Context? XLIX

Heard recently during a radio interview: "Why do you refer to yourself as a co-conspirator?"

No, this wasn't from yesterday's Michael Cohen hearing.  When I heard it, I thought, "The background music under this interview is too spirited for this to be an interrogation." 

It was actually an interviewer questioning the coordinator of a film festival.  I didn't hear the festival coordinator's answer,  but presumably, he hadn't been called to testify before a House oversight committee.

"Hip, groovy...Dig it!"

Sometimes, a song to which you hadn't paid much attention hits you at the right time.  While hearing the spacey synthesized backing of Steve Miller Band's "Wild Mountain Honey" on KDHX, I said, "I'm diggin' this."  Then, I paused.  "When do I ever talk like that?" I asked myself.  But then, that's the power of music--to pull you into 1976 and make you use archaic lingo.

Not so subtle underscoring

As I listened to an NPR station this morning, I thought, "Appropriate choice of music...I wonder if they'll play a vocal excerpt from the tune or just imply their point with an instrumental excerpt."  The station chose the latter option.  Kudos to the music coordinator of the NPR station who, when promoting a segment about Michael Cohen, former attorney to Donald Trump, used an instrumental bit of Steely Dan's song, "Dirty Work."  If ever there were an apropos time to underscore a promo with a song whose chorus includes the lyric, "I'm a fool to do your dirty work...I don't want to do your dirty work no more..."

Online radio sampler highlights XC

Monday morning standouts:

WMSE (Milwaukee, WI)

• The Tinker's Dream-Chris Murphy (This spirited jig could inspire a listener to take up the fiddle--or even the bagpipes.)
• Happiness-We Banjo 3 (About to embark on an exhilarating adventure?  Let these lyrics spur you on.)

WOUB (Athens, OH)

• All Their Many Miles-The Super Saturated Sugar Strings (Dixieland jazz influences the instrumental underscoring, and The Be Good Tanyas seemingly influence the vocals in this unlikely blend of throwback sounds, released last year.)
• Color Of Love-Birds Of Chicago (Allison Russell sings well-crafted, sometimes discomforting lyrics assuredly in this acoustic gem.)

WWOZ (New Orleans, LA)

• Lay It On The Line-Stix Hooper & Friends (If you're expecting a fusion sound from the longtime Crusaders drummer, this track might surprise you; it's more of a traditional jazz/big band number with a suggestion of "Route 66" in its melody.)
• Miss The Mississippi And You-Aurora Nealand & The Royal Roses (Rosanne Cash sings my go-to version of this, but I like the unprocessed sincerity in Nealand's vocals and the piano accompaniment.)

Informality, with one restriction

Our middle school orchestra was going to play a concert in a McDonald's parking lot.  Because the setting was informal, students could wear whatever they wanted.  During the last rehearsal before the concert, the director, Mr. D., told us, "Wear anything, but please wear something."

Fortunately, everyone complied.

An overlooked cover tune XLVI

To casual leaders, Boz Scaggs is generally known as the voice behind such memorable hits as "Lido Shuffle," "Lowdown," and "Look What You've Done To Me."  His cover of Steely Dan's "Pearl Of The Quarter," which I heard on WSIE recently, impresses me, as well.  Scaggs has the right combination of sincerity and earthiness in his voice to pull off lyrics some listeners might find tawdry.  While hearing Scaggs sing "Pearl...," I was struck by how much the song's rhythm reminds me of "The Tracks Of My Tears."  Whether you're partial to the version by The Miracles, Johnny Rivers, or Linda Ronstadt, you could start singing, "People say I'm the life of the party...," over the rhythm of "Pearl..."

Sometimes, you think you have an artist's sound pegged.  Then, you learn that the artist has more than one sound--and more range than you thought originally.  Such is the case with Scaggs.

League of bassists

When I was in high school, I had this exchange with a dentist:

Dentist: So, what kinds of activities do you enjoy outside of school?
Me: I play the bass.
Dentist: In a league?
Me: No, I play the double bass, the instrument.
Dentist: Oh, sorry; I thought you said you played baseball.

I then imagined a league of bass players using basses as bats.  Maintaining a graceful swing of the bass bat was nearly impossible for every player.

FM dial scan highlights CXI

Thursday morning highlights:

KDHX 88.1 FM

• How You've Grown ("Rare On Air" version)-Natalie Merchant (A heartwarming version of the 10,000 Maniacs song, from a parent to the child a daughter once was.  It was refreshing, in the middle of the night, to hear the DJ convey how fast his kids are growing up and wonder where all the time went.)
• I'm Gonna Be There-Tedeschi Trucks Band (Susan Tedeschi's vocals are full of emotion and grit, as usual, on this new track; the early '70s-style backing gives the tune a sly undercurrent.)
• Summer Comes-Gemma Ray (Ray sings thoughtful, "wish I saw you more often" lyrics that take their time to build on each other in this new release.  The orchestral-style backing adds emotional heft, as well.)

