "In measure 80, change the fortissimo marking.  Make it only mezzo forte."

I'd often think, "You're conducting amateurs.  Getting them to play moderately loud instead of very loud is the least of your problems.  You'll be lucky if everyone plays the right notes in the proper tempo."

"We'll be back in just 10 minutes..."

Like everyone else, I understand that radio stations have to sell advertising to stay in business.  However, a station's commercial breaks shouldn't be so long that I can tune in at 10 random times during the day, hear long clusters of ads each time, and wonder if the station has switched to an all-commercials format.

Persistent (Christmas) earworm alert CXV

Although it's not one of my favorite songs, and I can't remember the last time I heard it on the radio, "All I Want For Christmas Is My Two Front Teeth" has planted itself in my mind.  I'm not even thinking of one consistent version of it; its melody keeps springing to mind at random times.

I would say I'm going to drown it out with Christmas music I like, but writing about it will probably make it stay in my mind for at least a few more hours.

There are worse fates, admittedly.

Context? XLVIII

How do you fill time on the radio after a hockey game?  You ask one of your fellow commentators, "Have you tried the peanut butter and jelly hamburger?"

My stomach has felt queasy since hearing that suggestion last night.  Much like pineapple on pizza, some combinations aren't meant to be.

An artful acknowledgment of Christmas blues

In "Christmas All Alone," The Lettermen answer the question The Emotions pose in "What Do The Lonely Do At Christmas?"  Per "Christmas All Alone," those who can't spend Christmas with their beloved one reflect on how blue they feel about it.  Unlike most whiny versions of "Blue Christmas," however, "Christmas All Alone" conveys the feeling of loneliness tastefully.  (It helps that the protagonist knows he's going to eventually marry the woman he can't be with at Christmas.)  I haven't heard any local radio station play "Christmas All Alone" since 1991.  That's unfortunate, as it's one of the best-written and sung tunes about feeling wistful at Christmas.

Online radio sampler highlights LXXXV (Thanksgiving edition)

Noteworthy Thanksgiving-themed music heard today:

KQAC (Portland, OR)

• Ashokan Farewell-Jay Ungar & Molly Mason (A pastoral-sounding waltz, with added gravity from the Nashville Chamber Orchestra.)

WFMT (Chicago, IL)

• Frederic Hand: A Psalm Of Thanksgiving (Frederic Hand, guitar; Jayna Nelson, flute) (This duo handles the piece's birdlike rhythms deftly.)
• John Rutter: Now Thank We All Our God (Cambridge Singers, City Of London Sinfonia/John Rutter, conductor) (A regal interpretation, with an appropriate flourish of trumpets.)

WXPN (Philadelphia, PA)

• Dear Old Friend-Patty Griffin (Sorrowful yet cautiously optimistic lyrics about patching things up with someone, sung beautifully.)
• Going Home-Charlie Haden & Hank Jones (A warm, contemplative piece for piano and bass.)
• Comin' Home Baby-Booker T. & The MGs (Cool, sly organ and guitar riffs, fitting as a prelude to or playoff of Steely Dan's "Babylon Sisters.")
• You've Got A Friend In Me-Randy Newman (This 1995 Newman composition could pass for a '40s tap dance number.)

Thanking those who have thanked me

Whenever I've gotten to choose the music I've played on the radio, I've always appreciated listeners calling in to tell me how much they liked it.  In the spirit of Thanksgiving, thank you to every listener who has made my day--or any other DJ's day--by calling in with these compliments or similar ones:

• "That's a great song you just played.  It should be part of your regular format."
• "Do you choose the music yourself?  You do?  I like what you choose.  Every Saturday, I tune in to your show."
• "I enjoy your show each week.  I wish the rest of (the radio station) sounded like this."
• "You played (a particular band), and now, you're playing (a different band)?  You rock!"
• "Thank you for giving us credit for intelligence and going beyond the same old predictable songs.  You're bringing back a lot of memories." 

It's always gratifying to know that other listeners hear the same striking qualities in songs that you do and that they'll (hopefully) support those artists by buying their music.

Persistent earworm alert CXIV

Whether you think well or ill of "Long Train Runnin'" by The Doobie Brothers, you have to admit that its recurring guitar riff doesn't leave one's mind easily, and it's at least half of the reason the song was such a hit.

"Bear with us for 55 seconds..."

I was impressed recently to hear a DJ say to his audience, "I've got one--no, two--recorded promos to play.  One of them is 30 seconds, and the other is 25 seconds..."

Some listeners probably switched to another station during those 55 seconds and didn't come back.  I'd like to believe, however, that most listeners appreciated the DJ's honesty about how long the break would be and kept listening through it.

Context? XLVII

Recently, I tuned in during the middle of an interview, in which a guest spoke of a "prankster ghost" at an allegedly haunted mansion.

I didn't hear the full context, so for everyone's safety and civility, I hope that ghost doesn't do anything more sinister than rattle some chains and say, "Made you look..."

Not so long ago, or so I tell myself

A few days ago, I listened to an album from 1984.  One track, in particular, jumped out at me as sounding especially of its time.  The font on the back of the album also looked like what a computer would have generated in 1984.

It's a lie I like to tell myself: A song or album can't be that dated if it was released during my lifetime.

There's also a truism I like to tell myself: As long as I like the music, and I'm just playing it for myself, it doesn't matter if it's dated.  And, so it is with all of us.

Laudable Christmas jazz influences

What would have happened if Jimmy Smith, Herbie Mann, and Booker T. & The MGs had collaborated on a Christmas tune?  The result might have sounded a lot like Barbara Dennerlein's version of "Sleigh Ride."  This is definitely one of the cooler examples of Christmas jazz I've heard in several years.

Context? XLVI

"We got all the colors.  We got...red..."

No, that's not from Jay Mohr's "Saturday Night Live" impression of Christopher Walken promoting Skittles.  It's a casual enticement from a North Carolina radio station staffer in a promo about t-shirts and other items with the station's call letters.

Online radio sampler highlights LXXXIV

Five recent standout tunes:

KBEM (Minneapolis, MN)

• Ain't It Funky Now?-Grant Green (Yes...and I would expect no less from Green on the guitar.)

WDCB (Chicago, IL)

• Please Send Me Someone To Love-Cory Weeds (Classy tenor sax in a big band style, released in July.  Also recommended: "Canadian Sunset," in an interesting blend of bossa nova and walking rhythm line.)

WKNC (Raleigh, NC)

• Happy Unhappy-The Beths (Catchy power pop lead and backing vocals in this appealing tune for driving, released in August.  Cruiserweight's "Slack" could segue with this.)
• Born To Be Needed-Tennis (Alaina Moore's vocals float above their surroundings in this uptempo gem.)

WORT (Madison, WI)

• Waltz For Reannon-Rickie Simpkins (Simpkins pulls off this melody equally well on mandolin and fiddle.  This is a Wyatt Rice composition, but based on its style, I half-expected to read that Chris Thile had written it.)

