Expecting the unexpected

When I did some sports writing at a previous job, I never wanted to be assigned prediction articles.  Predictions, after all, are based on the limited information you have at the moment and don't account for surprises that might affect your thinking.  Thus, they have a deservedly short shelf life.

I could write, for instance, that I'm curious to hear the forthcoming releases by Todd Rundgren and Jethro Tull.  However, that's based on my reflexive liking of their best work from the '70s.  I have no idea how their new releases will sound.  I could also write that after hearing a really catchy song by Sky Ferreira that I didn't know existed until nine years after its release, I'm curious to hear what her new release will sound like.  That, too, however, is based on incomplete information.

Also, there will likely be any number of gems I'll hear next year on KDHX, WSIE, KCLC, out-of-town stations, SiriusXM, Stingray Music, and other sources.  Some songs will be by artists I've never heard before.  Others will be by more established artists whose 2022 releases will be unexpectedly gripping to me.

Each year, my countdown of favorite songs is a mixture of thoughtful singer-songwriter music, contemplative jazz, catchy power pop, and melodic instrumentals.  Right now, I have no idea what songs will make 2022's countdown, and that's exciting.  Even if it isn't the best year for music, there will still be captivating releases in those categories, waiting to be discovered.

Persistent earworm alert CCXLVI

After listening to the year-end "American Top 40" countdown of 1981, it was inevitable that "Bette Davis Eyes" by Kim Carnes would lodge itself in my mind.  It was that year's biggest hit, which still puzzles me a bit.  I don't dislike it, but in a year with so much good pop music, it surprises me that "Bette Davis Eyes" sold better than any other song.  The vocals are rather raspy, and it doesn't strike me as a song that most listeners would seek out repeatedly.  It's lyrically and melodically memorable, though, so those must have been its keys to success that Summer.

Better perspective with age

Over the next few days, I plan to turn the clock back 40 years.  I'll be listening to the "American Top 40" year-end countdown from 1981.  I remember putting a tape recorder up to the radio in my bedroom and preserving parts of the countdown at age 11.  (I'll be listening to a higher quality recording than that in the coming days, though.)

I still think 1981 was one of pop music's better years.  It amuses me, though, that I once thought The Little River Band's "The Night Owls" was some sort of biker gang anthem.  At the time, that was my idea of tough, rebellious rock.

One first impression that still holds up, though: Joey Scarbury's "Theme From 'The Greatest American Hero'" is still a captivating way of expressing wonder and gratitude for assuming a role you weren't anticipating.

Can't have silence, but...

I grapple with this every year for at least three days after Christmas.  In the days after Christmas, I still like the warm glow that Christmas music elicits.  Somehow, it feels wrong to listen to any other type of music until New Year's Eve.  How do I handle radio listening in the car, then?

Usually, by listening to news/talk stations.  Tonight, I ended up listening to commentary on a sports team I don't follow and part of an awards banquet that has no bearing on my life.

Radio is meant to be escapist, after all.

Still Winter, after all

A memory of grade school recess: On a snowy, icy day, a student started singing "Winter Wonderland" on the playground--in January.  He sang it with such confidence that the rest of us nearby couldn't help but join in.  You've never heard a group of kids singing about a bluebird going away and a new bird arriving to stay with such gusto after Christmas.

Years later, this student put down his saxophone and started improvising vocals during a high school jazz band rehearsal of "C Jam Blues."     

"Different venue, different genre," I thought, "but the same confidence is there."

FM dial scan highlights CLXXVIII (Christmas edition IV)

Highlights from yesterday afternoon and evening:

WSIE 88.7 FM

• Skating-Erin Bode (I've always enjoyed hearing Bode sing this in concert; one of many highlights from Bode's album, "A Cold December Night," it's suitable for any time of year, especially when you're relieved to be returning home.  Also recommended: "The Holly And The Ivy" and "The Star's Song.") 
• There's No Time Like Christmas Time-Chris Standring & Kathrin Shorr (Listing things you enjoy about Christmas while creating an inviting, memorable melody is a tall order.  Shorr and Standring pull it off, however.)

KLOU 103.3 FM

• Joy To The World-Percy Faith & His Orchestra (This is an excellent instrumental rendering of the carol, I've always thought, with a perfect opening trumpet proclamation.  This is a great example of harmonious strings and brass.)
• Silver Bells-Andy Williams (A clear, reliable voice for conveying the anticipation of Christmas Day.  This rendition has held up well over the decades.)

