Stingray Music highlights LXXIX

Three witch cats agreed in 2018, and their edict still stands today.  Halloween music is best played at night.  Playing haunting verses about ghosts and goblins during daylight hours compromises the music's potency.

Wednesday and Thursday highlights:

Chamber Music

• John Thomas: The Minstrel's Adieu To His Native Land (Rita Costanzi, harp) (It's easy to feel the minstrel's sorrow in this delicate, sensitive piece.)

Easy Listening

• Pacific Coast Highway-Burt Bacharach (I kept expecting Dionne Warwick to start singing; this brass-and-strings arrangement is sufficiently pleasant, however.)

Folk Roots

• Journey's End-Clannad (Welcoming Celtic vocals and instrumentation acknowledge the safe completion of a voyage to see those about whom you care most.) 

Holiday Hits

• J.S. Bach: Toccata and Fugue In D minor (Canadian Brass) (I'd always thought this piece needed to be played on the organ to achieve a ghoulish effect, but the Canadian Brass make a persuasive case for a more stately approach.)
• Ding Dong! The Witch Is Dead-Ella Fitzgerald (I like the swingin', matter-of-fact way Fitzgerald approaches the vocals.  She sings this with the attitude that suggests, "This was justice, you understand.  It was something that needed to be taken care of, so let's celebrate."  The big band accompaniment underscores the need for rejoicing.)  

Jazz Now

• In A Sentimental Mood-Oliver Gannon & Bill Coon (Elegant, understated guitar playing, which fits the song perfectly.)

Retro R&B

• Express Yourself-Charles Wright & The Watts 103rd Street Rhythm Band (One of the funkiest ways to say, "You do you; there's room enough in this world for everyone to be themselves."  This was a deserved hit in 1970.)

Swinging Standards

• Time On My Hands-Susie Arioli (Arioli does this standard from 1930 justice with her vocals and allows the saxophonist and rhythm section to shine, as well.)

SiriusXM highlights CXII

Standout selections heard this morning:

'70s On 7

• Your Smiling Face-James Taylor (Too often, how-lucky-I-am-to-be-with-you songs err in being too overwrought.  Taylor's song escapes this trap, thanks to an unusually uptempo arrangement, resulting in one of his best hits.) 

The Groove

• The Finest-The S.O.S. Band (An of-its-time '80s groove that deserves more airplay; I wonder if any college or noncommercial station has ever played The Human League's "Human" before it.)

Real Jazz

• Ill Bill-Jason Marsalis Vibes Quartet (Like the opening theme of "Frasier?"  Expand your vibraphone palette gradually with this engaging track.)
• Let's Face The Music And Dance-Cassandra Wilson (This Irving Berlin standard swings in Wilson's captivating alto voice.)

Spa

• Tenderland-Margie Adam (A heartfelt, downcast piano melody.  Images of a desolate street and a hospital ward came to mind as I listened.)

Symphony Hall

• Federico Moreno Torroba: Dialogues Between Guitar And Orchestra (Malaga Philharmonic/Manuel Coves, conductor; Vicente Coves, guitar) (By the end of this piece, I felt like I'd heard everything ranging from tarantellas to moving panoramic vistas of sound.)

Watercolors

• We Had Searched For Heaven-Tony Momrelle featuring Maysa (The positive ingredients making up this strong April release: Sincere lyrics, beautifully sung to a refreshing uptempo melody, and an undercurrent that resembles the bass line from Al Jarreau's "Save Me.")

An overlooked cover tune LIII

While listening to "Sonic Space" on KDHX Monday, a jazzified version of a rock song I knew well came on.  It took a cool, confident swagger of a beat and turned it into an equally cool, jazzy backbone for a rendition brimming with confidence.  I couldn't quite place the voice, however.  To my surprise, it was Grace Jones covering "Breakdown" by Tom Petty And The Heartbreakers. 

I don't have any of Jones's music in my collection, but I'd recommend buying her cover of Tom Petty's first (should-have-been-a-bigger) hit.