Anyone for Yuletide dulcimer lessons?

Somehow, I'd overlooked a strong Christmas medley until tonight.  If you're looking for three instrumental Christmas carols performed with a wandering (or power walking briskly) through the forest quality, listen to Ensemble Galilei and Maggie Sansone's "Gloucestershire Wassail/Tomorrow Will Be My Dancing Day/The Sussex Carol" medley.  "Gloucestershire Wassail" is also known as "Wassail, Wassail," which you may have heard Mannheim Steamroller perform ably.  "Tomorrow Will Be My Dancing Day" segues naturally with "The Sussex Carol," due to a similar bounce in each carol's melody.  If these three carols don't make you want to learn to play the dulcimer, I don't know what to tell you.

Putting nerves in perspective

There's a nervous excitement in the moments before you go on the air professionally.  Before I did my first break on KNJZ, however, I reasoned, "Why should I be nervous?  As a kid, I did my own radio shows on tape, in which I had to remain silent between songs and creep quietly up to the microphone when it was time to introduce a song.  On KCOU, I chose multi-genre music that I played for up to four hours at a time.  On KBIA, I mastered the challenge of having to speak for exactly one or two minutes at a time.  I'm sure I can handle saying, 'Smooth Jazz, KNJZ 100.3, with music from Boney James; that's called 'Kyoto...'"

After that realization, the nerves went away.

The virtue of eventual patience

Usually, I like living near the sound of passing trains.  It's comforting to know they're transporting various items while I eat, read, and sleep.  Today, however, just for a moment, I became irritated. A train blew its horn while I was trying to listen to a David Russell guitar recording.

"The train is drowning out Vivaldi," I thought.  Shortly after that, I chided myself for being cross.  I thought, sarcastically, "Of all the nerve, warning people or animals who might be on the train tracks.  The nerve of that train's conductor, doing the right thing while transporting goods that need to be transported."

After all, starting the Vivaldi piece again wouldn't have been that difficult or inconvenient.

Stifling the sneezes and coughs

I've been fortunate never to have coughed on the air.  It's an odd phenomenon; you can be coughing, sneezing, and barely awake before doing a radio air break, but as soon as the microphone goes on, it's as though you've never been sick.

I think that's due to professional pride, needing something to go right when you don't feel well, and luck.

Giving your cereal its due

After telling someone years ago that Al Jarreau's "Mornin'" was one of my favorite songs, she scanned her memory before responding.

Eventually, she replied, "Is that the song where he says, 'Good morning,' to the Cheerios?"

It is.  It's interesting what lyrics from a song stay with us.  If I'd only had vague familiarity with the song and had been on the other side of the conversation, I probably would have responded the same way.  While there are many songs about greeting or facing a new day, Jarreau's greeting his Cheerios with such a bounce in his step gives the song a welcoming, relatable peg.

Only in college LX

A frequent radio station caller was known for asking DJs, "Did you hear that (an indie band) got a new drummer?  Do you think he'll be as good as the old one?"

I was never sure how to answer that, but I admired that the caller thought anyone who answered the phone would be familiar with the obscure indie band he'd mentioned, weigh the merits of two drummers, and render a verdict.

If nothing else, I had to admire what a fan of the music the caller obviously was.

A linguistic irritant X

When giving a weather forecast, there's no better word for cold than cold.  Freezing temperatures are predicted overnight, so I'm pleasantly surprised not to hear any radio announcer referring to the weather as nippy.  A word that sounds as silly as nippy should be reserved strictly for songs about Jack Frost.

A linguistic irritant IX

While listening to election night returns on the radio, I'm impressed that no commentator has leaned on the crutch, "We'll know more later."

In the past, when I've heard that, I've thought, "That stands to reason, considering only 12% of the precincts have reported their vote totals."

Context? XLV

Sometimes, someone will hit you with a song lyric you weren't expecting, as in this conversation I heard years ago:

Co-worker #1: Daniel, my brother, you are older than me.
Co-worker #2: I'm not older than you.

I wonder if the first co-worker ever explained to the second one that he was quoting Elton John's song, "Daniel."

Just introduce the music...

I gnashed my teeth one day during the '80s upon hearing a DJ say, "These are The Pointer Sisters, sounding like nice young ladies on this record..."

I thought, "No.  Don't do that.  It sounds patronizing." 

The DJ likely meant that as a compliment, but he shouldn't have phrased it that way.  A generic intro, such as, "These are the Pointer Sisters with 'Jump (For My Love),'" would have been better.

Stingray Music highlights LXX

Thursday and Friday highlights:

The Chill Lounge

• Across My Mind-Giacomo Bondi (A spacey instrumental, fit for late nights on a smooth jazz station.)

Cocktail Lounge

• Yesterdays-Cal Tjader (A sly, slinky melody for vibraphone; musty in a good sense.) 

Folk Roots

• Storm In A Teacup-Susan McKeown & The Chanting House (A haunting Celtic number, fit for acknowledging difficult times.  Also recommended: "Ce Leis e?")
• Walk Awhile-Fairport Convention (Spirited fiddling and vocals; a "Full House" album highlight.) 

Holiday Hits

• God Rest Ye Merry Gentlemen-John Tesh & The Christmas Symphony Orchestra (A stately rendition for brass.)

Jazz Latino

• Ponte Pa'L Monte-William Cepeda (An infectious blend of brass, guitar, and vocals.) 

Rewind--'80s & '90s

• Set Adrift On Memory Bliss-P.M. Dawn ("Set Adrift..." samples Spandau Ballet's "True" effectively, without letting it overpower the song.  Also recommended: "To Serenade A Rainbow," "A Watcher's Point Of View," and "Reality Used To Be A Friend Of Mine.")

Silk 

• You To Me Are Everything-The Real Thing (I hear why this was such a big British R&B hit in 1976; vocally and instrumentally, "You To Me..." shows how to execute a well-worn lyrical theme and catch the listener's ear.)

SiriusXM highlights CII

Recent standouts:

1st Wave

• Uncertain Smile-The The (This could segue with The Style Council's "Walls Come Tumbling Down.")

Chill

• Far Away Place Remix-Xinobi/Jody Wisternoff/James Grant (Four recurring sung notes set the tone for this uptempo, trance-based groove.)

Deep Tracks

• You Left Me Sore-Todd Rundgren (Something about the piano part makes me think this could segue with "D.W. Washburn" by The Monkees.)

Escape

• 'Deed I Do-Pete Fountain (A cool, bluesy, flute-dominated rendition; you don't usually hear a lot of New Orleans style in easy listening music, but you do here.)

Real Jazz

• Blues Samuel-Sammy Nestico And The SWR Big Band (Don't let the "Blues" in the title mislead you; this is actually an upbeat big band number that swings.)
• Fly Me To The Moon-Joey DeFrancesco (Smooth organ pyrotechnics and a cool walking bass line make this a strong cover version.)
• For Duke P.-Bobby Hutcherson (A vibraphone piece that cooks, thanks to Hutcherson.  It certainly doesn't hurt to have such luminaries as Joe Henderson on tenor sax and Grant Green on guitar.)

