Persistent earworm alert CXCVI

Although he didn't asked me this as often as he insisted on me hearing Rush's drummer, Neil Peart, the same friend asked me from time to time in sixth grade if I'd heard The Jam's "Town Called Malice."  It was far easier to hear Rush on St. Louis radio in 1982 than The Jam, so I didn't end up listening to "Town Called Malice" until the early '90s at KCOU.

Thinking of the song tonight, I realize that it's more upbeat than I remembered.  If you're going to reminisce about the town in which you grew up, this isn't a bad way to capture it.

Not a negative review, but...

"I saw you play the bass in the pit orchestra last night," someone I knew from high school school said.  "You were wearing a green shirt."

"Yes, I was," I responded.

What other response is there when someone acknowledges seeing you play music but doesn't compliment you?

The two-way street of feedback

When attending a concert, remember that artists are human and respond on stage to your feedback.  For the audience, appreciating can take the form of applause, cheers, or dance.  At the end of her 2015 performance of "Always On My Mind," best known in its Willie Nelson incarnation, Erin Bode acknowledged the many couples dancing near the stage.

"Thank you for dancing," she said.  "That means a lot to us."

Bode's concert at Kirkwood's Station Plaza was especially strong that year.  Undeniably, she sang an appealing mix of original songs and cover versions that year and had a strong band on stage.

I'd like to also think, however, that the audience's enthusiastic response to her music was at least a little bit responsible for the concert's added spark.

A more than fulfilled quota

It's time for a moratorium on Bob Seger's "Old Time Rock & Roll," at least when it comes to radio and in-store play.  Why not give those minutes instead to an example of the old time rock & roll about which Seger sings?

Or, if you must play a song about listening to music, how about Gordon Lightfoot's underplayed "Old Dan's Records?"  After all, that tune honors a person, not just his music collection.

FM dial scan highlights CXXXIII

Saturday through Monday highlights:

KDHX 88.1 FM

• Night Stomp-Albert King (This brisk guitar number could segue with the right surf instrumental.)
• The Deal-The Soul Blenders with The Oliver Sain Orchestra (This 1967 R&B dance number was originally the B side of a single but should be better known; it doesn't break new ground, but the rhythm is catchy, and the lyrics say only as much as they need to.)

WSIE 88.7 FM

• Callie-Joyce Cooling ((A breezy guitar-with-strategically-placed-whispered-background-vocals number fit for driving or possibly a hockey game; it could also work in a commercial promoting a city's vibrant night life.)
• The Texas Two Step-Joe Sample (This is one of Sample's more traditional straight ahead piano jazz tracks.)

KPNT 105.7 FM

• Baker Street-Foo Fighters (When you hear the larger-than-life wailing guitar sound, you might brace yourself for heavy metal vocals.  The vocals, however, are more restrained than you might expect.  Nothing tops Gerry Rafferty's original version, but in its own way, this is a respectful rendering of the tune.)

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

• Mama Didn't Raise No Fool-Swing Out Sister (Thanks to "The Jazz Collective," I got to hear this overlooked 1994 track.  It's unusual to hear lyrics about a less than ideal childhood and an early need for self-reliance in such a smooth, uplifting framework, but somehow, this unlikely combination works.)
• Couldn't Get It Right-The Baker Brothers (I've always liked Climax Blues Band's original version of this; the tune's realistic, sarcastic lyrics and distinctive lead vocals have stayed with me since I first heard them.  Wisely, The Baker Brothers stay close to the song's original conception while adding horns to the mix.)

Online radio sampler highlights CIX

Six standout tunes heard today:

KBXR (Columbia, MO)

• Funny Business-Alice Merton (A twisted way of saying, "There's no need to worry about me.  I'm faithful."  The song's rhythm corresponded eerily well to the basketball game footage on KBXR's website.)