SiriusXM highlights CXI

Saturday and Sunday highlights:

'60s On 6

• See You In September-The Happenings (This was a big hit in 1966, although the vocal harmonies sound like they're from the early '60s.  If The Four Seasons had taken this toned-down approach to their vocals, I might have liked more of their early '60s output.)

Bluesville

• Spann's Boogie-Otis Spann (Boogie woogie piano that swings.)

Enlighten

• When They Ring The Golden Bells-Chet Atkins (Tasteful, understated guitar, as usual.  I wouldn't have been surprised if Atkins had approached "In Your Easter Bonnet" similarly.)

Escape

• Overjoyed-Jack Jezzro (A good guitar and piano cover of the Stevie Wonder tune, with a bossa nova feel.)

Garth Channel

• Wide Open Spaces-Dixie Chicks (Appealing lyrics about embarking on a challenge in a new setting, with a wide array of possibilities on the horizon.)

Outlaw Country

• That Old Black Magic-Louis Prima & Keely Smith (This is not outlaw country music or country music at all.  Instead, it's a strong example of two singers playing off of each other well in the definitive uptempo version of this song.  I wish I'd played this more often on WEW.)

Real Jazz

• Things Ain't What They Used To Be-Ray Bryant (See my review of "Spann's Boogie.")

Watercolors

• It's So Amazing-Joyce Cooling (An energetic guitar piece suitable for underscoring, "Welcome to our movie theater...Now, our feature presentation.")

Persistent earworm alert CLX

Thanks to Chris Thile and company for setting a text to music on yesterday's "Live From Here."  While eating, sleeping, and brushing my teeth, I can't stop thinking about the earworm, "The spatula and the slotted spoon are non-stick metal."

That text sounds like a sentence a middle school class might be asked to write during the dictation portion of a spelling test.  As Thile proved, it works as a melody or as a counterpoint to a melody...

...And now, I could no sooner forget it than I could forget my own name.

An odd way to respect artists

As I read a newspaper review recently of a Roy Orbison and Buddy Holly hologram concert, I thought, "What would possess someone to go to such an event?  Regardless of how revered the artists are or how lifelike their holograms appear, wouldn't it make more sense to appreciate the music they made through footage and recordings that aren't contrived?"

Stingray Music highlights LXXVIII

Noteworthy selections heard through U-verse today:

The Chill Lounge

• Occidente-Arrojas (A sly late night groove for piano, bass, and percussion.)

Classic R&B And Soul

• We Got Some Catchin' Up To Do-Jean Carn (An appealing tune about rekindling a spark with someone; vocally and instrumentally, this is a strong groove from 1981.)

Cocktail Lounge

• Susquehanna-Oscar Peterson (If the vocal stylings of Nat King Cole appeal to you, Peterson's vocals and piano in this elegant gem from 1957 should also move you.)

Cool Jazz

• Goin' Out Of My Head-Wes Montgomery (As effectively as The Lettermen sing this, I enjoy Montgomery's forceful take on the guitar just as much.)

Everything '80s

• Axel F-Harold Faltermeyer (Jan Hammer's theme from "Miami Vice" encapsulated the general instrumental sound of 1985.  A close second in that category, however, is this memorable keyboard riff.  Sidebar: After hearing this song for the first time in '85, I called a radio station to ask what artist was performing it.  The DJ replied, "You wouldn't believe me if I told you--Harold Faltermeyer."  If you're only going to have one hit, this is a commendable melody to have under your name.) 

Folk Roots

• Bony On The Isle Of St. Helena-Uncle Earl (Not just any ensemble could make me want to hear a traditional tune about Napoleon Bonaparte's later years.  The vocals, which remind me of Suzanne Vega, are beautiful, and Abigail Washburn's banjo playing underscores them compellingly.)

Holiday Hits

• X-Files (Main Theme)-101 Strings (An appropriately eerie rendition; it's particularly impressive coming from an ensemble known for easy listening renditions of tunes that fade into the background.)