A linguistic irritant VIII

Record companies, while a recording artist is still alive, please don't jump the gun on declaring the artist's career, or at least the hit-making days, over.  I have a Dionne Warwick compilation titled, "Her All-Time Greatest Hits."  Upon closer inspection, however, it contains only her hits from 1962 to 1970.  Although Warwick released a lot of good music during that time, her career and hits extend far past 1970.  "All-Time Greatest Hits?"  No.  Those were her greatest hits during her early years.

Stingray Music highlights LXIX

2013: While listening to music, this witch cat agreed with me that Donovan's "Season Of The Witch" rhyme of stitch with witch is too contrived.

Monday and Tuesday standouts:

Canadian Indie

• Moon Tan-Atlaas (Appropriately spacey vocals and instrumentation.  The tempo of Belle Starr's "Rearview" would lead into it well.  If this song had existed in the early '90s, I would have played it on KCOU.)

Cool Jazz

• Come Rain Or Come Shine-Joe Sample (A lush, elegant rendition for piano and strings.)

Folk Roots

• The One Who Knows-Dar Williams featuring Alison Krauss (A beautiful blend of two well-matched voices underscores the sensitivity in Williams's lyrics.  Also recommended: "I Saw A Bird Fly Away" and "The World's Not Falling Apart.")

Holiday Hits

• Moon Over Bourbon Street-Sting (An appropriate match of haunting vocals with understated instrumentation.  Choose the version in which he sings like himself rather than Louis Armstrong, however.) 
• Psycho: The Murder-101 Strings (I was on the fence about recommending this.  Saying this is a departure for one of the best known easy listening ensembles is an understatement.  Still, it's appropriately grim and tense, which shows the orchestra has range beyond its generally sedate repertoire.)
• Somebody's Watching Me-Rockwell (In an age of webcams, video doorbells, and way too much social media, these lyrics sound all the more prescient.)

Jazz Now

• Les joues roses-Jonathan Turgeon Trio (An appropriately contemplative piano melody, fit for late Autumn.) 

Popcorn

• 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.)

A not-so-eerie Halloween option

Looking for a Halloween-appropriate tune that's spooky, but only mildly so?  Listen to The Manhattan Transfer's "Twilight Zone/Twilight Tone."  I rarely hear it on the radio, but I guarantee it's one of the best-sung tunes of its kind.

Persistent earworm alert CXIII

In recent days, the Little River Band's song, "The Night Owls," has been on a recurring loop in my mind.  I'm not sure what triggered it, but when it was a hit 37 years ago, "The Night Owls" was my idea of edgy rock.  I suppose, in comparison to some of the band's other hits, such as "Cool Change," "Reminiscing," and "We Two," it was.  Lyrically and vocally, the attitude was there.

SiriusXM highlights CI

Saturday and Sunday highlights:

'40s Junction

• C Jam Blues-Duke Ellington (The 1942 version that SiriusXM played emphasized what a toe-tappin' jam this is, particularly for a clarinetist.)

'60s On 6

• Bend Me, Shape Me-The American Breed (I imagine, in late 1967 and early '68, that a lot of teen and twentysomething listeners turned up the radio when this came on.  There must have been a lot of involuntary singing and clapping along with this one.  This catchy, tightly constructed oldie is still a favorite of mine.)

'80s On 8

• Nobody-Sylvia (Despite almost never hearing this song on the radio, it has stayed with me since 1982.  Thanks to "American Top 40," I got to know this tune about keeping a rival for one's significant other at bay through surveillance.  I have to admire the protagonist's resolve and how she summarizes it with a catchy hook.)
• You Don't Want Me Anymore-Steel Breeze (It's deceptively difficult to convey universal sentiments in a fresh, original-for-the-time way.  Steel Breeze pulled it off here and caught the listener's ear from the first five memorable notes.)

Bluesville

• Back Water Blues-Ally Venable Band (Venable sings and plays guitar with the confidence of a seasoned veteran.  If this doesn't suggest a bright future--and a bright present, for that matter--I'm not sure what would.)

Enlighten

• Just As I Am-Chet Atkins (Tasteful, understated guitar playing; par for the course with Atkins.) 

Love

• More Love-Kim Carnes (The rasp in Carnes's voice suits this Smokey Robinson tune well.  "Slow Hand" by The Pointer Sisters would segue smoothly after it.)

Real Jazz

• If I Were A Bell-Jimmy Smith (This much-covered tune works well at an unhurried tempo, played with a bounce, on the organ.)

Spa

• Island Cathedral-Pam Asberry (An appropriate title for a solemn piano piece.)

"Today, on my nuisance of a radio shift..."

Years ago, I heard a morning DJ say, "There's a lot I need to do today, and this shift is sort of in the way."

That's not a recommended career move.  Still, it was considerate to tell listeners that they wouldn't miss anything if they turned off the radio.

Fit for an uptempo fright

Although there's a ton of cool uptempo jazz, very little of it lends itself to Halloween.  If, however, you're looking for a spooky-sounding, jazzy instrumental to underscore your run across a darkened parking lot or garage in the rain on Halloween night, check out "On The Loose" by Slowly.  I pulled out a sampler CD from 1996 today, and the tune left the same haunting impression it did 22 years ago.

Stingray Music highlights LXVIII

Noteworthy selections heard via U-verse this morning:

Cocktail Lounge

• I'm A Fool To Care-Les Paul & Mary Ford (I hear elements of Cass Elliot's voice in Mary Ford's vocals.)
• Ponteio-Astrud Gilberto with Stanley Turrentine (A beguiling uptempo, Brazilian-style stew of vocals, saxophone, rhythm section, and Toots Thielemans on harmonica.)

Easy Listening

• Somewhere In The Night-Cal Tjader (Presenting the cooler, jazzier side of easy listening--with Tjader on the vibraphone.)

Folk Roots

• Percy's Song-Fairport Convention (A strong cover of the Bob Dylan tune about an unjust sentence, featuring some of the group's best Sandy Denny-led vocal harmonies.) 

Jazz Masters

• Tangerine-Coleman Hawkins & Ben Webster (Two renowned tenor saxophonists carry off an excellent midtempo rendition.) 

Jukebox Oldies

• Before And After-Chad & Jeremy (An effective lyrical contrast in a person when he was with someone and when he wasn't.  Pop music lost a bit of its wide-eyed sincerity when it stopped sounding like this.)

Nature

• In The Rainforest-Part 1-David Sun (A diverse array of bird songs, with calls and responses.)

Pop Classics

• Edward Elgar: Cello Concerto in E minor, Op. 85: I. Adagio-Moderato (London Symphony Orchestra/Sir John Barbirolli, conductor; Jacqueline du Pre, cello) (If you're seeking dramatic, gripping swells of sound, this is your movement.)