KPTZ (Port Townsend, WA)

• All Those Years Ago-George Harrison (This wasn't usually played on the radio after it was a hit, given how of its time it sounded.  Lyrically and melodically, this 1981 tribute to John Lennon was one of Harrison's best solo efforts, however, and was deservedly one of his biggest hits.)
• Theme From "Hill Street Blues"-Mike Post (Right from the piano's first three notes, I knew back in 1981 that this instrumental would draw me in.  Decades later, it still does.  Larry Carlton's guitar gives it just enough of a bite.)

KVSF (Santa Fe, NM)

• Thinking Out Loud-George Kahn (Sometimes, the test of a melody's strength is how well it translates into an unexpected context.  On that score, Ed Sheeran's pop hit works impressively as a jazz piano instrumental.)

WXPN (Philadelphia, PA)

• Courage-Lianne La Havas (La Havas's intimate, sincere vocals fit her lyrics perfectly.  This new track is one of 2020's more endearing tunes.)
• The Supernatural-John Mayall & The Bluesbreakers (Since hearing of Fleetwood Mac founder Peter Green's passing yesterday, I'd hoped radio stations would play this.  Green's blistering guitar technique and instrumental craftsmanship are on full display here.  Last month, in reviewing Santana's "Aqua Marine," I wrote, "The production values here are strong; this instrumental sounds like it was recorded in a tunnel with great acoustics."  That's also true here.)

In memory of Peter Green

I was sorry to learn of Fleetwood Mac founder Peter Green's passing today.  Green deserves massive credit for launching one of rock's longest-lived bands and getting it off to such a strong start during its first three blues and blues-rock years.  In my view, these are six of his best contributions to the band:

• Albatross (The band's most placid instrumental, conjuring up images of relaxing on an island...)
• Fleetwood Mac (...in contrast to this raucous romp of an instrumental in which the guitar and harmonica pull off some blistering licks.  I've always liked that this was the tune that inspired Green to name the song as well as the band after drummer Mick Fleetwood and bassist John McVie.)  
• Long Grey Mare (The guitar and bass rhythms are similar to Howlin' Wolf's "Killing Floor."  Or, for a more offbeat comparison...)
• Looking For Somebody (The rhythm is strong enough that the tune would work even without vocals.) 
• Man Of The World (If I didn't know otherwise, I would think someone much older wrote these lyrics.  Lyrically, the song illustrates how you can have a seemingly great life but still struggle with depression.)
• Oh Well (Green doesn't mince words in his lyrics here, and the entire band rocks out with abandon.  This is possibly the best example of lyrics conveying an attitude of "That's life."  It's arguably one of the best ways of acknowledging that you don't see eye to eye with someone and probably never will.  Many guitarists have undoubtedly learned this as one of their favorite licks as soon as they were up to it.  This tune justifiably remains in Fleetwood Mac's set list to this day.)

It's difficult for me to imagine a world without Fleetwood Mac in it, so I'm sure millions of fans and I are thankful that Green set this band in motion in 1967.

FM dial scan highlights CXXXII

Standout selections heard in recent weeks:

KDHX 88.1 FM

• Don't It Make It Better-Bill Withers (Although I wouldn't play this as often as "Lovely Day" or "Use Me," this 1978 track settles into a comfortable, of-its-time groove in the vocals and instrumentation.)
• Dead End-Brainstory (Ruminations of the inevitable end of one's life have never sounded so laid back.  Vocally and instrumentally, this is heavily steeped in '70s R&B influences; surprisingly, it's from 2019, though.  War's "All Day Music" would sound right to me after this; the tune has a similar feel, and lyrically, it would take the edge off of "Dead End.")
• I'll Be Waiting-Santana (George Benson's "Weekend In L.A." would sound great before this; there's a compatible energy in the guitar parts of both tunes.)

WSIE 88.7 FM

• The Simple Things-George Duke (Warm vocals and sentiments ideal for a Quiet Storm format; I always looked forward to playing this on KNJZ.)
• Playground-Feyza Eren (This whimsical song of hope brings Astrud Gilberto's vocals to mind.)
• Power UP!-Blair Bryant (This new bass-anchored track is ideal for driving and adds bite to a smooth jazz station's playlist.)
• What Cha' Know About That-Lisa Addeo (This initially sly piano rhythm morphs early on into a sunny, bouncy, easily accessible smooth jazz tune.)