WSIE 88.7 FM

• Stretch-Ruthie Foster (This isn't always the easiest advice to take, but Foster sings it reassuringly.)
• Blues For Gene-Milt Jackson (Does vibraphone-based music for strollin' get any cooler than this?  If I heard this while going out for a walk, I'd think, "Today has to be a positive day.  The soundtrack already set the mood for it.") 

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

• W.A. Mozart: Piano Sonata No. 11 in A major, K.331, "Alla Turca": I. Andante grazioso (Walter Klien, piano) (While it's generally considered heresy in the radio business to segue a new age piece with a Classical work, Philip Aaberg's "Theme For Naomi Uemura" would sound appropriate before this movement.  There's an appealing delicacy to the opening of this movement before the tempo accelerates.)

Persistent earworm alert CXXIII

It's cloudy as I write, so I'm not sure why my persistent earworm today is "Why Does The Sun Shine?" by They Might Be Giants.  These days, I can't imagine there's any doubt about the sun's vital role in our universe, but in case there still is, "...The Sun..." presents an irrefutable case.

"A book about a rock band? What a knee-slapper!"

In the '80s, I called a bookstore to see if a book about the band Genesis was in stock.

"Oh, no," an employee answered while chortling.  "We wouldn't have a book like that."

I still wonder why that was amusing.  The worker's reaction might have made sense if I'd called a religious or other specialty bookstore, but I didn't.

Doppelganger on drums

A former co-worker went to a concert with a friend.  Upon seeing a band member who looked like me, she told her friend, "Look at the monitor."  Her friend asked why, and she replied, "Just do it."  Then, she said to her friend, "Drew's scheduled to work tonight.  Why is he playing the drums?"

Although I was at work and not playing the drums that night, I understood why she reacted that way.  You go to a concert to step away from work, not to be reminded of it.

Pride in randomly chosen words

Whenever an artist says, "I write stream-of-consciousness lyrics," my reaction is mixed.  I appreciate the artist's honesty; it's refreshing that the artist isn't trying to impart meaning into the lyrics that isn't there.  However, I also think, "Why not sit down and write actual thought-out lyrics?  Your songs might have a more lasting impact."

To each artist, his or her own, I suppose.

"And now, your refined sports..."

When broadcasting sports reports I'd written, I never felt the need to scream, shout, or convey manic enthusiasm.  Instead, my delivery was polite and relatively subtle.  Partially, that was simply my personality. I never thought it was necessary to screech; I announced the scores and highlights and figured the listeners could drum up their own enthusiasm, if they liked.

A newspaper reporter told me, "It sounds like there should be soft jazz playing under your sports reports."  And, why not?  A broadcaster shouldn't have to hit people over the head with information.

An atypical standout XI

This morning, I watched a 1976 concert performance of "Entangled" by Genesis.  Since the first time I heard it, I've considered it a standout track from arguably the most consistently strong Genesis album, "A Trick Of The Tail."  Phil Collins had just become the band's lead singer, and "Entangled" is an interesting bridge between the group's past and future.  No other Genesis song features such angelic vocal harmonies from Phil Collins, Mike Rutherford, and Tony Banks.  The song's close vocal harmonies suit its fanciful, dreamlike lyrics, making it every bit as good or better than the group's hits.  Listen, and be transported.

Valentine's Day sentiments--with an asterisk

Madeleine Peyroux's "Don't Wait Too Long" got my attention right from its opening phrase this morning.  The tune's rhythm made me wonder for a moment if WSIE was about to play a jazz cover of John Sebastian's "Welcome Back."  If things aren't going so well for you, the lyrics of "Don't Wait Too Long" are appropriate for Valentine's Day.  In a similar light, Erin Bode's "Don't Take Your Time" would sound appropriate played before it.

With apologies to Meghan Trainor...

In high school and college, multiple people, upon learning that I played the bass, said, "So, I guess you must turn up the bass when you listen to music, then."

A logical guess, but not accurate.  After being exposed disproportionately to the underpinnings of a piece, I wanted to hear the melody.  Even today, I'm more inclined to turn up the treble.