Jazz Now

• Just As In Spring-Rebecca Martin & Guillermo Klein featuring Jeff Ballard (Somber alto vocals against a backdrop of piano and drums.  I'd be curious to hear Norah Jones cover this.)

FM dial scan highlights CXIX

Six standout tunes heard today:

KDHX 88.1 FM

• Forever Turned Around-Whitney (This August release has a laid-back '70s throwback feel.  The lead vocals bring to mind Larry Lee's voice on the Ozark Mountain Daredevils hit, "Jackie Blue," with a bit of ELO's "Strange Magic" thrown in.)
• Empty Ring-Paul Weller (A skillfully assembled R&B sampler platter.)

WSIE 88.7 FM

• Concrete Jungle-Down To The Bone (Five recurring beats fit for power walking.)
• When Lights Are Low-John Pizzarelli (Tasteful, low-key crooning in a style similar to Harry Connick, Jr.; there's a consistency to Pizzarelli's work that gives a jazz station program director a lot from which to choose.)

KCLC 89.1 FM

• Castles-Freya Ridings (Appealing low-pitched vocals; October Project with a beat?)

WFUN 95.5 FM

• If I Ain't Got You-Alicia Keys (A strong voice with contemplative piano underscoring; "Silly" by Deniece Williams would sound appropriate after this.)

Online radio sampler highlights XCIX

Five standout selections heard today:

KBGA (Missoula, MT)

• Salt Peanuts (Live At Massey Hall)-Charlie Parker (The Quintet) (Depending on the edition, this is credited to either The Quintet or Charlie Parker.  Fantastic interplay between all players, particularly Bud Powell, with his rapid runs on the piano, and Parker on alto sax.  I envy the audience who got to see this set in 1953.)

KDRU (Springfield, MO)

• Fall Down-Crumb (Released in June, this tune's spooky vocals and instrumental backing would sound appropriate before Milo Greene's "Move.")

WCRI (Block Island, RI)

• Franz Schubert: Piano Sonata in A major, D.664: III. Allegro (Radu Lupu, piano) (A vivacious closing to a short, compelling sonata.)

WWOZ (New Orleans, LA)

• Shadow Of The Sun-Irma Thomas (A movingly wistful R&B tune for days when you feel overwhelmed or thanklessly anonymous.)
• Oh Happy Day-Louis Prima with Sam Butera & The Witnesses (Like many listeners, I tend to think of the Edwin Hawkins Singers upon mention of the tune's title; I've always liked that rendition and play it on Easter Sunday.  That said, there's no skimping on energy or emotion in the trumpet or guitar in this no-holds-barred cover.  If the way The Boston Pops and Chet Atkins approached "Alabama Jubilee" appeals to you, you might also enjoy this.)

Persistent earworm alert CLIX

You walk past the vending machine at work and see that it has Zingers, snack cakes you haven't eaten in decades.  It becomes disconcerting when you go back to your desk and discuss life and death matters with clients, all the while thinking, "10 Zingers, 9 Zingers, 8--Yummy!--Zingers, 7 Zingers, 6 Zingers, 5--Tasty..."

While the thought of the Zingers TV commercial jingle amuses you, you think, "I saw the Zingers commercial originally in 1980.  I have a good memory, but I know I've forgotten more important things than this jingle.  I haven't eaten or even seen Zingers snack cakes anywhere in many years.  Why do I have instant recall of this jingle and not my blood type?"

The mind's priorities are sometimes disturbing.

A less-than-great business II

At the end of a session, a broadcasting school instructor turned candid about the state of his career.

"I wish a better future for all of you than I  have," he said.  A student asked him, "So, you don't like what you're doing now?"

The instructor/DJ replied, "Oh, I think big band radio is making a comeback.  It's the wave of the future."

Sarcasm is partial insulation against making a precarious living.

Persistent earworm alert CLVIII

Seeing a reference to lacrosse made me remember a song I thought had left my mind--Chic's "Le Freak."  I imagined the group singing, "It's called lacrosse...," and touting the virtues of the sport.

I don't know that promoting lacrosse as if it's a '70s dance craze is the most natural fit, but the mind is known for making disparate associations.