World Carnival

• Arianita-Quantic & Combo Barbaro (World Lounge would also be an accurate categorization of this appealing number with its percolating piano underscoring.  This could segue with the Gilberto/Turrentine tune, "Ponteio," reviewed in the Cocktail Lounge section.)

SiriusXM highlights C

Some of the best selections I heard this morning:

Bluegrass Junction

• Save This Heart-Molly Tuttle (One of the strongest "Can this relationship be saved?" songs I've heard; Tuttle's forthright vocals and guitar playing could segue with Nickel Creek's "Smoothie Song" or any number of Sara Watkins songs.)

Bluesville

• Do I Ever Cross Your Mind?-Ray Charles & Bonnie Raitt (A great pairing of stellar, accomplished performers who know how to portray heartache in their vocals many times over.) 

Classic Rewind

• Just A Job To Do-Genesis (If you put aside the ominous implication of surveillance in the lyrics, this is a great listen.  Phil Collins kicks the energy level into the stratosphere here.)

Real Jazz

• Wave-Eddie "Lockjaw" Davis (One of the coolest, breeziest, uptempo melodies for tenor sax; Paul Desmond's version of Paul Simon's "Was A Sunny Day" would sound great before it.)

Siriusly Sinatra

• They Didn't Believe Me-Charlie Watts Quintet (Bernard Fowler's committed vocals sell the lyrics about being smitten convincingly.  The strong CD from which it originates, "Warm & Tender," was a frequent go-to choice for me when programming my shifts on WEW.  Also recommended: "Bewitched" and "My Ship.")

Soul Town

• Oh, What A Night!-The Dells (Lyrically, everything is right on the surface here.  Instrumentally and vocally, this 1969 hit sounds a like doo-wop throwback.)

Symphony Hall

• Franz Schubert: "Rosamunde" Overture (Cleveland Orchestra/George Szell, conductor) (Conveys turbulence and joy in equal, gripping measure.)

Underground Garage

• See My Way-The Who (Should I feel sorry for the protagonist, who feels persecuted for his point of view, or for the person whom he believes should think as he does?  In either case, this is a fun, short tune that's somewhat overlooked on the radio.)

Leaving the question dangling

In the spirit of Halloween, I'm reminded of the eeriest outro of any radio show.  When you're looking to bid your audience a turbulent good night, you can hardly do it more effectively than Himan Brown.  I always thought his ending CBS Radio Mystery Theater episodes with, "Pleasant...dreams?" was pitch perfect.

FM dial scan highlights CIV

Standout selections from recent weeks:

KDHX 88.1 FM

• Mat Troi Den (Black Sun)-Phu'o'ng Hoang & Minh Xuan (Emotive Vietnamese vocals over infectious Jimi Hendrix-style guitar backing.)
• Never Asked For It-Sorry, Scout (I can't ask for more blistering commitment from a lead vocalist or a band; this local band is fit for KSHE, as far as I'm concerned.)

WSIE 88.7 FM

• Four On Six-Wes Montgomery (Solid, straight ahead jazz guitar and rhythm section; as usual, it's a captivating recipe.  Also recommended: "Polka Dots And Moonbeams.")
• Seven Years Of Good Luck-Joe Sample (There's an accessible spookiness to this melody, which made it appropriate theme music for KNJZ's "Lights Out, St. Louis.")
• Can't Run But-Paul Simon with yMusic (It was a pleasure to hear this new, reworked version during the "New Music Spotlight" feature.  It's ear-catching to hear Simon sing this with backing that's reminiscent of "Peter And The Wolf.")

WFUN 95.5 FM

• People Get Ready-The Impressions (Lyrics of hope and salvation that command respect.  This version's gloss is appealing, but if you want to hear an equally or perhaps more poignant rendition, The Persuasions recorded an excellent a cappella version of it.)
• I Love You For All Seasons-The Fuzz (With harmonies this endearing, it's puzzling that this 1971 release was the band's only top 40 hit.  As the DJ said, "This is what good music feels like.") 

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

• Charlie Chaplin: Smile (From "Modern Times") (Anne Akiko Meyers, violin) (This is the most I've heard a violin sing in some time.  The fade-out is particularly resonant.)
• Ottorino Respighi: Pines Of Rome: IV. The Pines Of The Appian Way (Academy Of St. Martin In The Fields/Sir Neville Marriner, conductor) (I've raved about the structure of this heroic movement before.  During the morning I'd heard it, I had just seen a beautiful sunrise.  This movement underscored how gripping it was; it was a grand, effective way of saying, "And now, presenting the new day...")
  

The theme to end all news themes

I remember first hearing the six-tone CBS Radio News theme in the '80s.  It's so Pavlovian for me now that, even when I'm not listening to the radio, I still hear it in my mind at the top of the hour.  Decades later, it's still the theme that indicates, "This is the news."

That's a theme with staying power.

Even if only five people listen...

...it's reassuring to know that public affairs radio programs still air on Sunday morning.  In a world that isn't always as civil as it should be, it's comforting that sedate discussions about local issues still take place.

Context? XLIV

Heard two days ago on a Connecticut radio station: "They got established before the deer could eat them."

That's a sentence you don't hear often during an interview.  When I doubled back to the station, I learned that the guest was specifying which types of grasses are safe to plant around animals and where and when they should be planted.

Online radio sampler highlights LXXXIII

Five noteworthy tunes heard yesterday:

KAFM (Grand Junction, CO)

• Fight-Vanessa Peters (A new release with refreshingly honest lyrics about fearing failure and feeling weary--and a good pep talk about finding inner strength.)

KEXP (Seattle, WA)

• The Mayor Of Simpleton-XTC (One of XTC's strongest tracks, with powerful, confident vocals and percussion that makes you want to drum along on the dashboard.  Lyrically, the tune reminds me of Sam Cooke's "(What A) Wonderful World."  In each song, the protagonist claims not to know much; it's obvious, however, that both protagonists are smarter than they claim to be.  As much as I love music, I'm parsimonious about giving songs A grades.  "The Mayor Of Simpleton," in my view, deserves an A.)
  

WCBN (Ann Arbor, MI)

• Theme From Konono No. 2-The Ex & Brass Unbound (While listening to the intro, I half-expected to hear Saga start singing an alternative arrangement of "On The Loose."  Instrumentally, this is an appealingly energetic mix of guitar and trumpet.  It was also an interesting way to segue from a polka show to a rock show.)

WRTI (Philadelphia, PA)

• Early Autumn-Stan Getz (One of the warmest saxophone tones any listener could want.)
• What's New-George Benson (A sublime, melodic rendition for guitar and piano.)

Context? XLIII

Heard during a noncommercial California radio station's pledge drive: "It's all being funneled into the massage fund."

I didn't hear what preceded that statement, but the announcer then went on to tout the station's benefits and the sacrifices it has made, so whatever she said before the funneling comment was presumably sarcastic.

Full-fledged support--with an asterisk

For two school years, at my college bass teacher's request, I gave bass lessons to a high school student after school.  Just before the student's second year, I asked his mother for a pay increase.  At the start of the next lesson, the student told me, "I hear you asked for an increase.  It's not my money, so I think you should get it."

