Persistent earworm alert CVIII

Inexplicably, "Saturday Night" by The Bay City Rollers infiltrated my brain several hours ago and hasn't let up.  It was a chart-topping hit at the beginning of 1976 and set the tone for most of that year's not-especially-cerebral smash hits.  Everything about the lyrics is right on the surface; it's simply about someone wanting to keep dancing to the rock & roll on Saturday night.

"Saturday Night" wasn't Gordon Lightfoot's "The Wreck Of The Edmund Fitzgerald" by a long shot--but, commercially, at least, it didn't need to be.  Many of the chart-topping hits of '76 weren't intended to be anything more than feel-good dance tunes.  Even though it sprang to mind involuntarily, I have to credit the tune for its staying power; not every song stays in your mind 42 years after it was a hit.

Groovin'

It might have been the DJ's first shift at a radio station years ago.  If not, it was probably still early in his announcing career.  As I listened, I kept hearing him back announce or introduce songs by saying, "The name of the groove was (or is...)" 

Although it was unusual to hear a DJ refer to every song as a groove, it was still an improvement over hearing a DJ back announce a set with, "OK, that was..."

FM dial scan highlights CI

Six noteworthy selections I've heard this month:

KDHX 88.1 FM

• I Wish I Was The Moon-Neko Case (Case's contemplative side is on display in her vocals here.  I'd be curious to hear Hem or She & Him cover this.)

WSIE 88.7 FM

• 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.")
• Talk To Me-Kandace Springs (Springs has a strong voice that's ideal for such middle-of-the-night laments.  Also recommended: "Novocaine Heart.")

WSDZ 95.1 FM

• The Question Is-The Winans (Smooth vocal harmonies with reassuring lyrics for people of faith.  The throbbing instrumental undercurrent on the rerecorded version is an interesting choice that makes the lyrics no less effective.)

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

• Sun Goddess-Ramsey Lewis (This title track from a Ramsey Lewis album is an excellent seize-the-day anthem.  Instrumentally, it hooks you from the first note, and Earth, Wind & Fire's recurring vocal punctuation should make anyone want to get out of bed and take on the world.  This was one of my favorite songs to play on KNJZ.)
• Louis Moreau Gottschalk: Souvenir de Porto Rico (Ivan Davis, piano) (This somber, uptempo melody has stayed with me throughout the morning.  I'm trying to remember the last piece I heard or played in the somewhat unusual key of E-flat minor.)

Only in college LIV

As the intro to Nazz's "Open My Eyes" played, I said on my answering machine announcement, "We're wandering around aimlessly in a circular room with no known exit.  When we eventually find a means of escape, we're going to a place where the word bureaucracy does not exist..." 

I still think "Open My Eyes" was the best song I could have chosen to support those statements.  It also elicited several comments from callers, including a woman who said, "Like, totally psychedelic," and a solicitor who said, "This is (so-and-so) from yet another bureaucracy, the American Red Cross..."

I always appreciated it when callers played along that way.

Caught up in the moment

Logically, there's no reason why adult concertgoers should respond when a singer on stage says, "Everybody, scream!" or "Everyone, sing, 'Yarga, yarga, yarga!'"

Much like the wave at a baseball game, however, it's not about logic; it's about taking in the fun and spirit of the concert--even when it doesn't quite make sense.

SiriusXM highlights XCVI

Standout tunes heard this morning:

'60s On 6

• Soul Limbo-Booker T. & The MGs (This energetic instrumental could get almost anyone up and moving; George Benson's version is excellent, as well.)

'80s On 8

• That Old Song-Ray Parker, Jr. & Raydio (I can't remember the last time I heard this song on any radio station or stream, so hearing it on "The Big 40" 1981 countdown was a pleasant surprise.  Vocally and instrumentally, it's a pleasant breeze of a melody.)

Deep Tracks

• Care Of Cell 44-The Zombies (Possibly the bounciest, most impressively layered vocals ever arranged for a tune about coming home after a rough patch in one's life.)