KWMU 90.7 FM

• Whisper Not-Thad Jones (Smooth, sly trumpet.  Longtime local jazz DJ Leo Chears chose the perfect theme song for his shows with Paul Desmond's "Desmond Blue."  If he'd needed an alternate theme, however, this could have been a contender.)

KSHE 94.7 FM

• Jessica-The Allman Brothers Band (Possibly the most infectious country-rock instrumental ever recorded; its melody is similar to another Allman Brothers standout track, "Revival.")

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

• Aaron Copland: Four Dance Episodes: IV. Hoe-Down (Los Angeles Guitar Quartet) (The volume and rowdiness of this movement are more contained with guitarists playing the melody--but not to the extent that you might think.  A fellow high school jazz band player once told me he couldn't stand Copland because "he writes toe-tapping hoedown music."  I thought to myself, "When it works, as it clearly does in this case, what's wrong with that?  This is a popular, well-known melody for a reason."  For another example of the melody's adaptability, check out Emerson, Lake & Palmer's rendition.)

A troika of support for the arts

Another reflection I had after looking at the professional theater company program from 30 years ago: It would be unusual to see ads for three radio stations in one program today.  The program I've been looking at from 1990 includes ads for a former soft rock station, KRJY, wishing the performers a great 1990 season and advising them to "break a leg," KFUO, the former Classical music station, offering "Bach around the clock," and NPR affiliate KWMU, which, at the time, played "the best jazz performers from five decades, seven nights a week."

Aside from bumper stickers for the contemporary Christian station, KLJY, and the occasional KSHE or KDHX bumper sticker, I don't see much advertising for local radio stations today.  Given my longtime affinity for radio, it's comforting to remember a time when three stations with different formats would buy full page ads supporting a local cultural institution.

A treasured post-high school yearbook

During high school, I always looked forward to autographing friends' yearbooks and asking them to sign mine.  I saw it as a chance to tell people, in essence, "Thank you for being part of my life.  Here's what I admire and respect about you." 

In 1990, I applied that approach to my Summer job as a professional theater company's bassist.  I asked various directors, actors, actresses, and fellow musicians to sign the season program.  In perusing it 30 years later, these are three of my favorite autographs, along with my reflections:

• "Thanks for your great and beautiful music!  You're the Big Bow Wow!  Don't you play (the bass) with a bow?"  (Yes, although I sometimes pluck the strings, I also play bass with a bow.  I appreciate the compliment also given to Snoopy, the most deservedly acclaimed beagle of the comic pages.)
• "It's been a fascinating experience sitting next to you in this musical.  I've actually learned some things about the bass and how it's played...Because of all the pages I turned for you in this, I just (continued on next page) thought I'd make you turn one..." ("Turnabout is fair play," indeed.  Being in the company's orchestra with two players from my high school jazz band was a welcome experience.  Based on our shared experience there, I knew that the three of us had the saxophone, clarinet, and bass parts nailed.) 
• "It's been wonderful working with you.  I've really enjoyed all of our classic moments on stage.  Yeah.  Keep learning that geometry.  HAH!  :-)..." (There's a scene in "Ain't Misbehavin'" when the cast dances back toward the band and exchanges brief, random banter with the musicians.  One night, I asked the actress who danced back toward me, "Don't you just hate proving triangles congruent as much as I do?"  Later, we talked backstage about our shared dislike of geometry class.)

Compliments...They serve an ego well.  More importantly, however, they remind you when you're surrounded by talented, welcoming people--and that you'd be wise to savor the experience.

Ask a simple question...

