Rationalizing the rain away

I could explain to my cat, Collette, that despite all of today's rain and thunder, rain is sometimes needed.  I could play Shuggie Otis's "Rainy Day" and hope that she'll appreciate its relaxed guitar vibe.  I could play Eddie Rabbitt's "I Love A Rainy Night" and wait for her to internalize the tune's lyrics about how rain feels and tastes good, within reason.  I could play Earl Klugh's "The Rainmaker" and hope that she'll infer from the infectious rhythm that, as long as there's no destruction, a coming storm is almost exciting.

On the other hand, Collette could counter with "Rainin' Inside" by The Trishas, a tune that uses rain as a metaphor for sadness.  She could also play "Here Comes That Rainy Day Feeling Again" by The Fortunes for the same reason.  Or, she could play "I Can't Stand The Rain" by Ann Peebles; the lyrics convey bluntly that the protagonist won't entertain any arguments about the positive aspects of rain.  She doesn't like it, and that's that.

How do I break this tie?  Hmmm...Perhaps with Donald Fagen's "Walk Between Raindrops," which conveys the mirth and relief of coming inside from the rain.  Then again, the tune's getting-away-from-the-rain aspect also validates Collette's dislike of it.

We'll call it a draw.  There's no changing how someone feels anyway.  I'm going to go console Collette as she creeps around with her tail down.

Good renditions--at their respective levels

While listening to tonight's San Francisco Symphony broadcast on K297BI, I was pleased to hear three works that I'd performed in high school and college--Beethoven's sixth symphony, Mendelssohn's third symphony, and Schubert's eighth symphony.

As I heard the opening notes of Beethoven's Pastoral symphony, I mused in jest, "I wonder if this rendition is as good as my college orchestra's take on it."

It's a safe bet that the professional orchestra's version was more polished than ours.  That was the case, I'm sure, with all three pieces...

...but just to be sure, I'd have to review our concert tapes.  (I'm resisting the urge to insert a smile emoticon here.)

Soundtrack for a reassuring find

It's unnerving to see a TV or movie scene of one or more people exploring a tunnel or a portal to another dimension.  It would be reassuring, however, if "Freedom Sound," as played by The Crusaders on their "Unsung Heroes" album, underscored it.

Somehow, I suspect that the end of the scene would be rewarding, even if it's unexpected.

A reconsidered edit

When choosing songs and Classical pieces to review for SiriusXM, Stingray Music, FM dial scan and Online radio sampler highlights, I select a cross-section of the music I've heard and liked recently.  Generally, I try to spotlight a mix of genres.  Sometimes, I'll like a song or a piece, but it doesn't make the blog because it sounds somewhat generic or I'm dissatisfied with how I would review it.  I won't post a review of a symphony, for instance, if all that comes to mind is, "This piece sure is pretty."  Obviously, I strive to write more substantive reviews than that.

After rereading some notes I'd made about a SiriusXM listening session in 2015, I'm surprised I didn't include this review:

Real Jazz

• Say It Isn't So-Frank Wess (This melody has something in common with "Danke Schoen," although maybe not to the extent that I thought initially.)

Was it advisable to leave a "Danke Schoen" reference on the cutting room floor?  I think not.  Maybe I was just in a dour mood that day.

From one holiday to another

Ordinarily, I wouldn't segue an anthem suitable for Independence Day with a Christmas tune, but the Chet Atkins version of "Washington Post March" segues smoothly and subtly with Trans-Siberian Orchestra's "The Silent Nutcracker."  Both versions are relatively subtle acoustic takes on their respective tunes, bringing out each tune's strength instead of relying on over-the-top production values.

Persistent earworm alert CXCIII

Since hearing it yesterday on KDHX, I haven't been able to get Chilliwack's "I Believe" out of my mind.  I don't mind that, though.  I hear some Bee Gees and Andy Gibb influences in the tune and think it could segue with "Nights On Broadway," "I Just Want To Be Your Everything," or possibly Colbie Caillat's "Brighter Than The Sun."

Considering how radio-friendly it immediately is, I'm surprised it wasn't a bigger hit in 1982.

Context? LXXVIII

I applaud the DJ who ended today's show by saying, "Wear your mask, dammit!" 

During this Covid-19 pandemic, that's sound advice.  Besides, he's a physician, so he knows what he's talking about.