There's nothing like support with a disclaimer.  Or, as a former supervisor used to say, "I'm with you, win or tie."

Persistent earworm alert CXII

I wish these were only hypothetical situations for me, but they aren't.  In recent weeks, I had trouble with my voice coming back after a shot for dysphonia.  I went to an urgent care center, where I was diagnosed with acute sinusitis; this further delayed the return of my voice.  I got my voice back, but shortly after that, I discovered I was allergic to one of the sinusitis medications; this resulted in a visit to the emergency room and yet another in a series of prescriptions.  Appropriately, the chorus of a Richard Dimples Fields song, which is also its title, has run through my mind a lot lately.  If you remember hearing it, as I did, on KMJM in the early '80s, let's all sing the chorus...

...Ready? 

"If it ain't one thing, it's another..."

Only human, after all

This shouldn't have irritated me.  First, a radio news anchor got tripped up in a sentence and had to say it again.  Shortly after that, a reporter stumbled when saying, "integrity."  Neither of them intended to make mistakes.  Stumbling over a word or sentence isn't a crime, and it can happen to anyone.

I wonder now why I glared at the radio.

Kid or adult music? Splitting the difference

If you're a parent of young children, you probably want them to have at least some exposure to music.  In their formative years, you likely want them to learn skills and values that are important to you.  Other times, you might want them to hear how catchy and fun music is at its best.  How do you choose music that reflects your objectives without being too saccharine?  Craig & Company has the answer in the song, "P.B. And J."  Lyrically, it's overtly tailored to kids; musically, however, it resembles Van Morrison's "Moondance."

That's an impressive trick to pull off--communicating directly with your preschool through kindergarten audience without driving their parents mad.

Stingray Music highlights LXVII

Thursday morning standouts:

Alt Rock Classics

• Home For A Rest-Spirit Of The West (Ordinarily, I don't recommend songs about consuming too much alcohol, but instrumentally, this is such a spirited reel.)

Cool Jazz

• Pensativa-Art Blakey & The Jazz Messengers (An inviting bossa nova-esque stew of trumpet and rhythm instruments.) 

Folk Roots

• Gone Too Soon-Sarah Jarosz (It's a shame that we can't freeze all the positive emotional moments we want and stay in them for as long as we'd like.  Jarosz conveys such wistfulness convincingly.)
• Lay Low-Gretchen Peters (It's also a shame that we drift apart from people over time.  Thoughtful lyrics such as these remind us that, if nothing else, we can always try to decompress.)
  

Jazz Now

• Emptiness-Trio Elf (Appropriately bleak piano underpinning with an intermittent techno feel.) 

Pop Classics

• Ottorino Respighi: Antiche Danze ed Arie per Liuto, Suite No. 3: III. Siciliana (Ensemble Amati) (When I hear Respighi's name, I think of the the last movement of "Pines Of Rome" and expect reflexively to hear a brassy, heroic movement.  After hearing the third movement of this suite, I was glad to be reminded that Respighi was also adept at composing tender, downcast music for strings.)

Retro R&B

• The First Time Ever I Saw Your Face-Roberta Flack (I like Pete Seeger's and Roberta Flack's versions of this for the same reason; both renditions, in their own ways, convey the emotional intensity of a moment in which a person's life changed for the better.) 

Revival--'60s & '70s

• Move On Up-Curtis Mayfield (One of Mayfield's best uptempo tracks; the song sustains its vibe for all nine minutes.  It's effective motivational music for getting up and starting the day.)

Rewind--'80s & '90s

• All Time High-Rita Coolidge (Lyrically, this sounds like any number of soft rock songs, but Coolidge sells it, and it crescendos effectively to its chorus.  I always thought this deserved more airplay.)

SiriusXM highlights XCIX

Standout selections heard Wednesday afternoon:

Classic Vinyl

• Hymn 43-Jethro Tull (If you're 40 or older and have even the slightest affinity for album rock, you've probably played this recurring guitar riff on a real guitar or air guitar, maybe involuntarily.)

The Coffee House 

• Kiss Me (Exclusive)-Marie Miller (An endearing acoustic cover of the Sixpence None The Richer hit.)

Escape

• Airport Love Theme-Vincent Bell (The wah-wah-wah-wah reverberation screams, "1970!"  I keep expecting Barry White to start speaking over this of-its-time R&B arrangement.) 

The Groove

• Walking In Rhythm-Blackbyrds (Some of the sunniest vocals of the '70s, fit for days when everything is going right.) 

No Shoes Radio

• Summer Wind-Willie Nelson (Nelson sings this with grit and understanding, and the backing instrumentation, especially the harmonica, gives the lyrics additional heft.)

Real Jazz

• Gravy Train-Lou Donaldson (We should all feel accomplished to make it to age 91, as Donaldson has, and have walking saxophone melodies as hip as this among our life's work.)

Soul Town

• Ask The Lonely-The Four Tops (This was a hit in 1965, but I don't think I've ever heard any radio station play it.  If you need a heartbreak-based tune in which to wallow, this is it.  Levi Stubbs conveys every ounce of pain the lyrics require.) 

Spa

• Tally's Lullaby-Karen Marie Garrett (A heartfelt, sensitive melody for piano and cello.) 

Symphony Hall

• Frederic Chopin: Ballade No. 4 in F minor, Op.52 (Arthur Rubenstein, piano) (Beautiful synergy between the treble and bass clef parts; an initially tender piece that indulges appropriately forceful flights of fancy.) 

Watercolors

• Out Of The Blue-Maysa (Smooth vocals in an uptempo groove fit for late nights.  Also recommended: "Friendly Pressure.")

A welcome divertissement

I had just heard the Cologne Chamber Orchestra perform Mozart's Divertimento No. 11 in D major on SiriusXM this afternoon.  Unexpectedly, the Symphony Hall announcer mused, "Isn't it nice to be diverted?" 

Well, yes--especially when you use Classical music, per the announcer, as "a respite from the news."  In fact, I don't want to stop with being diverted.  I'd also like to be enraptured by a rhapsody, knocked out by a nocturne, and feel simpatico with a symphony.

So often, the news is just that depressing.

Even if I were prescient...

...this would still be a surprise.  I've been watching highlights of Fleetwood Mac's concert in Chicago from last Saturday.  As much of a fan as I've been of Fleetwood Mac for decades, I could not have predicted that in 2018, I'd be watching and enjoying their versions of Split Enz's "I Got You" and Crowded House's "Don't Dream It's Over," with Neil Finn on lead vocals.

Seek out the clips, and prepare to be impressed.  Finn fits in easily with Fleetwood Mac.

Statistically unlikely, but...

I knew the odds of this were extremely small when I was a kid.  Still, when I heard "American Top 40"'s Casey Kasem announce that a favorite song had moved up a notch, I liked to think, "It must have been my purchase of the single that did it."