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

• In Dulci Jubilo-Mannheim Steamroller (This ensemble is usually at its best when it backs off from the synthesizer.  The instrumentation and a slower tempo make this one of the better, more demure versions of this carol.  Also recommended: "Wassail, Wassail.")
• Wassail Song-Philadelphia Brass Ensemble (Appropriately stately.)
• Martin: Nouvelles, Nouvelles (The Boston Camerata/Joel Cohen, conductor) (I'm pleased that during or after Christmas dinner in three different years, I've heard this French carol on Classic 107.3.  It has such a memorable, welcoming chorus, so I'm surprised I haven't heard it on other Classical stations or streams.)
  

FM dial scan highlights CLXXVII (Christmas edition III)

Christmas Day highlights:

KDHX 88.1 FM

• Christmas Sounds Medley-Brentford All Stars (This is how you put down a beat and infuse funk into carols instrumentally.  Part of the time, I could imagine Tom Tom Club's "Genius Of Love" being interwoven into the mix and somehow making sense.)
• Carol Of The Banjos-Beta Radio (If you don't think of the banjo as a dramatic instrument, perhaps this version of "Carol Of The Bells" will change your mind.)
• Little Road To Bethlehem-Shawn Colvin (Colvin sings this with such sincerity that it's the best version of the tune, in my opinion.)
• Bring A Torch, Jeanette Isabella-Chris Thile (A very pleasant midtempo interpretation on mandolin.)

WSIE 88.7 FM

• Here We Come A-Wassailing-Lisa Addeo (Wassailing doesn't always have to be boisterous.  Addeo plays a subtle, slower piano interpretation.)
• Good King Wenceslas-Dawn Weber (One of the more modern-sounding takes on this carol on a confidently played trumpet.)
• Let It Snow! Let It Snow! Let It Snow!-Chris Botti (Airy, resonant trumpet.  Also recommended: "Winter Wonderland.")

WFUN 96.3 FM

• Silent Night-The Temptations (For the full range of the group's vocals and emotions, the six-minute version is the one to hear.)
• Have Yourself A Merry Little Christmas-Lou Rawls (When Mr. Rawls decrees it with such certainty, how could you not have a merry little Christmas?)
• Go Tell It On The Mountain-Myra Walker Singers (If this version doesn't make you want to proclaim the good news...)

KLOU 103.3 FM

• O Come, All Ye Faithful-Amy Grant (A tasteful, somewhat subtler than expected rendition.)

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

• Skating-Vince Guaraldi Trio (In addition to its famous inclusion in "A Charlie Brown Christmas," Snoopy uses "Skating" as a beautiful diversion in the movie, "A Boy Named Charlie Brown."  If that scene and this song don't make you forget your woes for a few minutes, I wonder what would.)

Never quite finished

Alright...I think that's where I'll wrap it up in listening to Christmas music from my collection on Christmas Eve...

...Wait...No...Arrrrgggghhhh...KWMU is playing Peter, Paul & Mary's "A'Soalin'" during a break.  How have I not thought to listen to that yet?  For that matter, why haven't I listened to Stevan Pasero's cover of it, spelled "A Soul'n," on guitar?  Those are at least two tracks I have to play today.

Also, I need to get to at least one more Shawn Colvin Christmas tune.  Her voice conveys a warmth and innocence that's perfect for the holiday.  I've already listened to my favorite cover of hers, "Little Road To Bethlehem," but I need to hear more.  

Then again, Christmas is, in large part, about being home for the holidays, so I ought to play "Celebrate Me Home" by Kenny Loggins, as well as Al Jarreau's cover of it.

Also, I haven't listened to as much Lou Rawls Christmas music, as usual, this year.  And, what about Joan Baez?

I feel like the man pursuing the horizon in that Stephen Crane poem.

An overlooked (Christmas) cover tune CVII

Until I heard Kate Rusby's version of "Winter Wonderland," I hadn't imagined the chorus being sung in a minor key just long enough to make the listener pay attention, nor had I imagined it with accompaniment that makes the accordion sound hip.  Those ingredients complement each other well, however, in a rendition that should be better known in America.  Rusby's music, in general, for that matter, deserves a larger audience here.  "Sir Eglamore," "Annan Waters," "Planets," and her versions of "The Holly And The Ivy" and "Hail Chime On" have been my favorite tunes of hers for years.  Today, I'm adding "Winter Wonderland" to that list.