Farewell, Live From Here.

I've put off writing this post for several days because I don't want to believe that "Live From Here," Chris Thile's excellent musical showcase and successor show to "A Prairie Home Companion," is over.  During the years that my local NPR station, KWMU, carried it, "Live From Here"'s impressively eclectic representation of wide-ranging musical genres was a weekly highlight.  While I take solace in knowing that the program's recent cancellation wasn't due to a lack of quality, it's unfortunate that the complications of performing live music during the Covid-19 pandemic led to its end...

...but only for the time being, I hope.  I'd like to believe the program will return, in some incarnation, with another distributor.  A platform that allows such musicians as Sarah Jarosz, Aoife O'Donovan, Sara Watkins, and Thile to present their trifecta of singing, playing, and songwriting excellence week after week deserves a permanent place on the airwaves.

If you haven't heard the show, seek out clips of it on YouTube.  Then, if you have the audacity, tell me you aren't impressed or moved by...

...the Christmas treat of Chris Thile leading the audience in singing "All Through The Night."

...Sarah Jarosz's range as a vocalist on excellent covers of everything from Fiona Apple's "Extraordinary Machine" to Janelle Monae's "Tightrope" and heartfelt live versions of her own songs, including "Hometown," a highlight of her new release, "World On The Ground."

...Sara Watkins performing Laurie Anderson's experimental piece, "Only An Expert."  It always impresses me when any musician can interpret a song that's uniquely tailored to its original writer/performer so convincingly.  (See also my reference to "Extraordinary Machine" above.)

...Aoife O'Donovan's cover of Joni Mitchell's "Coyote."

...the musician birthdays segment, in which Thile and company salute an extremely wide range of performers, ranging from Cab Calloway to Donna Summer.  Few musicians besides Thile and his performers can pull off Curtis Mayfield's "Move On Up" and a piece by Francis Poulenc with equal aplomb.

...Thile's positivity and showmanship.  He always sounds pleased to introduce, interview, and accompany his guests on mandolin and vocals.

And, if all of that isn't enough for you...

Hosts and performers as versatile and talented as Thile and company are rare, so I hope I hear them all on the air again very soon.  These past four years have flown by so quickly...

...but I'm thankful to have had "Live From Here" as a weekly pick-me-up.  Here's hoping this isn't truly its end.

Segues? Bah! II

By chance, Paul Carrack's "Don't Shed A Tear" ended up next to Maurice White's version of "Stand By Me" in my collection of 45s.  When I noticed this today, I thought, "Lyrically, these are such polar opposite perspectives."  "Don't Shed A Tear" essentially says Good riddance to someone and resolves that life will go on.  "Stand By Me," on the other hand, conveys the desire to stay with someone no matter what.

I like both songs equally, for completely different reasons.  I played both of them today, as well, but made sure to play "Stand By Me" second.  In the midst of a pandemic and such a lousy year for the world, I want to think positively as much as possible...

...but within reason.

Segues? Bah!

I was surprised to hear Foreigner's "Double Vision" while grocery shopping today.  I thought, "In this store, it's unusual to hear uptempo rock.  What will they segue with this?"

As "Double Vision" faded out, "Walk Right In" by The Rooftop Singers began.

Talk about a wide 15-year chasm; the language and attitudes of 1963 were far different from those of 1978.  I don't think there's a radio station, even a noncommercial one, in the world that would ever pair those two songs.  Arena rock for air guitar seldom dovetails into early '60s folk with mild, of-its-time slang on anyone's playlist.

Persistent earworm alert CXCII

I suppose, during a pandemic, this is exactly the type of escapist earworm I should expect to enter my mind--a song I don't hate but also don't own and wouldn't seek out.  It's not irritating, but I would almost definitely change stations if it came on the radio.  It didn't aim to be profound; it just aimed to be commercial...and succeeded, as it topped the charts in 1991. Survey says...

..."Joyride" by Roxette.

A sliver of hope?

By any reasonable manner of thinking, 2020 been a poor year so far for the world.  To what sliver of hope does one cling during such times?

My guess is that at least some listeners who have heard Thea Gilmore's "The Cracks" find it a little comforting right now--or at least see it as a suitable choice for wallowing in despair.  If you want to continue the theme after that, I recommend using Richard Thompson's "Waltzing For Dreamers" as a segue.