Enlighten

• In The Garden-Chet Atkins (A respectful, reverential guitar rendition of this gospel song.) 

Escape

• Day By Day-Franck Pourcel (This "Godspell" highlight works in an easy listening arrangement with strings.)

Real Jazz

• Fried Pies-Melvin Rhyne (Dazzling organ playing that swings and brings to mind Jimmy Smith's music.)

Watercolors

• Call Me-Eliane Elias (There's a consistent level of class and subtlety in the way Elias sings and plays piano.)

Stingray Music highlights LXIV

Standout tracks from U-verse this morning:

Big Band

• Lazy River-The Mills Brothers (The Mills Brothers convey the song's idealism and picture-perfect day setting perfectly.  This is one vocal number I wish I'd played more often on WEW.)

Canadian Indie

• Anytime (R&B version)-Jane Siberry (Sincere lyrics about always being there for someone, with backing that could have come from an Al Green song.)

Cocktail Lounge

• Royal Blue-Henry Mancini (The piano, trumpet, and strings conjure up images of a desolate street.  More traditional jazz stations should play this.)

Folk Roots

• One Voice-The Wailin' Jennys (Beautiful vocal harmonies as three voices come together as one.)
• Wake Up To Cape Breton Medley-Jerry Holland (A primer on high-spirited fiddling.)

Jazz Now

• So Simple A Beginning-Renee Rosnes (A soft, contemplative piece; Rosnes plays the piano with her customary elegance.  The flute and vibraphone augment the tune's ambience.)

Retro R&B

• Um, Um, Um, Um, Um, Um-Major Lance (A catchy dance beat and a chorus that says all it needs to say; this could segue with Major Lance's "Rhythm.")

Only in college LIII

Here's another flashback from the early '90s: I was heavily congested and hadn't used any nasal spray yet.  I still recorded a new announcement for my answering machine, though.  As an instrumental segment of the Talking Heads song, "Blind," played, I said, "Although there's a cavalcade of music playing, it will soon stop.  At a certain point, the music will stop, a tone will sound, and that's your cue to leave a name, message, and phone number--preferably your own."

I still think the congestion added to the weariness in my voice and blended in well with the music.  One caller confirmed my instincts when leaving the message, "I don't know what your major is, but I'd suggest communication.  You'd be great as a DJ."

Ensuring name recognition

I'm not sure of my own blood type, but I still remember a bit of trivia from 30 years ago: Someone I knew in high school told me he'd played in a band with two backup singers who went by the names Vicious and Delicious Shower Curtain.

I wonder if those two girls ever went on to front their own band using those names.

Online radio sampler highlights LXXXI

Tuesday and Wednesday highlights:

KCOU (Columbia, MO)

• Trust-Oddnesse (This tune, released in April, features a structure and alto vocals that bring Beth Orton's voice to mind.)

KEXP (Seattle, WA)

• Heaven-The Staple Singers (Vocally and instrumentally gripping.  You might not expect a piano-based melody with spiritual vocals to contain a guitar solo from Jimmy Page, but it does--and it fits right in.)
• Magpie To The Morning-Neko Case (This fitting tune for the end of Summer is a reality check with a bit of hope.)

WCBN (Ann Arbor, MI)

• Ramblin'-Aretha Franklin (Exceptionally emotive blues singing, which shouldn't be a surprise to anyone.)

WCJS (Potomac, MD)

• Swamp Gator-Bill King Trio (This energetic, piano-anchored groove could segue with Jeff Golub's "Droptop.")

WFMU (Jersey City, NJ)

• Chat Two-Pontiac Streator & Ulla Straus (If there's a cosmic swamp ambience genre, this instrumental is a key example of it.)

Context? XL

Heard this morning on KDHX: "...a technique called clawhammer...I ruined a perfectly good banjo."