Welcoming wake-up music

I wasn't fully awake, but I could have sworn I heard an ice cream truck playing a faster-than-usual version of "O Canada" on my street this afternoon.  That's not a bad way to be awakened.  After all, it's difficult to work up any ire toward a truck driving by with ice cream that people want. 

I'm glad that everything in life doesn't work that way, though.  I'd be angry, for instance, if I could only purchase health insurance when a truck drives by at unexpected intervals playing Pink Floyd's "Money."

Birthday perspective

In the back of my mind, I sometimes hope that positive, interesting local or national news will happen on my birthday, and that I'll record at least one newscast capturing the emotion of the moment.  When that doesn't occur, as was the case today, I remind myself that Olivia Newton-John was wise to ask, "Have you never been happy just to hear your song?"  Today, I've been happy--to hear Stan Getz with Charlie Byrd, Lena Horne, and Cannonball Adderley on WSIE, Joni Mitchell and Mary Chapin Carpenter on KDHX, and the start of a new season of "Live From Here" on KWMU.

On a day that's already positive for me, what more do I really need or want from the radio?

FM dial scan highlights CIII

Five of the best tunes I've heard on the radio in September and early October:

KDHX 88.1 FM

• 17 Days ("Piano & A Microphone 1983" version)-Prince (I've written before about this being one of my favorite Prince songs; I like this expanded, freewheeling voice-and-a-piano demo as much as the previously released studio version.)
• Old Stuff, New Glass-The Orielles (Great jangly synergy between the guitar, bass, and vocals; a power pop highlight of 2018.)

WSIE 88.7 FM

• All Over-Phoebe Snow (I was pleasantly surprised to hear WSIE play this 1976 album track. Lyrically, this is an honest yet humble way of saying, "I'm enjoying the success I'm having, so I hope it lasts as long as possible.")
• Many Moons-The Bosman Twins (Bravo to WSIE for playing a track by a local artist each hour for much of the day.  This mid to uptempo saxophone-and-flute number brings Grover Washington, Jr. to mind.) 

KWMU 90.7 FM

• One Million Circumstances-Randy Brecker & Mats Holmquist with UMO Jazz Orchestra (A brassy theme fit for the Olympics or "Wide World Of Sports.")

Persistent earworm alert CXI

Strangely, Toni Basil's "Shopping From A To Z" has infiltrated my mind today.  I've never listened to the entire song, but I know Basil deserves credit for admitting that she didn't buy anything starting with the letter X.  Even today, when you can buy yogurt and a lawn chair from the same store, it would be stretching things to say that you bought an x-ray machine or a xylophone from the same store that sells apples and liver.

Only in college LIX

As basic as it sounds, there's one central question a music reviewer must answer.  As one college DJ wrote on an alt-rock review sheet next to the critic's cryptic summary, "What does it sound like?  You've heard it.  I haven't."

Only in college LVIII

I enjoyed writing CD reviews for KCOU.  As jazz director, I reviewed mostly jazz albums for the station.  The review sheet attached to each CD always included three sections: Review, Opinion, and Best Tracks.  I always liked this format, as it gave the reviewer the chance to say all that needed to be said about an album and gave the DJs a good overview of what to expect.  Naturally, it was easier to write an entirely positive review than a more critical one.  Here, for example, is a review I wrote in May 1993:

Artist: Vanessa Rubin
Title: Pastiche
Label: Novus

Review: Rubin claims a range of vocal influences, including Sarah Vaughan, Ella Fitzgerald, Nancy Wilson, and Lambert, Hendricks & Ross.  All styles appear at various times and are skillfully rendered and appealing.  A talented, all-acoustic team of rhythm musicians adds considerably to Rubin's already strong vocals.

Opinion: One of the more appealing vocal releases to enter the jazz format.  Hear this one out.

Best Tracks: 1, 6 (good bare bones bass line), 7 (cool brass arrangement), 9 (tasty Jimmy Smith-style rhythm arrangement; cool organ line from Aaron Graves), 11

Stingray Music highlights LXVI

Standout selections from recent days:

Alt Country-Americana

• Everybody Knows-The Jayhawks (A lyrically compelling pep talk for times when you feel overwhelmed.  The Dixie Chicks recorded a strong version of this, as well.)

Alt Rock Classics

• Policy Of Truth-Depeche Mode (Not exactly a pick-me-up, but the chorus and general vibe of the tune don't leave my mind easily whenever I hear it.  I imagine some listeners would also have this reaction to it.)

Baroque

• J.S. Bach: Sonata No. 2 in A minor, BWV.1003 (Isabelle Faust, violin) (An appropriate solo violin piece for melancholy times.)

Folk Roots

• Whippoorwill-Sparrow Blue (This release from January features endearing vocal harmonies, harmonica, and acoustic guitar.  This would fit in well on KDHX's "Backroads" playlist.)

Jazz Masters

• The Nearness Of You-Teddy Edwards (Sultry saxophone stylings.)

Jazz Now

• Lament-Steve Davis (The melody of this appropriately titled piano-anchored piece sports a melody that's sorrowful but tinged with hope.) 

Retro R&B

• (I Know) I'm Losing You-The Temptations (The vocals convey the uncomfortable realization in the lyrics effectively.)

Spa

• Floating-Ken Bonfield (A warm, tender guitar melody with an undercurrent of strings from a consistently strong album, "Homecoming."  Also recommended: "From A Friend" and, really, anything from the "Mystic Morning" and "Homecoming" albums.)

"Now, some serious music. Listen!"

It's odd.  I'm not being tested, and no one is ever around to see me react this way, but whenever a Classical announcer refers to "Johann Sebastian Bachhhhhhhhh" with an elongated h, I sit up a little straighter. 

I'm probably not the only listener who feels like he'll be scolded if he doesn't pay attention.

A historical memento

Even though the turntable in the WEW studio didn't work when I was a DJ, I still liked having it there.  It was a nice reminder of the station's--and the music's--history.  Considering that the station had been on the air for 75 years when I worked there, that was a lot of history to recall.

SiriusXM highlights XCVIII

Noteworthy tunes heard yesterday:

'60s On 6

• Wichita Lineman-Glen Campbell (Campbell's wistful vocals nail the confessional intent of Jimmy Webb's lyrics.  Dee Felice Trio also captured the tune's wistfulness effectively in its piano-anchored instrumental version, and Ghost Of An American Airman recorded a solid indie rock cover of it.)

The Bridge

• Eye In The Sky-Alan Parsons Project (Thirty-six years later, this song's relatively mild-mannered rage still intrigues me.  Lyrically, it's an interesting way of saying, "I have power, but don't tempt me to use it.") 

Outlaw Country

• A Feather's Not A Bird-Rosanne Cash (Many aspects of this life are bigger than we are as individuals; Cash acknowledges this in a memorable chorus.)

Real Jazz

• Junction-The Art Farmer-Benny Golson Jazztet (A classy trumpet and saxophone-led number, with an excellent recurring piano transition, fit for a combo leading a slow dance or a big band.) 