Farewell, Guy Phillips.

Guy Phillips will do his last shift for KTRS today.  He's retiring after 41 years in St. Louis radio.

I remember first hearing Phillips as half of the KSLQ (renamed KYKY in 1982) morning duo, Phillips & Wall, in 1981.  Those two DJs were my earliest influences in wanting to go into radio.  As I listened to them each morning, I kept thinking, "That has to be one of the most enjoyable jobs a person could have--entertaining people, as well as yourself, from behind a studio microphone while playing music."  While it was amusing to hear such recurring features as Wit Twisters trivia segments, Candid Phone, and History Theater, it was even better to hear Phillips & Wall react spontaneously to listeners, each other, and unexpected happenings, such as the cartridge of Phil Collins & Marilyn Martin's "Separate Lives" starting to wobble on-air.  I remember Phillips saying, "I hope that's not your favorite record, because..." while breaking into laughter.  He stayed in the moment, saying, "How'd you like to see that on MTV?  I wonder if a video ever does that?"  As the song's fade-out to wobbled to a close, Phillips said, "Isn't that pretty?  What a way to kick off the morning, huh?"

Another time, there was silence after the show's prerecorded intro ended.  When the Cat Stevens song, "Morning Has Broken," finally started, Phillips ad-libbed, "This music is broken, and so are the DJs."

When moments like that happened, I'd often think, "That has to be so appealing, getting to present your personality, sense of humor, and point of view on the radio."  (And it is, as I found out on a smaller scale.)

Whether it was narrating the creation of the world's largest ice cream float, proclaiming, "We're caught in a music warp!" while singing along with Billy Joel's "You May Be Right," or trying to recall Geppetto's job in Pinocchio, Phillips brought his personality to the job, and it has served St. Louis listeners and him well since 1979.

When I met Phillips & Wall for the second time in 1984, Phillips gave me an autograph that read, "Andrew, why do we always meet in Schnucks?"  (My previous meeting with the DJs in 1982 had been at the same Schnucks store.)  Although the question was rhetorical, I'd now answer it, "Because it was (and still is) relatively close to home.  Thanks to Mike Wall and you, I learned for sure that I wanted to be on the radio, and I'm glad I got my chance to be on it.  I hope you enjoy your retirement and reflections on your life's work."

Only in college LXXIII

When I was KCOU's jazz director, I always liked it when DJs would add enthusiastic plugs for a jazz release to the reviews I'd written.  After my positive review of David Sanborn's "Snakes" CD single, one DJ added, "Admitted(ly), it's not as purist as (Sanborn's previous album), "Another Hand," but it's got that groove thang going on and is probably more likely to be played during regular shifts, as well.  Jazz DJs--Show the rest of KCOU you're cooler than they are and play this before everyone else does!"

In the day-by-day section of the review sheet which DJs initialed when playing the song, a jazz DJ encapsulated this positivity by writing, "COOL!!," after his initials.

More than a quarter-century later, I still remember that tune's saxophone melody and the slinky pulse the organ adds to the tune.  It's gratifying to know that all of our collective rave reviews of "Snakes" are still on the mark.

An overlooked cover tune LXIV

Yesterday, I praised WSIE for playing Rodrigo y Gabriela's "Diablo Rojo."  In digging deeper, I learned that the duo also covered Led Zeppelin's "Stairway To Heaven."  I never imagined one of the most-played classic rock tunes in history being reinterpreted as a flamenco guitar number, but it works pretty well.  When tackling such a well-known tune in a different genre, it's wise to treat the melody as a springboard for exploration instead of a sacred text.  Jazz players do this frequently, and the flamenco players on this track were wise to do the same.

FM dial scan highlights CXXXI

Sunday and Monday highlights:

KDHX 88.1 FM

• Garden Valley-Cathie Ryan (Movingly sung Celtic singer-songwriter material; I heard elements of Sarah McLachlan and Joni Mitchell in Ryan's vocals.)
• Pohakuloa-Moses Kahumoko (Appealingly placid midtempo slack key guitar.)
• Walk A Mile In My Shoes-Earl Grant (A strong cover of a Joe South tune in which the lead vocals, backing vocals, and every instrument are critical to the tune's feel.  Encouraging others to understand someone else's perspective rarely results in a song that's this infectious.)