An incongruous carol for cat play II

My cat, Collette, ran amuck this afternoon, twirling in the air to catch various cat toys and jumping in and out of a window.  The carol playing at the height of her frenzied behavior?  "A Gift Of Love" by The Boones--a reverential and beautifully sung carol of appreciation for Christ's birth.

In retrospect, I should have cut my losses and put on Jorma Kaukonen's "Downhill Sleigh Ride."  It has just enough of a Benny Hill quality to match Collette's manic leaps and spins.

"A Christmas Carol" musings

In recent days, I've listened to many radio productions of "A Christmas Carol," many of which I'd never heard before.  All of them were enjoyable in their own ways.  Some thoughts I had while listening:

• If you sound like you're about to break into an evil guffaw when saying, "Old Marley was as dead as a doornail," you aren't reading the line properly.  Also, there's no need to elongate the syllables of doornail.  The line isn't, "Old Marley was as dead as a dooooornaaaaail," as I heard in one production.
• Three productions I heard emphasized how delicious sage and onions were to the Cratchit family.  I've never considered them essential Christmas dinner ingredients, but more power to those who do.
• Even if your production has no time limit, it's tedious to list every food served at Old Fezziwig's Christmas party or all the fruits of generosity that surround the Ghost Of Christmas Present when he appears initially.
• It impressed me that one production was surprisingly captivating with only five actors playing up to seven characters apiece.  Not just anyone can pull off voices of both genders and all ages convincingly.
• The oldest production I heard was from 1931.  The radio station's announcer said it was the oldest known radio production of "A Christmas Carol."  I had no idea who the actors were, but they impressed me.  I'm not sure why I was slightly surprised.  After all, just because radio was relatively new then, people still had acting chops 90 years ago, and the Charles Dickens story holds up in any era.
• It's appropriate that the "Campbell Playhouse" version of the story has survived for so many decades and is the radio production of "A Christmas Carol" I've heard most, by far.  Lionel Barrymore conveyed Ebenezer Scrooge's cantankerousness more convincingly than any other radio actor I've heard.  It's no wonder KMOX plays that version every year.

For all fans of "A Christmas Carol," here's hoping you hear at least one radio production of it this year that suits your taste.

An overlooked (Christmas) cover tune CVI

Its downcast melody makes me seek out "Coventry Carol" only sparingly.  Sonos Handbell Ensemble's version of it, however, makes me want to hear it slightly more often.  There's something about the clanging, welcoming timbre of handbells that makes even the most solemn carol sound more appealing.

FM dial scan highlights CLXXVI (Christmas edition II)

December 2015: It was considerate of those 10 tabby cats to distribute Christmas-themed desserts.

Seven Sunday Christmas tunes worth hearing:

KDHX 88.1 FM

• Joy To The World-The Staple Singers (An interesting, catchy fusion of gospel and country styles.)
• Lo, How A Rose E'er Blooming-Elizabeth Mitchell and Friends (These captivating layered vocals must sound powerful in surround sound.)
• The Holly And The Ivy-Artisan (This vocal ensemble sings a less common bouncy, skipping arrangement of this carol.  If you like this arrangement, you'll probably also enjoy Kate Rusby's version.)
• The First Noel-Nossa Bossa Nova (Pleasant, breezy Portuguese vocals that wouldn't be out of place on a smooth jazz station.)

WSIE 88.7 FM

• Frosty The Snowman-Marcus Roberts Trio (A tasteful, just-whimsical-enough piano-anchored rendition.)
• Sleigh Ride-John Pizzarelli (I'm glad to finally hear a radio station play this, as it's a fun, generally overlooked romp for piano and guitar.)

KWMU 90.7 FM

• White Christmas-Oliver Jones (Swingin' piano and guitar with an intro that brings "One Note Samba" to mind.)

An incongruous carol for cat play

While there will be times when your cat might knead you in time to a favorite Christmas carol, there will be other times when music you play clashes with your cat's mood.  One recent night, my cat, Collette, was leaping into the air, spinning around, and pouncing on a Cat Dancer toy maniacally.  During her acrobatic feats, Chanticleer's placid rendition of "It Came Upon The Midnight Clear" was playing.  