Hours later, I'm still wondering how that DJ attempted to play the banjo.  Hopefully, no hammer was involved.

Only in college LII

In my college video production class, each student was required to create a music video.  We were to choose a song or clips of various songs and match the music up with images we pulled from newspapers and magazines.  One student used Living Colour's "Love Rears Its Ugly Head" as her music.  Before directing her video in class, she announced to all of us, "I don't feel this way myself."  Essentially, her disclaimer indicated, "These lyrics paint a person's attitude toward relationships in a jaded, panicky light, but my attitude is more positive than that."

That disclaimer impressed me, as it made the video's creator seem more human--and hopeful.

It must be frustrating...

...for an elementary or middle school orchestra director to go through such intense training, only to end up teaching beginning classes in which the students don't practice, talk back, or walk into class beaming ear to ear while announcing proudly, "I forgot my violin again!"

I wonder what percentage of those orchestra directors wish they'd gone into dentistry; at least when dental patients neglect their teeth, there's more money in it for the dentist.

Hot commodity cassettes

Heard approximately 25 years ago in a record store:

A customer was going to buy some music for his kids and attempted to steer them toward the lower price option.

"So, which would you rather have?" he asked them.  "The CD, or the cassette, which you can listen to in the car?"

His young daughter said, "The CD," so the CD it was.   

At a different record store when I was in college, cassettes were kept in locked cabinets.  Customers had to ask the clerk to unlock the cabinets whenever they wanted to buy a tape.

It might sound odd today, but cassettes were still a hot commodity in the early '90s--for their portability, cost (in some instances), and easier-to-store advantages.

Heading to work: Setting the mood

Twenty-five years ago today, I started a job.  It wasn't the first job I'd ever had, but I suspected I might be working at this company for a while.  "A while" turned into 20 years and change.  I could not have predicted that I'd end up in a different division of the company than my initial one, that the company would have five different locations during those two decades, or that my employment would end abruptly during a layoff of veteran workers.

On a Tuesday afternoon 25 years ago, though, I couldn't see the long-term future.  I was just thinking about learning as much as I could about the new job and proving that I had a strong work ethic.  I wanted to set the right tone while driving to work, so I popped a Pretenders cassette, "Learning To Crawl," into the tape deck, and "Middle Of The Road" started playing. It's an appropriate hit-the-ground-running, "Here I go" mindset to have when jumping into a new gig.

After "Middle Of The Road," "Back On The Chain Gang" began.  An outsider might have misconstrued that as an unintentionally humorous metaphor for a new job.  I, however, thought it represented the reality of work and life.  It's still one of my favorite songs by The Pretenders, and it sums up, as tunefully as possible, the reality of sometimes having to get work done when you don't feel up to it.

A quarter-century later, I still think I made the right song choices.

In memory of Aretha Franklin

It's a safe bet that many radio stations are playing "Respect" today, in tribute to the queen of soul, Aretha Franklin.  Franklin passed away today at age 76.  When I think of her music, I'm struck by her voice's considerable emotiveness and power.  Those qualities of hers shine on seven tracks that, to me, are among her best ones:

• Gentle On My Mind (Usually, when I've listened to this song, I've favored Glen Campbell's version.  Listening to Franklin's fast, spirited take on it reminds me that I haven't listened to her rendition enough.)
• I Say A Little Prayer (Dionne Warwick's version gets most of the radio airplay, but Franklin's powerful take is equally compelling.)
• Spanish Harlem (An appealing blend of genres mesh in an effective cover.  The lead and backing vocals are sung with the conviction of a much larger gospel choir.)
• (Sweet Sweet Baby) Since You've Been Gone (Great uptempo piano and backing vocals augment one of Franklin's strongest, most soaring performances.)
• Try A Little Tenderness (Otis Redding's version usually gets the radio airplay; this is jazzier than usual for Franklin.)
• Until You Come Back To Me (To my ears, this is one of Franklin's most appealing covers.  I'm surprised I haven't heard it more often, given how accessible and memorable the tune is.  Stevie Wonder co-wrote and recorded it; unfortunately, his version is overlooked too often.  I also recommend Basia's excellent cover of it.)
• Who's Zoomin' Who? (Still a good driving tune; the synthesized, overtly '80s backing vocals and instrumental touches serve the song well.)