WSIE 88.7 FM

• Diablo Rojo-Rodrigo y Gabriela (I'm impressed that WSIE would play this flamenco guitar number, as it's not the most obvious choice for a generally jazz-based station.)

KSHE 94.7 FM

• Firth Of Fifth-Genesis (A grand, Classical-influenced piano introduction segues into some of Peter Gabriel's best vocals with Genesis.  I remember hearing this on KDHX once as I drove off to get breakfast.  "Firth Of Fifth"'s grandeur made me feel like I'd completed a majestic quest, even though I'd only bought biscuits from Hardee's.)
• Lovely To See You-The Moody Blues (The guitar riff propels the tune in the best way, and the vocals frequently have me singing along, at least internally.  This is one of my two favorite Moody Blues tunes; "The Story In Your Eyes" is my other favorite.)
• Turning To You-Charlie (If I didn't know otherwise, I would have thought this was a Bob Welch solo track.  A tune this catchy and tight should have been a hit.)
• Aqua Marine-Santana (Hearing Carlos Santana's blistering guitar ping from left to right in my headphones and back again kept me alert.  The production values here are strong; this instrumental sounds like it was recorded in a tunnel with great acoustics.)

Suitable traffic report music II

If a radio station would loop the instrumental intro of Chicago's "We Can Stop The Hurtin'," it would have suitable traffic report music.  Given the gravity of the intro, though, it's probably best used during times when the rush hour is intense.

For smoother flows of traffic, I still think Grover Washington, Jr.'s "Can You Dig It" would work best.

Sort of in charge

When substitute teaching a vocal music class, it's important to convey authority.  That authority is compromised somewhat when you sing out to the class, "Oh, I lost my note; there it is," as one sub did when I was in grade school.

Predictably, this elicited a lot of giggles.

Two templates in one

I was pleased to hear "You're Right As Rain" by The Stylistics on KDHX Wednesday afternoon.  The Stylistics had two recurring smooth templates for ballads; "You're Right As Rain" captures both of them.  Vocally and lyrically, it falls somewhere between "You Are Everything" and "Break Up To Make Up."

Considering its best-of-both-worlds qualities, I wonder why it wasn't a hit.

An overlooked cover tune LXIII

A unique rendition of Michael Jackson's 1987 hit, "Smooth Criminal," caught my attention on SiriusXM this morning.  The duo's name, 2Cellos, tells you everything you need to know about its instrumentation.  The cellists respect the tune's melody and sense of urgency while making it sound impressively Classical.  If I'd never heard Jackson's original version, I might have thought that a 20th century composer had written a lively divertimento.

FM dial scan highlights CXXX

Six standouts heard today:

KDHX 88.1 FM

• Peace In The Valley-Sam Cooke & The Soul Stirrers (A plea for peace was the theme of today's "Steam-Powered Radio" show, and host Kelly chose many songs appropriate for this current tumultuous time.  One set of excellent vocal harmonies deserves another, so I'd recommend playing The Harmonizing Four's "Lift Every Voice And Sing" before this.)
• I Only Cry When I'm Alone-Beth Bombara (There's a steady consistency in this local singer-songwriter's work.  Bombara sings this with just the right amount of pathos, and its groove reminds me of "Upside Down," another song of hers from last year that almost cracked my favorite-music-of-the-year countdown.)

WSIE 88.7 FM

• Spice Of Life-The Manhattan Transfer (This is how you set the scene for an evening on the town.)
• Save It For Me-Sunnie Paxson (J. Thompson's "Tell Me The Truth" would sound great after this slick keyboard groove.)

KCLC 89.1 FM

• One Day She's Here-Marcus King (One of the tune's recurring riffs reminds me of Sly & The Family Stone's "Sing A Simple Song."  Vocally and instrumentally, this is a good example of rock with R&B influences...)
• 4 American Dollars-U.S. Girls (...as is this current track.  KCLC was wise to segue them.)

A linguistic irritant XXII

One positive development of radio: Fewer announcers today refer to their listeners as being "out there," as in, "Hello, all of you (or everyone) out there."

As a former broadcast school instructor reminded students, "Radio is an intimate medium.  Most people are listening to you individually, not in groups.  Speak to them as individuals."