...and if you do customer service work over the phone, you might not get a simple answer.  After all the years I've spent doing such work, it amazes me how many people are befuddled when I ask for their name.  Over time, I've changed my phrasing.  I used to ask, "May I take your name, please?"  Too often, people didn't understand what I was asking.  Eventually, I started phrasing it more directly, asking, "What is your name, please?"  Even then, some callers had to clarify my question.  (i.e. "My name, you mean?")

During the early '90s, a Missouri state representative advocated placing warning labels on albums containing profane or obscene language.  To justify her view, she read rap lyrics while paraphrasing the profanity.  I remember at least one morning DJ playing an excerpt of her reciting, "What the eff is your name, mothereffer?"

If I were a less cautious worker, I'd respond to clueless callers that way.  I'm not that person, however, so I'll continue to censor myself.

- to + revisited

In 2014, I wrote about a Select-A-Set I came up with for WXPN.  In retrospect, I probably should have included Crosby, Stills & Nash's "Wasted On The Way."  I've always thought that Graham Nash did a masterful job portraying an "Ebenezer Scrooge makes good"-type of scenario.  Despite the mistakes the song's subject has made and the time he has squandered, the song's tone is still encouraging. 

During a pandemic, especially, it's reassuring to hear that you can still chart a more positive course.

Everyone's a critic... V

A scene from the '90s: I'd finished my radio air shift.  Later that day, someone I know well asked me how it had gone.  "OK," I said, "but I think I chose better music to play yesterday."  "Yes, I would agree," she replied.

I took this reaction to heart and made sure to do an even better job of choosing music the following day.  After all, this reaction was from my own mother.

Everyone's a critic... IV

Thirty years ago, I played the bass in a professional theater company's production of "Ain't Misbehavin'."  The critic who reviewed it for the local newspaper enjoyed the acting and Fats Waller's music.  His only criticism was of one actor's "shabby shoes."

The managing director reacted to this criticism the next day.

"His shoes!" he exclaimed.  "His shoes, for God's sake..."

"Are you going to ask (the actor) to change shoes?" the music director asked.

"No!" the managing director replied.  "If anything, we're going to scuff 'em up even more."

I don't fault the managing director for responding that way.  There's a difference between valid criticism and nitpicking, after all.

Persistent earworm alert CXCV

When the "Anthology 2" Beatles compilation was released, I was especially taken with the alternate version of "And Your Bird Can Sing"--not so much for the giggling but the revelation of how good the song sounds in a lower key.

That key also serves today's persistent earworm well.  "Till Your Luck Runs Out" by The Overtures doesn't break any new ground, and that's not a criticism.  It feels like any number of mid '60s pop tunes, but it's actually from this year.  You've heard lyrics like these and jangly guitar melodies like these hundreds of times, at least.  That familiarity doesn't detract from the tune's pleasant, welcoming vibe or keep it from being one of 2020's catchier songs.

I welcome all the jangly guitar/power pop melodies I can fit in my mind, especially during a pandemic.

A predictable song parody

A scene from the '90s:

Me (thinking:) Elton John's "Levon" was just on the radio.  There's a worker in another department named Yvonne.  She's not here right now, but if I know (a co-worker's) mindset, he's probably going to walk past Yvonne's desk and sing...Wait.  There he is now.

Co-worker (singing:) Yvonne...Yvonne likes her money...

Me (thinking:) Yep.  Called it.

A ringing guitar (or cat?) tone

When the thunder started a little while ago, I was listening to John Denver's "Druthers."  My cat, Collette, who creeps around with her tail down and hides during thunderstorms, meowed piteously.

At least, I think she did.  I'm still not sure if I was hearing Collette or the guitarist's ringing tone on "Druthers."  I should compliment them both for being able to mimic each other.

Priorities, though...I need to reassure my cat that she'll make it through the storm.

Context? LXXXI

I'm not sure if it was a superintendent, principal, teacher, or parent being interviewed on the radio, but she was opining on students returning to school.

I'm pretty sure I heard her say, "I wholeheartedly believe that every student deserves to be alive."