Sometimes, you just have to accept that certain music will calm your mood--while your cat remains impervious to it.

Context? CXLVI

Heard from a caller on an AM radio talk show this morning: "I have no interest in getting the (Covid) vaccine, but I want to protect my family."

Sigh...There are no words...

Actually, that's not so, as I said to the radio, "If you really want to protect your family and yourself, just get the vaccine.  Oh, never mind.  If you're not convinced by now that the vaccine will protect all of you, nothing I say will persuade you."

The right carol for kneading

Liking John Rutter's "Donkey Carol" isn't required for getting in good with my family--but it doesn't hurt.  I was heartened that my cat, Collette, kneaded her paws on me in time to it recently.

"Yep," I thought.  "She's one of us."

An overlooked (Christmas) cover tune CV

Wishing someone a restful sleep and pleasant dreams is appropriate at any age.  "All Through The Night," a Christmas lullaby, conveys these warm sentiments endearingly.  Just about any sensitive singer should be able to pull off a respectable rendition, but I'm partial to Misty River's version.  The group sings with just the right amount of tenderness and reassurance--essential qualities for any performance of a lullaby.

An overlooked (Christmas) cover tune CIV

I like to believe that God has a whimsical side.  I won't be surprised, then, if I hear angels in the afterlife playing The New England Irish Harp Orchestra's version of "Linus And Lucy."  Harps, by their nature, sound heavenly, and the airy production values on that ensemble's rendition make Vince Guaraldi's tune sound ethereal.

Annual Christmas cheer revisited II

Each December since 2013, I've made at least one call to a Dial-A-Carol service.  Each year, carolers with varying levels of singing ability do their best to fulfill my requests.  Bravo to caroler Matthew, who belted out a pitch-perfect rendition of "Hark! The Herald Angels Sing" last night and the chorus of anonymous women who maintained an impressive level of enthusiasm through three verses of "Joy To The World" this afternoon.

Kudos to those carolers for having the courage and confidence to sing for strangers over the phone.  I can't imagine doing that, so I applaud their gumption.

FM dial scan highlights CLXXV (Christmas edition)

December 24, 2012: A reindeer waits for a special version of "Santa Claus Is Comin' To Town."  That's his cue to join Santa's team of sleigh-pullers.

Saturday and Sunday Yuletide-themed highlights:

KDHX 88.1 FM

• Ding Dong! Merrily On High-Firesign Vocal Quartet (A warm, cheerful a cappella rendering.  Think The King's Singers, with a somewhat lighter approach.)
• Little Drummer Girl-The Gothard Sisters ('The Little Drummer Boy" has never been one of my favorite carols; it's too repetitive for my taste and doesn't move me as most other carols do.  This instrumental version of it, however, is excellent.  The guitarist, violinist, and percussionist give it a much-needed dose of energy, thus improving the tune.)
• Winter Wonderland-Jan Luna (A pleasant, Hawaiian-sounding instrumental rendition.)

WSIE 88.7 FM

• I'll Be Home For Christmas-McCoy Tyner (Through his arpeggio flourishes on the piano, Tyner conveys the excitement and anticipation of going home.)
• Have Yourself A Merry Little Christmas-The 442s & Peter Martin (An appealing transition from stately Classical intro to hip jazz melody.)
• Winter Wonderland-Warren Wolf (Wolf shows how "Winter Wonderland"'s bounce cries out for a vibraphone-led version.)

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

• What Child Is This?-Vince Guaraldi Trio (Guaraldi's piano playing underscores this carol's downcast nature, with exactly the right amount of melodic embellishments.)
• In The Bleak Midwinter-Robert Shaw Chamber Singers (These resonant vocals sound as though they were recorded in a cathedral with great acoustics.)

A petty fixation VII

My thought process earlier today: "Yeah!  That's some great, crunchy guitar work, and the vocals are catchy, too.  This is a pretty good song I'm hearing on KDHX, and...Wait...It's recent?  Oh, no.  If that's the case, I'll need to remake my 'Favorite music of 2021' post and create a slot for it.  That means I'll have to bump a song from the countdown, and I don't like doing that.  Once I nail down my top 25 tunes for the year, I like them to stay fixed in place.  Oh, wait...The album on which this song is from won't be released until February?  That means it'll be eligible for my 2022 countdown instead.  Whew!  Crisis that wasn't really a crisis averted..."