The latest in a series

At a job, it's often hard to accept that you're just the latest in a series of employees.  This is especially true in the nomadic world of radio.  After one of the stations where I'd worked changed formats, I smiled ruefully while listening to the new incarnation.  I didn't begrudge the DJ I was hearing, though; after all, she had been let go during a previous format change, enabling me to work there in the first place.

She was the latest in a series, just as I had been.

SiriusXM highlights XCV

Standout tunes heard yesterday:

'60s On 6

• Expressway To Your Heart-Soul Survivors (I'm glad oldies stations still play this; its ear-catching intro, memorable chorus, and forthright vocals earned their staying power.)

'90s On 9

• Kiss From A Rose-Seal ("Newborn Friend" and "Crazy" are still my two favorite Seal songs, but "Kiss From A Rose" deserves its due.  It deserved the massive airplay it received when it was a hit, due to being immediately accessible, well-structured, and powerfully sung.)

Beach Boys

• The Warnth Of The Sun-The Beach Boys (This somewhat overlooked slow dance holds up better than almost any other Beach Boys tune.  Seek out Nickel Creek's cover of it, as well.)

Escape

• A Certain Smile-Beegie Adair with The Jeff Steinberg Orchestra (This lush, tasteful piano and orchestra rendition would have fit well in KEZK's easy listening rotation of the '80s.)

PopRocks

• You Get What You Give-New Radicals (Still a breath of fresh air; a memorable one-hit wonder track that used to be played often on WVRV, "The River.")

Siriusly Sinatra

• Time After Time-Chet Baker (Looking back, I wish I'd played this on WEW.  Baker sings this with the right amount of sentiment; it's heartfelt without being overwrought.) 

Tom Petty Radio

• Midnight Blues-Charlie Rich (This is one of Rich's best compositions.  The infectious piano underscoring brings Ramsey Lewis's '60s output to mind, and Rich's vocals suggest an Elvis Presley influence but no more of one than necessary.)
  

Stingray Music highlights LXIII

Noteworthy tracks heard yesterday: 

Alt Country-Americana

• To Rise You Gotta Fall-Nicki Bluhm (This title track from Bluhm's June release features some of her bluesiest vocals; I could imagine Bonnie Raitt or Susan Tedeschi singing this.) 

Baroque

• Silvius Leopold Weiss: Lute Suite No. 20 in D major (Michael Cardin) (The piece has a restrained, somewhat downcast energy.)

Indie Classics

• Senses Working Overtime-XTC (I'm sure I'm not the only one who taps on a desk during the "1-2-3-4-5" section of the chorus.  The tune segues well with Elvis Costello's "(The Angels Wanna Wear My) Red Shoes" and Paul McCartney's "My Brave Face.")

Jazz Masters

• Here's That Rainy Day-Bill Evans (Evans handles the contemplative passages gracefully and the upbeat passages with necessary force on the piano.  I played this on WEW but wish I'd played it more often.)
  

Revival--'60s & '70s

• Help Me Make It Through The Night-Gladys Knight & The Pips (Usually, I'm ambivalent about spoken intros to songs.  In this case, however, Knight's introduction is an effective prelude to her appropriately emotive performance.)

Retro R&B

• I Can't Stop Loving You-Ray Charles  (Ranks with "Georgia On My Mind" as one of the best Ray Charles recordings.  The way he sings, "I've made up my mind," seals it.)

Smooth Jazz

• A House Is Not A Home-Eliane Elias (This warm piano instrumental version could segue with the Renee Rosnes with string orchestra cover of "Misty.")