A linguistic irritant XV

I'm going to listen to the radio.  I'm not going to play the radio.  The radio has provided me with a lot of enjoyable music and information, so I don't want it to feel outfoxed.

Persistent earworm alert CLVII

One benefit of aging: You can shop for cat food and not feel self-conscious about bobbing your head in time to the Wings tune, "Goodnight Tonight," as it plays over the store's speakers.  At least, that was my experience recently.  I drew the line at singing along, however.  My singing range is too limited for that, and I still have some degree of dignity.

Sometimes, it's best to split the difference between being carefree and careful.

FM dial scan highlights CXVIII

Five standout tunes heard today:

KDHX 88.1 FM

• How Everyone But Sam Was A Hypocrite-Sandy Denny & The Strawbs (No one punctures pomposity quite like the British.  "Pop! The Beat Bubble Burst"'s host, Rich, remarked that he was playing a lot of music from 1967 today, "but not by design."  I wouldn't fault him if it was deliberate, however; 1967 produced a lot of musical gems, including this rarely played commentary on the class system.)
• Goin' Back-Dusty Springfield (Lyrically, this is a comforting reminder that growing older doesn't mean you have to stop thinking young.  Springfield sings it with the right amount of sensitivity.)

WSIE 88.7 FM

• Body And Soul-Harry Allen (Allen plays this standard with a warm, welcoming tone on the saxophone.  Sidebar: A high school English teacher told one of my classes that years ago, she offered to lend someone her copy of "Body And Soul."  As they got off the streetcar, he told her, "I'll be back tonight to get your 'Body And Soul.'"  This raised some eyebrows from people overhearing him.  I wish now that I'd thought to use this story as one of my "Context?" posts.)
• Midnight Creeper-Lou Donaldson & Dr. Lonnie Smith (I don't think there's such a thing as uncontrived sashaying, but if someone wanted to sashay freely for an unusually long time, this saxophone/organ piece could underscore it.)

KPNT 105.7 FM

• Smooth Criminal-Alien Ant Farm (It's interesting hearing this Michael Jackson song in a metal context, with thrashing guitars and manic vocals.  In Jackson's version, I pay more attention to the rhythm of the tune.  In this cover, I notice how grim the lyrics really are.)

Online radio sampler highlights XCVIII

Noteworthy selections heard Wednesday night:

KKBB (Bakersfield, CA)

• The One Who Really Loves You-Mary Wells (Rhythmically and lyrically, this could segue with multiple versions of "It Takes Two To Tango."  Rosie & The Originals also do a strong version.)
• Come Back To Me-Janet Jackson (No surprise that this was a huge hit in 1990, as it's one of Jackson's most endearing ballads.)

KNCJ (Reno, NV)

• Christopher Tignor: What You Must Make Of Me (Christopher Tignor, violin) (This celestial-sounding electronic soundscape would work as dramatic new age underscoring.)
• Julia Kent: Through The Window (Julia Kent, cello) (A hypnotic journey-through-the-cosmos-style loop.)
• Michael Harrison: Raga Prelude I (Yaman) (Maya Beiser, cello; Michael Harrison, piano) (Movingly melodic with excellent synergy between performers.)

WVUM (Miami, FL)

• Resavoir-Resavoir (This track pulls off an intriguing double retro trick; it sounds like samples of '70s free form jazz recordings, not wedded to one tempo, remixed in '90s acid jazz style.  Actually, it's from 2019.  All this, and seagulls, to boot...)
• Guide-Steve Lacy (I hear a Prince influence in the vocals and bass funk line; one of this year's catchier releases.)

FM dial scan highlights CXVII

Tuesday's standouts:

KDHX 88.1 FM

• Call Me Your Fool If You Want To-Jean Knight (With R&B piano accompaniment that's this infectious, a vocalist is already halfway home.  Knight's big hit in 1971 was "Mr. Big Stuff."  This tune from the same year, however, should have been a hit in its own right.)
• Comes A Time-Neil Young (People and the world evolve inevitably, but it's reassuring that, at the core, you're still you.  Time passes, but you can still hold on to a lot of the same values and priorities.  Young is at his songwriting best on tunes like these.)
• Wild Horses-The Flying Burrito Brothers (Sincere voices and a strummed guitar are all you really need to pull of a strong cover of this Rolling Stones tune.  For a more ethereal-sounding take, however, listen to The Sundays.)