SiriusXMU

• Nobody-Mitski (I have to respect any song that can combine such disparate elements as Isaac Hayes's "Theme From 'Shaft,'" ELO's "Livin' Thing," and Keren Ann's "Not Going Anywhere," while still sounding fresh and original.  These are some of 2018's more endearing vocals and piano playing.)

Soul Town

• Sitting In The Park-Billy Stewart (Is the protagonist making the right choice?  The listener can't help but sympathize with his plight in this 1965 R&B hit that deserves more recognition.)

The Spectrum

• Please Forgive Me-David Gray (Effective lyrics about being awestruck.) 

Persistent earworm alert CX

Some days, in the midst of checking mundane tasks off of a list, a song will pop into your mind and make everything seem less tedious.  That's the case for me with the metal cover of Toto's "Africa," by Leo Moracchioli featuring Rabea & Hannah.  While I'm still more inclined to listen to the original version, the tune works better than I thought it would in a guitar-heavy version with manic lead vocals.

Sometimes, when you open your mind a bit, you find that an odd-sounding concept isn't so implausible, after all.

Stingray Music highlights LXV

Noteworthy tunes heard through U-verse recently:

Adult Alternative

• Is It Like Today?-World Party (Good lyrics offering a historical perspective from 25 years ago that's needed in this country today.  "How could it come to this?"  Indeed.)

Cool Jazz

• All That I Need Is Love-Melody Gardot (Lyrically and vocally, this is a natural segue with Norah Jones's "It's A Wonderful Time For Love.")
• Triste-Oscar Peterson (This percolating piano melody hooks me from the first note, regardless of whether Kenny Barron or Oscar Peterson plays it.)

Everything '80s

• Get On Your Feet-Gloria Estefan (To my ears, "Get On Your Feet" holds up best among Estefan's non-ballad hits.  A lot of her ballads follow a similar template, so it's energizing to hear a get-up-and-go song sung and played with this much resolve.)

Folk Roots

• Sovay-Low Lily (This strong, brisk rendition of a traditional English tune, released in March, features excellent Celtic-style singing, mandolin, fiddle, and guitar.)
• Swept Away-Missy Raines featuring Alison Brown, Becky Buller, Molly Tuttle & Sierra Hull (An appealing blend of vocal harmonies against bluegrass instrumentation.)
• Weather Out The Storm-Figgy Duff (There's an epic quality in the vocals that makes me wonder how October Project's Mary Fahl would sound covering this.)

Jazz Latino

• Armame-Lauren Henderson (This could segue with Doris Day's version of "Perhaps, Perhaps, Perhaps.") 

Jazz Masters

• Blue Moon-Ben Webster (The Marcels topped the charts with their spitfire vocal rendition of this in 1961.  As memorable as their version is, Webster's elegant version shows the tune is even better served as a slower, romantic tenor sax instrumental.)

Latin Lounge

• Voyage-Kike Fernandez (Soothing, sultry-sounding piano that falls somewhere between easy listening and smooth jazz.)

Overthinking this listening-to-music concept

While listening to a stack of 45s recently, I slipped into program director mode.

"Let's see," I thought.  "I was going to play this next, but it doesn't segue as well with the song playing as this one would.  It makes more sense to play this other song next, so that's what I'll do."

Then, I thought, "I'm not programming a radio station here or being a DJ at someone's wedding.  I'm just listening to 45s for fun.  Nothing has to segue with anything.  The only question for me should be, 'What songs do I feel like hearing?'"

That realization didn't stop me from reshuffling the records and playing them in the order that made the most musical sense.

In my defense, though, Gino Vannelli's "I Just Wanna Stop" segues smoothly after Earth, Wind & Fire's "After The Love Has Gone," and The Mini-Skirt Mob's version of "Be My Baby" leads right into Pat Benatar's "Little Too Late."

That's what listening to music for fun is all about, after all--following rules...

SiriusXM highlights XCVII

Standout tunes heard yesterday:

'80s On 8

• (Keep Feeling) Fascination-The Human League (A prototypical early '80s track that must be heard in its album incarnation; it's incomplete without the organ intro.  Well-crafted interplay between all vocalists and the synthesizer..."And so the conversation turned..." is one of the great transitions in any pop song.)

Deep Tracks

• Bluebird Revisited-Stephen Stills (A well-structured, imaginative build to the chorus; the trumpet backing adds to its appeal.)

Garth Channel

• Like We Never Had A Broken Heart-Trisha Yearwood (Life does a number on everyone at one time or another; Yearwood reminds us that it shouldn't stop us from enjoying life's positive aspects.)

Lithium

• Sick Of Myself-Matthew Sweet (One of the most ear-catching guitar-and-drums rock intros; when I think of the mid '90s, this sing-along track comes to mind frequently.)

Real Jazz

• It's The Talk Of The Town-Gene Ammons (The production on this track makes Ammons sound as though he's playing tenor sax off in the distance.  With a tone like this and elegant piano backing to match, it's a sound worth emulating.)

Siriusly Sinatra

• Good Morning Heartache-Gladys Knight (Knight emotes effectively in this fine cover, with appropriately lush backing from The Clayton-Hamilton Jazz Orchestra.  Also recommended: Laura Fygi's rendition.)

Three cheers for civility

There was something refreshing recently about hearing someone call in to an AM radio station.  She was asking how to rid her yard of moles, and the host gave her the names of two companies that could help her.  Although hearing the caller verify the spellings of each company's name didn't make for riveting listening, it was reassuring to hear a host being helpful and two strangers treating each other civilly. 

You don't hear as much of that type of civility on the radio--or in life--these days.

In memory of Nemo the cat

This type of post never gets easier to write, but that's appropriate, under the circumstances.

My brother's cat, Nemo, passed away today.  The rest of our family didn't know Nemo as well as my brother did.  We knew him well enough, however, to value him as a unique, independent-minded cat we'll never forget.

Memories of the fighter in Nemo bring to mind a particular Isley Brothers song.  Contrasting memories of him staring transfixed at lighted candles on a birthday cake remind me of Fleetwood Mac's subtle, album-closing mood piece, "Caught In The Rain."

Recollections of Nemo looking out at the sun from my brother's condo make me think of Michael Gulezian's guitar piece, "Sunrise Over Lock & Dam 5a."  The piece, like Nemo, comes across as somewhat guarded, at first.  As the piece builds, much like a sunrise, however, and the strings start to swell, it's gripping to hear in its entirety.  It captures the breathtaking nature of a sunrise and the gravity of each sunrise's uniqueness.

As an intelligent cat, I imagine that Nemo would have appreciated Gulezian's "Sunrise..."  Also, as my brother's cat, I'm sure he heard some fine jazz.  I suspect that the piano and trumpet elegance of a Sean Jones Quartet tune, such as "We'll Meet Under The Stars," would have gone over well with him as he sat on the couch or looked out the window.