Unusual ingredients, successful stew

Since hearing it last Wednesday, Mitski's new song, "Nobody," has stayed with me.  Its disparate elements intrigue me; the tune combines elements of the Isaac Hayes theme from "Shaft," ELO's "Livin' Thing," and Keren Ann's "Not Going Anywhere," while still sounding fresh and original.  For a song about feeling overlooked and unloved, these are some ear-catching vocals and piano playing.  Each time I listen to it, I think, "I hope she gets what she's seeking."

SiriusXM highlights XCIV

Friday and Saturday highlights:

Bluegrass Junction

• Whispering Pines-Donna Ulisse (Ulisse sings with appropriate warmth here.  I'd be curious to hear Suzy Bogguss cover this.)

Deep Tracks

• I Shall Be Released-The Band (A perfect reading of Bob Dylan's lyrics; a great song for anyone seeking justice.)

PopRocks

• Hands Clean-Alanis Morissette (As I wrote of Jewel's "Standing Still," there's an energy here that differs from her other hits.)

Real Jazz

• On Green Dolphin Street-Oscar Peterson (Many listeners would cite Miles Davis's interpretation of this as the definitive jazz rendition; with its sublime piano underscoring from Bill Evans and expansive trumpet line from Miles himself, there's no denying its excellence.  Peterson's swingin' take on the piano also deserves its due, however, in its studio and live versions.)

Siriusly Sinatra

• It Could Happen To You-Johnny Hartman (I wish I'd thought to play this on WEW.  Hartman's voice is ideal for the tune.  Also recommended: "A Sleepin' Bee.") 

SiriusXMU

• 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.")

Yacht Rock Radio

• Wait A Little While-Al Jarreau (I've always liked the energy and optimism on this track from Jarreau's somewhat overlooked "All Fly Home" album.)

Stingray Music highlights LXII

Standout tunes heard this morning:

Alt Rock Classics

• One Way Or Another-Blondie (Deborah Harry absolutely sells the line, "I'm gonna getcha, getcha, getcha, getcha..." and the whole "one way or another" concept.  Worth seeking out: The "Veronica Mars" scene in which Kristen Bell sings this.) 

Cocktail Lounge

• Dreamflight-Horst Jankowski (An appealing, uptempo mesh of big band, jazz, and easy listening styles; simultaneously brassy and chill, which isn't the easiest combination to pull off.)

Cool Jazz

• When Did You Learn?-Gregory Porter (Porter sings with his customary eloquence about rules that can't be taught.)

Folk Roots

• The House, The Boat, The Lovers-Mollie O'Brien (O'Brien's self-assured alto voice carries off universally relatable lyrics.)
• Sometimes Just The Sky-Mary Chapin Carpenter (Appropriate underscoring for taking a nostalgic look at one's life and realizing that some things worked out well because you planned them and other things worked out by chance.)

Jazz Masters

• In Your Own Sweet Way-Wes Montgomery (A thoughtful showcase for Tommy Flanagan's elegance on the piano and Montgomery's elegance on the guitar; if you like the feel of "Polka Dots And Moonbeams," this should appeal to you, as well.) 

Jukebox Oldies

• You'll Never Walk Alone-Patti LaBelle & The Bluebelles (Powerful, heartfelt vocals in a ballad with a '50s throwback feel.)

Context? XXXIX

Yesterday, I heard a radio commentator, while interpreting election results, say that the recording of deeds has always struck him as humorous.

My sense of humor is quirky, as well, so I won't presume to judge the humor or lack of it in deed recording.

Reaching the audience, one way or another

Occasionally, while on the air at WEW, I felt like one of the first TVs to grace a department store window.  When the blinds were open, I could look out over downtown Clayton; every now and then, someone would pause, peer in the window, and wave.  I always waved back or nodded and smiled.  Even if those passersby didn't listen to the station, their friendly reaction upon seeing me wave or nod always felt like positive feedback. 