FM dial scan highlights CX

Eight highlights of February so far:

KDHX 88.1 FM

• Eli's Comin'-Laura Nyro (Nyro's singer-songwriter talents are on full display here.  More listeners are likely familiar with Three Dog Night's version, but Nyro's own version deserves more airplay.)
• Apron Strings (Live)-Everything But The Girl (Tracey Thorn has written and co-written so many wistful acoustic gems for EBTG and has sung them so sensitively.)
• Someone To Lay Down Beside Me-Karla Bonoff (I was pleasantly surprised to hear Bonoff's new rerecorded version of this downcast, well-sung tune about longing on "Backroads." Bonoff has written and sung such quality work over the decades.  In a more just world, her 1977 self-titled album would have yielded several hits.  Also recommended: "Home.")
• Carapace-Guided By Voices (A mixed compliment, perhaps, but the driving guitar riff of this new release is strong enough that it almost doesn't matter what's sung over it.)

WSIE 88.7 FM

• E Luxo So-Stan Getz & Charlie Byrd ("Begin The Beguine" as a samba?  An excellent, refreshing example of breezy synergy between tenor sax and guitar...)
• Adentro Y Afuera-Walter Gorra (...and it segues well with this instrumental that proves how soothing a minor key sometimes is.)
• Droptop-Jeff Golub (One of my favorites from the days of former smooth jazz station WSSM; a steady, inviting midtempo guitar groove, ideal for driving.)

KWMU 90.7 FM

• Wholly Cats-Charlie Christian (In just three minutes, guitarist Christian and each band member shine in this percolating tune that would segue smoothly after Count Basie's "One O'Clock Jump.")

Only in college LXII

A few years ago, a song on a college radio station got my attention.  The station's playlist wasn't posted on its site, so I called the station.  I was given a URL for times when the music rotation was automated, which included the words, robot overlord.

If a commercial radio station's URL included those words, I would have been surprised.  Coming from a college station, however, I wasn't fazed.

"Now, your list of not closed schools..."

I wonder if any radio announcer has ever ridiculed the concept of a snow schedule during school closings?  Has any announcer ever said, "The snow's piling up, freezing rain continues to fall, and cars are careening off the road into ditches--but everything should be fine when school starts one hour later than usual?"

That should be fair game to say on the air, at least if you're about to retire.

Persistent earworm alert CXXII

I hope this isn't a portent, but my recurring earworm today is the Emergency Alert (formerly Emergency Broadcast) System tone heard on radio stations.  At one point, I imagined a modem imitating that sound and running away while saying, "Took my connection for granted, did you?!"

When there's ice in the forecast, one's imagination can run wild.

Confused? No air time for you.

I knew that the longtime AM radio talk show host didn't suffer fools gladly.  He didn't suffer those who were mistaken, either, as I learned after hearing this exchange:

Talk show host Jim: Hello.  You're on the air.
Caller: Hi, Bob.  I'm a first-time caller.
Talk show host Jim: And a last.

Stingray Music highlights LXXII

Wednesday highlights:

'60s

• Sweets For My Sweet-The Searchers (The Drifters recorded the best version of this, in my opinion, but this rendition conveys devotion in its own way.)

Cocktail Lounge

• Sidetrack-Brian Bennett (An ideal soundtrack for an of-its-time spy movie.  I hear echoes of  the theme from "Shaft" in its arrangement, so I knew it had to be from the '70s.  I was a little surprised to learn it's from 1976 and not earlier in the '70s.)

Cool Jazz

• 'Round Midnight-Kenny Rankin (A strong vocal rendition of a much-covered Thelonious Monk tune, fit for traditional jazz and smooth jazz stations.) 

Folk Roots

• Sinking Stone-Alison Krauss & Union Station (Just when you think you've heard every way a singer-songwriter can convey the end of a relationship that isn't working...)

Jazz Masters

• All Too Soon-Ben Webster (Webster's tone on the saxophone shimmers, as usual.  This could segue with various renditions of "Misty," "Stardust," or "Body And Soul," especially.)

Revival--'60s & '70s

• Don't It Make My Brown Eyes Blue-Crystal Gayle (Forthright, matter-of-fact lyrics convey the pain of rejection; Gayle's vocal delivery is spot on.) 

SiriusXM highlights CV

Standout tunes heard Tuesday:

'70s On 7

• This Will Be-Natalie Cole (It's difficult to sound more euphoric about being with someone than Cole does here.  This is still my favorite song of hers.)

Alt Nation

• 1901-Phoenix (As catchy, danceable hooks go, Phoenix set the bar high here.)

The Bridge

• Cat's In The Cradle-Harry Chapin ((One of the best-written songs about missed opportunities and the need to make time for one's family.) 

Real Jazz

• Everyone Deserves A Second Chance-Raul Midon/Metropole Orkest/Vince Mendoza (Lush orchestration complements the vocals well.  George Benson's "This Masquerade" would sound appropriate before this.) 