"That is--or at least should be--one of the most uncontroversial statements I've heard anyone say recently," I thought.  "And yet, with the state of the world in 2020, I wouldn't be completely surprised to hear someone argue the opposite point of view, as absurd as it is."

As a former co-worker used to say, "Everything makes sense to someone."

Context? LXXX

While scanning the FM dial last night, I stopped briefly on KWMU.  On "The Splendid Table," someone asked, "Why do you think people have so many issues with green bell peppers?"  I half-listened to part of the answer, which included words such as "overexposure" and "watery."

I didn't know green peppers weren't being given their due.  They've always worked for me in salads, sandwiches, and pizza.  I had no idea people shunned them.

Leave it to public radio to raise an issue I didn't know was contentious.

A blogger's subconscious priorities

Today, I woke up after six hours and exclaimed, "Ghostbusters!" 

Ever since hearing "Soul Finger" by The Bar-Kays on WSIE in May, I'd been thinking, "What song does this melody and vocal exclamation remind me of?"  Today, I woke up and realized it was Ray Parker, Jr.'s 1984 hit.  There's just enough common ground between the tunes for me to see the influence "Soul Finger" might have had on "Ghostbusters."

Mystery solved.  I'll reward myself with two more hours of sleep.

A linguistic irritant XXIV

Unless you're Italian and are conducting an orchestra, it's best to avoid saying the word "vivace," if you can.  Otherwise, you might overpronounce it with an exaggerated accent.  I still remember one conductor doing this; even though it was over 30 years ago, I still remember his over-the-top pronunciation as if he'd said it earlier today.  Sometimes, though, that term is in the score, and there's no getting around saying it. 

Even then, though, it's probably best to just tell the orchestra, "Remember, this movement is lively and fast."

Context? LXXIX

In the early '90s, I heard a noncommercial FM DJ say she was going to give away concert tickets.  "But first," she said, "I have to think of a suitably distressing question for you to get (them.)"

I suppose that makes the caller's win feel more earned.  Given a choice, however, I probably would have just said, "Concert tickets will go to the first (or other designated) caller..."

If I'd been awarding a box set of CDs, however, I probably would have followed her lead--and asked more than one not-easy-to-answer question.

Inexplicably mundane nostalgia

I don't remember anything momentous happening on this night in 1995.  For some reason, however, I remember that I drove off to KNJZ to do the 12-6 a.m. air shift.  Some days lately, I can't remember where I put a key or a piece of mail.  Why, then, do I remember that in the early minutes of July 10, 1995, I introduced Chicago's "Call On Me" during my first short air break?  As much as I like the song, why would I remember playing and announcing it on the air on a specific night after all this time?

It's puzzling what stays in your mind, 25 years later.

An overlooked cover tune LXV

After hearing Deodato's instrumental version of Steely Dan's "Do It Again" on WSIE today, I'm struck by how successfully the flute carries the melody and how fervently it clings to the mind.  Although I think fortune telling has no basis in science and should be strictly for entertainment, I'd credit fortune tellers who play this tune in their establishments with setting the proper atmosphere.

A linguistic irritant XXIII

While I'm all for giving credit where it's due, there's a way not to attribute a quote on the radio.  In the '90s, I would listen occasionally to an AM radio call-in show about computers.  When calls weren't coming in, the host would fill time by reading parts of computer-themed articles.  Whenever he would quote someone, he'd say, for instance, "Braxton Marsupial, CEO of This Here Computer, said, quote, 'Anyone who hasn't bought a PC yet because of the price should hang in there.  Prices for new PCs should drop considerably this Fall,' unquote."

From an intellectual property standpoint, I appreciated the host leaving no doubt where someone else's words started and ended.  Saying "quote" and "unquote," however, makes for ear-stabbing radio.  It's smoother to just attribute the quote, say it, and follow up with, "I agree (or disagree) because...," when appropriate.

Persistent earworm alert CXCIV

Three songs have been rotating as my persistent earworms today.  Charlie Daniels and Ennio Morricone passed away today, so I've been thinking a lot about "The Devil Went Down To Georgia" and "The Ecstasy Of Gold," respectively.