During those times, WEW felt especially local to me.  I remembered that I wasn't just sitting into a room talking to myself and did my best to speak on-air with a smile in my voice.

FM dial scan highlights C

Six noteworthy tunes heard today:

KDHX 88.1 FM

• 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.")
• Live Right Now-Eddie Harris (Some of the coolest interplay between saxophone and piano; it works as an expansive seven-minute groove and almost as well as a condensed 45.)

WSIE 88.7 FM

• Cerebral Thoughts-Cyrus Chestnut (The "Follow the leader.  He's on a Honda," jingle came to mind as I listened.  If that jingle had been played on piano and vibes like this, I might have considered getting a motorcycle.)
• Matteo-Basia (This track from Basia's May release, "Butterflies," segues well with her own "Astrud.")

WSDZ 95.1 FM

• Blessed And Highly Favored-The Clark Sisters (The precision of the phrasing, "blessed and highly favored," coupled with the refrain of faith seeing a person through difficult times, drew me in.  Thematically, it would be interesting to hear a noncommercial freeform station play Ebba Forsberg's "Carried" before this.)

WFUN 95.5 FM

• Same Ole Love-Anita Baker (Thanks largely to its memorable sing-along chorus, this is, in my view, one of Baker's best songs.)

Appropriate self-bestowed accolades

As long as you don't do it too often, it's fine to pat yourself on the back.  The Crusaders do this at the end of "Greasy Spoon."  As the song ends, you hear their applause and shouts of "Cool, man!  I think that's cool, man!"

And, why not?  This was one of drummer Stix Hooper's best compositions for The Crusaders.  When you've performed one of the coolest, slyest piano-anchored jazz riffs ever, why not take a moment to revel in it? 

WEW playlist flashback: 8/5/96

The music I chose for my 9:30 a.m.-2 p.m. shift on this day 22 years ago:

   1.  Polka Dots And Moonbeams-Wes Montgomery
(I brought this in from home.  I wanted to start things off on a classy note, and guitar instrumentals don't get much more elegant than this.  Although it stands perfectly well on its own, it could also underscore scenes of upscale homes for sale.)
   2.  A Song For You-Ray Charles
(Charles sings Leon Russell's song with perfect understanding.  I love how the last note of Montgomery's "Polka Dots And Moonbeams" segues naturally with "A Song For You"'s cascading piano intro.)
   3.  Moonlight Becomes You-Mary Cleere Haran
(More piano and vocals in a natural segue with "A Song For You."  I still like the way these first three songs sound together.)
---
   4.  Wild Goose Chase-Nat King Cole
(After a sublime set of slow tunes, I alerted the audience that I was about to pick up the tempo.)
   5.  Lover Come Back To Me-Ella Fitzgerald
---
   6.  Sabre Dance-Woody Herman
(What could possibly segue with a tune this frantic?  Well...)
   7.  Blue Skies-Al Jarreau
(...Jarreau's rapid fire vocals did the trick.  A listener who heard me play these two songs called in and said sarcastically, "That's real soothing music for me to get up and have my coffee to.  Thanks a lot."  Although it wasn't one of the more positive calls I received from a listener, she at least had the decency to end her call with, "I thank you for letting me express my opinion.")
   8.  Guys And Dolls-Michael Hashim
   9.  American Patrol-Glenn Miller
---
 10.  I Think I Got It-Nat Adderley Septet
(Excellent, brisk cornet, saxophone, and rhythm section playing from the underrated album, "Don't Look Back."  If you enjoy this, you'll likely enjoy the similar feel of the album's title track.)
 11.  That Old Black Magic-Louis Prima & Keely Smith
(Prima and Smith sing to each other with appropriate precision and abandon; those aren't contradictory terms here.)
 12.  Solar-Renee Rosnes Trio with string orchestra
(Rosnes and company do this Miles Davis song justice.)
---
 13.  Just One Of Those Things-Erroll Garner
 14.  Puttin' On The Ritz-Andy Prior & The Night Owls
(If you've only heard Taco's version, check out how well the song works as a big band instrumental with a scat interlude.)
---
 15.  Chicago-Count Basie & Tony Bennett
 16.  Only The Lonely-Roy Orbison
 17.  Let's Get Lost-Vaughn Monroe
---
 18.  How Little We Know-Joey DeFranceso
 19.  Wild Is The Wind-Johnny Mathis
---
 20.  Release Me-Engelbert Humperdinck (*)
 21.  On A Little Street In Singapore-Harry James & Frank Sinatra
 22.  A Sunday Kind Of Love-Claude Thornhill and his orchestra featuring Fran Warren
 23.  Fiesta In Blue-Natalie Cole