A succinct review

I wonder how often high school band and orchestra competition judges are tempted to just write on evaluation forms, "Play better!"

It's not all that substantive, but it gets to the heart of the matter.  The closest most judges get to that, I suspect, is, "Practice more frequently."

Persistent earworm alert CXCI

After reading my pet peeves about language in my recurring feature, "A linguistic irritant," you might think a commercial advertising "a prodigious amount of cars" would irritate me.  For some reason, it doesn't.  All night, I've been trying to remember which car dealership used that phrase.  It's the same car dealer whose commercials during the '80s or possibly '90s used the tag line, "If we sound different, it's because we are." 

I appreciated the commercial's civil tone.  There wasn't any of the maniacal shouting or urgency that car commercials often convey.  For that reason alone, I hope that dealership is still around.

Delayed gratification III

This only happened a few times while I was on the radio in the early to mid '90s, but it was a few times too many.  Listeners would call and ask, "Do you know a song that goes...?"  They would then sing a lyric or two from it.  If I didn't know the song, they'd say, "Well, could you find out and call me tomorrow (or next week) at...?"

"Sorry, but no," I'd tell them.  I didn't want to set a precedent of calling strangers with the names and artists of songs I didn't know.

Today, fortunately, in a time of easily accessed song lyrics and apps that identify most songs, that problem has largely vanished.

Delayed gratification II

It's odd to think that, as a kid, I would order records and tapes through the mail and have to wait 4-6 weeks for their arrival.  If I had to wait that long today, I'd wonder if the music had gotten lost in the mail or if the record and tape club was running a scam.

As long as that was to wait, however, when I finally received the music, I treasured it--and listened to it over and over, at least until my next order arrived.

An overlooked cover tune LXII

Disclaimer: I know a Classical work is known as a piece, not a tune, but "An overlooked cover tune" is the name of this recurring feature.

When someone mentions Gershwin's "Rhapsody In Blue," you probably don't imagine it as a ukulele solo.  Pete Kennedy interpreted it that way, however, and his edited version is faithful to the piece's central melody while sounding surprisingly adaptable to the uke.

Time to accept a second hymn

In the early '80s, I went through a phase where I thought "Let Heaven Rejoice" was the only proper hymn with which to open Mass.  Thus, if I saw an opening hymn number other than 7, the page number of the hymnal in which it appeared, posted on the board by the organ, I was slightly irked.

I'm no longer that tightly wound.  Today, I'd also accept (and actually prefer) "Christ The Lord Is Risen Today."

I suppose I've mellowed--slightly--over the last 40 years.

Online radio sampler highlights CVIII

Five appealing tunes heard today:

KMHD (Portland, OR)

• Bluesadelic-George Benson (Benson's pop vocals are excellent, but his guitar prowess deserves just as much acclaim.  If you're only familiar with his hits, check out this strut of an instrumental from 1970 and revel in the guitar, organ, and saxophone.)
• Back Home-Booker T. & The MGs (The organ and guitar welcome you to the melody; upon first hearing it, I thought, "This would be a great theme for a retro variety show.  It slows down in the middle, but it perks up again and eventually matches its initial burst of energy.")

KOPN (Columbia, MO)

• Four On Six-Wes Montgomery (One of Montgomery's standout compositions; Montgomery makes the guitar swing, and Wynton Kelly responds in kind on the piano.)

WGOK (Mobile, AL)

• Oh How Precious-Kathy Taylor (Powerfully sung gospel verses over a blues beat.  In another context, I'd want less repetition in the lyrics, but in this case, the repetition makes the vocals appropriately fervent.)

WWWS (Buffalo, NY)

• All I Do-Stevie Wonder (There's no shortage of songs conveying the message, "I think about you constantly, and I'm glad."  A lot of them, however, don't have a groove that's nearly this steady or coalesce into a tune that you still want to hear after 50 listens.)

Perspective with age

When I was 12 or 13, I saw freshly made ambrosia for sale at a grocery store.  Thus, when I played Ambrosia on one of my taped radio shows, I said, "We start another half-hour of continuous music with a taste of Ambrosia."

I congratulated myself silently for thinking of such a clever intro.  Today, I would no longer consider it all that clever.

That's progress, I'd say.