Spa

• On One Knee-William Ackerman (A fitting title for this moving guitar and flute piece.) 

Studio 54 Radio

• Ain't Nobody-Chaka Khan (The intro draws me right in every time.  This is one of Khan's most powerful hits that doesn't leave your mind easily after you've heard it.  "What Cha' Gonna Do For Me" has a similar effect.) 

Tom Petty Radio

• Empty Pages-Traffic (Some of Steve Winwood's most appealing vocals, augmented by the keyboard's bounce.) 

Watercolors

• Keep That Same Old Feeling-The Crusaders (It's worth learning to play trombone to nail the joyful, fit-for-a-carnival chorus.  The vocal refrain has probably made me sing along more than I've realized.  Even after at least 100 listens since the '80s, the tune appeals to me as much as it did decades ago.)

Stingray Music highlights LXXI

Standout selections heard Monday through U-verse:

Adult Alternative

• Light On-Maggie Rogers (The energetic, accessible hook sounds familiar but doesn't wear out its welcome.  I wish more pop music sounded like this.)

Baroque

• Domenico Scarlatti: Four Sonatas For Harpsichord-K.239/K.45/K.491/K.17 (Sergei Babayan, piano) (Babayan's technical precision shines in these four sonatas, underscoring the definitions of allegro and presto.  To my ears, one of the D major sonatas, K.491, has the most inviting nimble melody.  Babayan transitions impressively between Scarlatti's major and minor melodies in one of the F major sonatas, K.17.)

Flashback '70s

• This Masquerade-George Benson (For many listeners, Benson's first pop hit is the definitive version of this Leon Russell song.  That's true for me, as I've always thought Benson's melancholy vocals capture the tune's spirit perfectly.)

Folk Roots

• My Eliza/Rawlins' Return/Old Friends/Lt. McGuire's-Rawlins Cross (This Canadian Celtic band's strong instrumental medley starts off with a plaintive tune that brings a gorgeous countryside to mind.  The contemplative mandolin-underpinned melody gives way to a jaunty tune.  Then, the bagpipes and guitar come in, to end on a Celtic rock note.)

Jazz Now

• Waltz For Wheeler-Kenny Barron & Dave Holland (Quiet, elegant piano and bass.)

New Age

• Carousel-Ira Stein (The violin gives Stein's piano-anchored rendering of a moving carousel an appealing Classical underpinning.) 

The Spa

• Separated By September-Leah Graham (Airy production values let this thoughtful piano piece breathe.)

SiriusXM highlights CIV

Noteworthy tracks heard yesterday:

'50s On 5

• Maybe-The Chantels ("Unchained Melody" by The Righteous Brothers would sound appropriate before or after these doo-wop vocals.)

Chill

• Diving With Whales-Nora En Pure (The techno beat complements a beguiling, propulsive mix of piano and whale sounds.)

Escape

• Bye Bye Blues-Les Paul (The brisk kick in the guitar sound could segue with multiple versions of "Mr. Sandman.")
• These Foolish Things-Bobby Hackett (This classy sentimental melody works equally well when sung, played on the piano, or, in this case, on the trumpet.  I also recommend Aaron Neville's version.) 

Real Jazz

• Lady Wants To Know-Cory Weeds & Jeff Hamilton Trio (The original Michael Franks version sports a great marriage of lyrics with perfect laid-back instrumental accompaniment.  This instrumental cover honors that version's spirit well on saxophone and piano.)

Siriusly Sinatra

• Heart And Soul-Joe Williams (Williams sings this much-covered, well-suited-for-a-jazz-combo Carmichael-Loesser tune with heartfelt elegance.) 

Persistent earworm alert CXXI

It annoys me slightly when I don't park close to a store's entrance, but someone still parks right next to me, despite ample available spaces.  Lately, when that happens, I've sung sarcastically to myself, "They long to be close to you..."  Inevitably, I can't help but associate "(They Long To Be) Close To You" by The Carpenters with parking the car.

Fit for Groundhog Day

In honor of Groundhog Day, I'm listening to Ken Bonfield's instrumental, "Winter Into Spring."  Bonfield segues from a turbulent to a pastoral melody on the guitar, indicating an orderly transition of seasons.  Here's hoping that plays out in real life this year.

Appreciating music, with an asterisk

I was surprised when my eighth grade chorus teacher told the class, "Don't tell anyone this, but I can't stand Classical music.  Of all the symphonies, there are only four that I like to listen to."

Considering his mission was to further our music appreciation, I'm assuming he didn't bring this up at his job interview.