 24.  When You Wish Upon A Star-The Lettermen
---
 25.  Avenue Of Stars-Charlie Haden Quartet West
 26.  Sentimental Me-The Ames Brothers
 27.  It Might As Well Be Spring-John Pizzarelli
---
 28.  They Say That Love Is Wonderful-Lionel Hampton
---
 29.  Early Autumn-Ray Anthony
 30.  Fly Me To The Moon-Bossa Nova-Joe Harnell and his orchestra
---
 31.  If I Could Give You More-Harry Connick, Jr.
---
 32.  Caledonia-Louis Jordan & His Tympany Five
 33.  Boogie Woogie Bugle Boy-Bette Midler
 34.  Crosstown-Duke Ellington
---
 35.  Someone To Watch Over Me-Toni Tennille
 36.  Speak Low-Barbara Streisand
---
 37.  I'm Gonna Sit Write Down And Write Myself A Letter-Billy Williams
 38.  Spanish Harlem-Ben E. King
(Is there a bad rendition of this?  Aretha Franklin, The Crusaders, and King set the bar high for anyone else who wishes to cover this.)
 39.  Isle Of Capri-Jackie Lee and his orchestra
 40.  Pompton Turnpike-Charlie Barnet and his orchestra
---
 41.  Them There Eyes-Peggy Lee
 42.  I Got The Sun In The Morning-Les Brown and his orchestra featuring Doris Day
---
 43.  Guess I'll Hang My Tears Out To Dry-Linda Ronstadt with Nelson Riddle and his orchestra
 44.  Lazy River-Kay Starr
 45.  Canadian Sunset-Hugo Winterhalter and his orchestra
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 46.  Cab Driver-The Mills Brothers
(This was the song I played most often on WEW.  This is one of the classiest, catchiest tunes about pursuing someone while trying not to be too obvious.)
---
 47.  Way Down Yonder In New Orleans-Louis Armstrong
---
 48.  Second Balcony Jump-Earl Hines
 49.  Going To Chicago-Count Basie
 50.  Between The Devil And The Deep Blue Sea-Eddy Duchin featuring Patricia Norman
 51.  A Foggy Night-Artie Shaw
 52.  On The Atchison, Topeka, And The Santa Fe-Johnny Mercer
 53.  Hobo's Blues-Paul Simon with Stephane Grappelli
(I'd brought this guitar and violin collaboration in from home and was determined to find a place for it, even if I had to shoehorn it into the playlist.  Fortunately, the feel of "...Atchison, Topkea, And The Santa Fe" struck me as compatible with it.)
---
 54.  Can't Take My Eyes Off You-Frankie Valli
 55.  Come Softly To Me-The Fleetwoods
(Soft, tasteful harmonies; one of the best hits of the '50s.)
 56.  I'll Be Seeing You-Jo Stafford
 57.  In The Still Of The Night-The Five Satins
---
 58.  I'll Never Be The Same-Teddy Wilson
(In retrospect, I could have segued this with almost any version of "As Time Goes By.")
 59.  Last Date-Floyd Cramer
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 60.  Tell It Like It Is-Aaron Neville
 61.  I'll Be Seeing You-Sammy Davis, Jr.
 62.  Yesterday-The Beatles
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 63. (CLOSING THEME) Closing Time-Tom Waits
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(*) indicates a listener's request.
--- indicates a short break for a slogan and time check or a longer break for back announcing the music.