A lyric from Player's hit, "Baby Come Back," keeps coming to mind, as well.  Instead of singing it as "wearing a mask of false bravado," however, I've been singing it softly as "wearing a mask to not spread Covid."

I knew it was only a matter of time before coronavirus thoughts would infiltrate my earworms.

A wish for next July 4

Here's hoping Covid-19 is a thing of the past by next Independence Day.  I'll find it heartwarming to see groups of friends in the audience at "The Boston Pops Fireworks Spectacular" or "A Capitol Fourth" doing their intuitively synchronized kicks again during "The Stars And Stripes Forever."

Brass and wind-driven power

July 4 is incomplete for me if I don't listen to the third movement of William Schuman's "New England Triptych" at least once.  That movement, "Chester," is ideal for Independence Day, with its loud, brassy, anthemic passages.  My default go-to version has always been the St. Louis Symphony Orchestra recording, with Leonard Slatkin conducting. 

This year, however, I've made room for a second compelling rendition.  If you know the piece well, seek out the Dallas Symphony's performance of it with Andrew Litton conducting.  The darker sonority in the winds got my attention, as did the orchestra's powerful horn section.

In a dumpster fire of a year for this country and the world so far, we could all use a brassy reminder of what America sounds like at its best.

Holiday music played after the holiday

Although I'd always rather have a holiday off from work, I have one small regret about my time in radio.  I've never gotten to program an entire on-air shift of Independence Day-themed music.  Simon & Garfunkel's "America" is a great tune any day, but it didn't resonate with me quite as much when I played it on-air on July 6, 1996.

SiriusXM highlights CXIX

Wednesday and Thursday highlights:

'50s On 5

• I Wish That We Were Married-Ronnie & The Hi-Lites (This hit is actually from 1962 but has a definite '50s doo-wop sound.  Seek out 14 Karat Soul's excellent cover of it on "Saturday Night Live" from the 1980-81 season.) 

'90s On 9

• Tom's Diner-DNA featuring Suzanne Vega (It takes a perceptive ear to think this originally a cappella tune would work with this beat.)

The Bridge

• Blow Away-George Harrison (This 1979 hit isn't usually played on the radio today, and it's a shame.  Harrison sings these upbeat, direct lyrics breezily, and it serves the song, especially the chorus, well.  There's an appealing simplicity here that gives the tune a sing-along quality.)
  

Classic Rewind

• Mystery Achievement-The Pretenders (The drums set the tone here, right from the intro of this underplayed Pretenders tune.  The drums, guitar, and Chrissie Hynde's vocals gel in predictably fine fashion.)

Luna

• Chega de Saudade-Eliane Elias (In English, the title is "No More Blues."  Elias turns in a comfortable, reliable bossa nova performance, as usual.  Whether singing or playing piano, she consistently displays just the right amount of warmth.) 

Phish Radio

• Paper Thin-Lianne La Havas (La Havas sings with a thoughtful intimacy that's simultaneously contemporary and old school.  The guitar punctuates her vocals appealingly here.)

Real Jazz

• Arabesque-Ahmad Jamal (This is as strong of a tune as any to play in honor of Jamal's 90th birthday today.  Jamal's memorable recurring piano riff propels this foreboding yet enticing excursion for the rhythm section.) 

Symphony Hall

• Antonio Vivaldi: Concerto For Two Trumpets in C major, RV 537 (English Chamber Orchestra/Raymond Leppard, conductor; Wynton Marsalis, trumpet) (This piece is as immediately accessible as a typical Mozart symphony or concerto.)

Live and learn

Advice for cat owners: If you play the John Williams piece, "Liberty Fanfare," be advised that your cat might mistake the powerfully played timpani for thunder and creep into a room with her tail down.  My cat, Collette, did this a little while ago.  She recovered quickly, but I've made a mental note to listen to the piece over headphones from now on.