WSIE 88.7 FM

• Cook's Bay-Regina Carter (Great interplay between Carter's violin and the piano on this warm, uptempo instrumental.)
• Good Morning Heartache-Chris Botti featuring Jill Scott (Laura Fygi's take is still my go-to rendition, but Botti and Scott make a persuasive case for recasting the tune in a faster tempo with trumpet and more forthright vocals.  Seek out any live version in which Scott tells heartache to get a job.)

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

• Franz Schubert: Symphony No. 8 in B minor, D.759, "Unfinished" (Berlin Philharmonic/Herbert von Karajan, conductor) (As a bassist, this was one of my favorite pieces to play.  I was pleased to hear the Berlin Philharmonic play both movements with an appropriate degree of warmth.)
• Frederic Chopin: Ballade No. 4 in F minor, Op. 52 (Ingrid Filter, piano) (This piece asks a lot of a performer, technically and dynamically.  Filter pulls off the piece's tender passages with convincing feeling and the forceful passages with impressive fire.  It's a shame the station had to fade out of it to start a prerecorded program on time.)

Online radio sampler highlights XCVII

Six standout tracks played today:

KBCU (North Newton, KS)

• Carolina Shout-James P. Johnson (As I listened, I thought, "This is a cool, joint-is-jumpin' stride piano melody, with a lot of Roaring '20s flavor."  Although the version I heard was from 1944, the tune is from 1921.)

KFMG (Des Moines, IA)

• Sweet Potato Pie-Al Jarreau (If you enjoy the tempo and feel of "We Got By"'s leadoff track, "Spirit," you'll probably also like Jarreau's similar-sounding, midtempo "Sweet Potato Pie."  Also recommended: "Letter Perfect" and "We Got By.")

KFMU (Steamboat Springs, CO)

• Where It's At-Beck (In 1996, this tune, with its "two turntables and a microphone" hook, felt fresh.  It still holds up as one of Beck's most memorable tunes, even though some of the lyrics might make you think, "Um...What?"  Sometimes, a song's feel is its most important asset.)

WOVM (Appleton, WI)

• Sorry Now-Jill Andrews (Andrews sings compellingly about why a relationship failed in this strong release from September.)
• Time-Alan Parsons Project (I always thought this well-crafted tune about a sorrowful parting was underplayed, even when it was a hit in 1981.)

WXRV (Boston, MA)

• Can't Let Go-Lucinda Williams (The opening guitar lick gets my attention in a way few other songs do.  The somewhere-between-country-and-rock guitar line underscores well-written, effectively sung lyrics about wanting to hold onto a relationship that's clearly over.  This tune is just as catchy to me as it was in 1998--and should have gotten more exposure on the St. Louis airwaves.)

An overlooked cover tune LII

I'm surprised I haven't heard Herb Alpert's cover of Earth, Wind & Fire's "Fantasy" on the radio yet.  Granted, it was just released last month, but it's a natural candidate for airplay.  If you're familiar with Alpert's previous work, you'll likely recognize his signature trumpet sound.  The trumpet carries the melody where vocals were in the original version, softening the tune somewhat but making it no less appealing.

Context? LXIV

I turned on NPR's "Ask Me Another" today, puzzled to hear one woman clarify with another that she was "knitting to heavy metal."

I've never done any needlepoint.  If I concentrate, though, I can imagine someone getting into a knitting rhythm during AC/DC's "Highway To Hell"--sort of.  It's not the most obvious inspiration for finishing a scarf, but if it works, it works.