Getting one's voice back

Once, after placing an order in the drive-through, the McDonald's worker asked me, "Do you have broadcasting experience?"  He then lowered his voice and imitated the way I'd placed my order.  I hadn't intended to elicit that reaction, but I was glad I did.  For someone with dysphonia, it's good to know that botox has restored your voice to its broadcast quality.

Life, as it should work

In eighth grade, the biggest highlight of attending a career fair, to me, was seeing two stellar local jazz saxophonists, The Bosman Twins, perform.  Their synchronicity and professionalism impressed me, as well as their--or really, anyone's--ability to make a living as jazz musicians in St. Louis. 

Several months later, on August 3, 1985, I heard part of an interview with them on WMRY's "Saturday Morning Live."  At the end of the interview, the host told them, "Well, Dwight and Dwayne, thanks so much for coming on our show...We know that you'll do well because you have done well...You're young, you're energetic, you have your educational background, and you have your skills that are unsurpassed.  So, I'm real proud to say I know you, and when you get to the big time, remember your friends in St. Louis, and we're glad to have you on the show this morning."

The Bosmans responded, "Thank you.  We enjoyed it, and we're proud to be here, also.  This is our pleasure all the way."

I remember thinking, "There's such positivity in this interview.  With that kind of positivity and musical ability, I hope The Bosman Twins are still maintaining successful careers playing the music they love decades from now."

Thirty-three years later, that's exactly what they're doing.  It's reassuring to know that life sometimes works out as it should.

A restrained compliment

If you want to compliment someone's musical prowess without being excessive, you might take the approach someone did when signing my high school yearbook.  She wrote, "As my grandmother would say, 'You play a positive bass.'"

Ballpark music musings

After seeing the St. Louis Cardinals at Busch Stadium last night for the first time in a long while, I've had some thoughts about the musical aspects of the game:

• The Foo Fighters tune, "Everlong," worked surprisingly well as a ballpark organ instrumental...
• ...So did Led Zeppelin's "Kashmir."
• It's refreshing that Walter Wanderley's "Summer Samba" still makes the stadium playlist, after all these years.  Whenever I played it on WEW, I felt transported to Busch Stadium.  The arrangement is ideal for a baseball game.
• Although some listeners might find it dated, the main theme of Chicago's "Mongonucleosis" would work as between-innings music or as a player's walk-on theme.
• If you have any heart, you have to be at least a little moved when a children's band plays "God Bless America" in front of such a large audience.  
• During last night's "Name That Tune" contest, a fan was asked to identify a Motown tune in five notes.  I knew immediately that it was "The Way You Do The Things You Do" by The Temptations, but the fan guessed Van Morrison's "Brown-Eyed Girl." Given a second chance, he guessed "The Way You Make Me Feel."  The emcee said that was close enough and gave him a t-shirt.  That's not the ruling I would have made, but when your goal is to keep the fans happy and buying tickets, it's a smart good will gesture.
• Kudos to Fredbird, the Cardinal mascot, for showing the right combination of energy and tactfulness toward the fans.  When he pulled two very young fans up to play air guitar and dance alongside him, he didn't insist that they go all out.  He just led by example and let them contribute at the level that was comfortable for them.
• You know you're getting older when the number of times you yell, "Charge!" in response to the organist's cues plummets considerably from what it would have been as a kid.  Still, I shouted, "Charge!" once last night.  I'm not that much of a curmudgeon, after all.

A bonus musical memory from a Cardinal game I attended in 1999: John Denver's "Thank God I'm A Country Boy" played over the speakers between innings.  As it played, an animated graphic of Fredbird clapping along appeared on the stadium monitor; I thought that was a fun--and tactful--way of prodding fans to clap on the beat.