To anyone who is mourning the loss of a pet: Although it's said that "time heals all wounds," I think a more accurate phrasing is, "In time, you come to terms with some wounds."  Patty Griffin captures this feeling in her sparse, passionately sung tune, "You'll Remember."  Its acoustic bass underscoring makes her lyrics resonate all the more.

Can't say this to just any customer

I'd find it refreshing if a record store worker would put an honest spin on the often unnecessary question, "Need any help?"  Just once, I'd like to hear a clerk ask, with mock seriousness, "Need any assistance with the intricacies of the alphabet?"

When cutting someone slack is appropriate

Someone compiled a cue sheet in a '70s edition of "American Top 40" using a manual typewriter, as the syndicate-provided cue sheet was missing.  Instead of The Captain & Tennille, the typist identified the duo as The Captain & Tinio.  I was amused, at first, but then, I started thinking.  It was surprising there weren't more such typos in the list, considering the typist on that day in the mid '70s didn't have Internet access and probably didn't have easy access to a pop music reference book.  The list could also have been typed on a tight deadline before any record stores were open to confirm the correct spelling.  Furthermore, about two decades later, a co-worker and I referred incorrectly to "Brolidar and Big Jim Nahgahro" in a song we'd heard.  Most likely, the list was intended for in-house reference only.

While The Captain & Tinio was incorrect, it was a somewhat understandable error, under the circumstances.

Persistent earworm alert CIX

I haven't eaten Apple Jacks cereal in years, but decades later, strolling through the cereal aisle of any grocery store still triggers the Apple Jacks jingle in my mind.  It's peculiar to think, "Cinnamon toasty, apple tasty, Kellogg's Apple Jacks," even while contemplating one's own mortality.

Pick yourself up--or lull yourself to sleep...

I don't know why this didn't occur to me earlier.  One of Ron Carter's catchiest bass melodies, to me, has always been "N.O. Blues."  For decades, I've thought, "What do the central recurring notes on the bass and piano remind me of?"  The answer should have been obvious: "Three Blind Mice," if the mice had formed a jazz combo.

If Carter's interpretation is too raucous for you, seek out the recently released Einstein Baby Lullaby Academy/Monarch Baby Lullaby Institute rendition.  Their rendition of "Three Blind Mice" recasts the tune as a new age lullaby, meant to induce sleep, though not in any great hurry.

Not the way to rise and shine

Years ago, over a song intro on a morning radio show, I heard the sound of a rooster crowing, followed by gunshots.  Although it was just a sound effect, the implication that the rooster should be shot irritated me.

We all have times when we'd rather sleep in, but there's no reason to shoot a rooster just for doing what it does.

"This is music, aged one."

At a previous job, I bought some cookies for those who worked with me.  A worker who was about 20 years younger than me said, "The only way this could have been better is if you'd brought Sick Puppies with you."  After a pause, he added, "It's a band."

While I hadn't heard much of the band's music, I'd heard of Sick Puppies and knew that KPNT played their music.  The older you get, however, the more I think it's assumed that you haven't heard of certain bands.  It's part of the "Hello, old person who is old," implication that comes with being older.

I'm not one to seek out parades...

...This morning, however, I made a concession to the parade I heard from my kitchen.  As the drum corps struck up a tune, I marched in time to the refrigerator, got out some juice, and drank it in 4/4 time.  I then marched over to my cat, Sylvia, who knows me well enough not to be puzzled by such quirky behavior.  She didn't start marching in time, but I suspect she would have if she hadn't been so sleepy.

Hearing some type of music performed by someone

Heard several years ago at a concert:

Audience member #1:  So, do you like (the artist about to take the stage?)
Audience member #2:  I don't know.  Who is she?  Is she a rocker?  She looks like a rocker.

It's puzzling that someone would attend a concert without knowing anything about the artist performing or even what type of music to expect.  At least he was approaching the concert with an open mind.

"In today's hydration news..."

Recently, I dreamed that I'd hired my cat, Sylvia, as the news director of a radio station.  I knew that faucet water was one of her passions:

Still, I wasn't prepared for her first newscast.  Her first story was about the lack of safe drinking water in third world countries.  That was an unusual lead story, but lack of water is a problem.  Her next story was about lead being found in some local business water fountains.  Fair enough, I guess; if there was lead in my drinking water, I'd want to know about it.  I drew the line at her third story, though; a survey allegedly showed that guardians who give their cat three or more drinks of water from the faucet per day increase their chances of gaining entry into Heaven by 45%.  She didn't cite the source of her survey; I didn't have the heart to tell her that I suspected she'd made it up.  At that point, I woke up.  If this had happened in real life, I'm sure I would have told Sylvia that her  newscasts would need to contain a wider range of stories.

Still, I guess we all filter the news according to our own priorities.

Only in college LVII

Once, on KCOU, I played "I Can't Wait" by Nu Shooz.  Outside of the "Retro 88" show, a fair number of listeners might have found it too populist for a station that strives to promote new and diverse music.

The song hadn't been playing for long when KCOU's most frequent listener called in and asked, "Drew, why are you playing this?"  He had a slight chuckle in his voice as he spoke.  Just for a moment, I started to second guess myself.  That moment doubt passed quickly, though, as I replied, "I know it's more mainstream than most of what we usually play during a general shift, but it has a strong hook and a lot of listeners took to it when it was a hit.  It also segues well with the song I played before it.  We play a lot of new and obscure music here, so now and then, it's refreshing to play a more familiar song that people know and like."

Once you get into the mindset of "Music no one has heard before is good," however, your radio station's most frequent caller sometimes becomes the arbiter of what fits the station's format--at least for a moment.

A post I never want to write

For the fifth September 11th since I started this blog, I'm forcing myself to write a post.  How do I write, once again, about such an awful day?  I have recordings of radio newscasts from that day; someday, I'll finally bring myself to listen to them again.  Not today, however.  Today, I've been reading articles about how September 11 changed people's lives and listening to "New York, New York" by Ryan Adams.  It was appropriate for "Saturday Night Live," during its first show after September 11, 2001, to have Adams sing his new song about the rejection he'd faced in New York, which includes the chorus, "Hell, I still love you, New York."  It's still difficult to watch the video he'd filmed for "New York, New York" four days before the 9/11 atrocities; knowing that such a significant part of the landscape disappeared in such a hateful, despicable way just four days later makes me want to just hear the song without any visual accompaniment.

I'm sure I'm far from alone in that department.

"Let's hear that song you almost never play."

It was always awkward when a listener called a radio station and asked to hear a song the station didn't have.  It was especially awkward when the song had been played on a prerecorded show.

"I'm sure I've heard it before on your station," the listener would say.

"Yes, but it was on a syndicated show that we run," I'd reply.  "We don't actually have that song in our library."

I couldn't blame the listener.  Most listeners don't think, "This song must be part of the approved rotation that's only played during certain times of day.  This other song must be part of the station's heavy rotation.  And this one is only being played because it's part of a national countdown or specialty show."

To most listeners, a radio station is simply a source of music they like.  That's worth remembering when you talk to listeners on the phone.