A low-key evening of music

Around this time of year in 1990, I went to a George Winston concert.  There was no foot-stomping, talking during the music, or shouts of, "Play 'January Stars!'" from the audience.  It was just Winston at the piano, playing selections from his seasonally appropriate album, "Autumn."  The music did the talking, and that was enough.

The world could use more of that no frills, yet evocative approach to concerts today.

No need for constant air time

I learned recently that an AM radio station I thought was on-air 24-7 signs off the air at night and signs back on in the morning.  In a world of too-frequent tweets and commentary designed to fill time instead of enlighten the masses, a station that gives its transmitter and personnel a rest for part of the day is refreshing--and quite an anomaly these days.

Playing to the regulars

At last month's high school class reunion, a friend mentioned a sports talk radio station. 

"I haven't listened to that station in years," I replied.  "As I remember, it was mostly the same three people--Don, John, and Ron (not their real names)--who called in."

"It's still like that," he responded.

Good for that trio of callers, I guess, for propping up the radio station; this is a tradition-based town, after all.

Spend less, buy more

You're a teenager in the '80s with only so much money to spend.  You want to preserve radio air checks.  Do you buy the normal bias cassettes, which have more tape hiss but do the job well enough?  Or, do you splurge for the high bias or metal bias cassettes that have less tape hiss and better sound quality?  Although I bought high and metal bias tapes more often as I got older, I bought the normal bias tapes most of the time.  I reasoned, "If I spend less, I can buy and preserve more.  It might not be perfect preservation of what I've heard, but it'll be close enough."

Considering that I can still listen to air checks I recorded 36 years ago, I think I made the right call.

A less-than-great business

I once heard a broadcast school instructor who had worked on-air at one of St. Louis's renowned rock stations level with a student.  The student asked how he could work for that station or at least pursue a similar career path.

"Well, my career has not been that stellar," the instructor replied, despite having at least 20 years in the business.

I'm still not sure if the instructor was being modest or if he was just preparing the student for the frequently precarious radio business.

Rethinking a birthday tradition

Each year, on my birthday, I record a sample of what I've heard on the radio.  Most years, I record at least one newscast.  In this morning's newscast, I heard about a death, a carjacking, and a missing person alert.

Next year, I think I'll just stick to recording music.

The beginning: The best place to start

When you're having a radio sports report recorded for the next morning, you'd think you wouldn't have to remind the newscaster to start recording it from the beginning.  Numerous times, however, when a particular newscaster was on duty, I'd listen for my report the next day, only to hear it begin, "By the score of 68-66," or "Sixth straight win, making them undefeated this season."

I still wonder if that newscaster just kept forgetting to start recording at the beginning or didn't grasp the concept of leader tape.  Either way, it was vexing to turn on the radio and hear my name announced, followed by a recording that began, "Three home runs!" or "For 100 yards!"

Context? LXIII

On an NPR affiliate this morning, I heard talk of a celebrity on whom the staff keeps tabs.  It's a celebrity, according to the host, who has his own talk show.

Which star has achieved this pinnacle of success?

"Sesame Street"'s Elmo.

I'll admit, the prelude to that segment on KWMU didn't go where I'd predicted.

How to welcome Autumn

Although Autumn officially began on September 23, temperatures during the day haven't felt Fall-like in St. Louis until today.  This afternoon, I rang in the new season listening to an excellent Neil & Liam Finn cover of the somewhat underplayed Beatles tune, "Two Of Us."  My cat, Sylvia, curled up on me and purred while we listened.

Fall is a season of contemplation, and this, in my opinion, was the best way to start contemplating.

I don't think that's subject to debate.

Sobering show biz reality

A vocalist who sang with a band years ago told me about a satisfying gig.  She thought the band was especially on its game and that she had sung particularly well.  Then, after the performance, the band and she collected their pay--and realized the money they'd made that night barely covered the cost of drinks after the show.

Talk about a vocation in which you really have to love what you do...

Good enough for me

An artist was selling her music on vinyl at her concert because, as she said, "records are cool."

That was all the justification I needed.  As much as I like to think I make decisions based on logic, I'm as susceptible as anyone to the allure of nostalgia--and a shiny LP.