Persistent (Christmas) earworm alert CCXLV

Thanks to Bing Crosby and company, any version of "It's Beginning To Look A Lot Like Christmas" that doesn't include an orchestral "Jingle Bells" excerpt as its prelude feels incomplete.  Frequently, when I'm driving down side streets looking at Christmas decorations in Kirkwood, Missouri, that orchestral windup enters my mind.

Favorite music of 2021

Once I'd listed my favorite songs of 2021 this morning, I was surprised how quickly my rankings fell into place.  Here are 25 of my favorite tunes from this year:

25.  Through The Fog-Marinero (It's a compliment to say this isn't conventional radio fare; the Brazilian-sounding flute arrangement, seemingly drawn from the late '60s and early '70s, enhances the vocals.)

24.  Justified-Kacey Musgraves (A lyrically effective way of conveying the thin line between love and hate.)

23.  Talk About It-Jungle (This propulsive dance groove demands the listener's attention; presumably, it's a staple track at clubs.  This is how you blend multiple eras while still sounding contemporary.)

22.  Harshest Critic-Allison Ponthier (Sincerely sung, honest lyrics about the bravery of baring your soul as a musician.)

21.  Beside April-BADBADNOTGOOD featuring Arthur Verocai (This is one of 2021's more beguiling instrumentals.  This is how acoustic guitar, electric guitar, and orchestral strings coalesce harmoniously.  This tune should give listeners a boost of confidence or at least sustain the confidence level they already have; it's fit for "I think I can" moments.)

20.  Ocean Waves-The Ryan Benthall Trio (The pleasant uptempo piano part makes this one of 2021's more appealing jazz tracks.  Also recommended: "Dance For Soli," which has a music box feel.)

19.  Hole In One-Delvon Lamarr Organ Trio (Organ that brings the funk.  The band's "I Told You So" release has the same consistency as an album by The Meters.)

18.  Adriatic Blue-Steve Hackett  (It's amazing how much of a difference a well-placed tremolo on a guitar makes when conjuring up the sensation of floating.) 

17.  Telepath-Manchester Orchestra (This April release offers sensitive, direct lyrics about committing to someone for a lifetime and knowing you made the right choice.)

16.  To The Island-Crowded House (Although it sounds even better as an acoustic number, the sing-along quality of the chorus still shines through.)

15.  Nobody's Fault-Benny Sings (This is how to sing about the disintegration of a relationship with a light, matter-of-fact touch and have it sound like a Bee Gees demo.)

14.  Fall-Terence Blanchard featuring The E-Collective & Turtle Island String Quartet (Lush and ornate; a fine tribute to Wayne Shorter.)

13.  More Than We Know-Aoife O'Donovan & The Milk Carton Kids (O'Donovan sings this with her customary sensitivity.  I'm reminded of Mary Chapin Carpenter's music when I hear this.)

12.  Show Me Your Soul-Lalah Hathaway & Robert Glasper (Lyrically and vocally empowering.)

11.  Eye To Eye-John Smith featuring Sarah Jarosz (Endearing vocal harmonies and guitar accompaniment in this March release bring these lyrics about a faltering relationship to life.)

10.  Too Much Heaven-Barry Gibb featuring Alison Krauss (A strong rendering of the Bee Gees hit; while I never imagined this pair as a duo, the vocals of Gibb and Krauss mesh perfectly.  Krauss's vocals soar especially well.)

  9.  Bossa Nova California-Lawson Rollins (An aptly titled breezy guitar release with a '70s easy listening vibe.)

  8.  Sunshine-Grant Swift (The rhythm of this catchy June indie rock release drew me right in.  Lyrically, it's a good reminder that just because you might fail at something, you can still approach it with a positive attitude.)  

  7.  Be Sweet-Japanese Breakfast (For its catchy, poppy rhythm and solid dance hook, this track is a 2021 standout.  Rhythmically, Blondie's "Rapture" segues well before or after this.)

  6.  The Clock Won't Tick-Quantic & Eddie Roberts (A strong brass/guitar vamp; I keep expecting The Rolling Stones to hijack the tune and launch into "Jumpin' Jack Flash.")

  5.  Blue Shadows On The Trail-Sara Watkins featuring Nickel Creek (Watkins recorded one of this year's most endearing vocal releases, "Under The Pepper Tree."  Among its highlights is this cover of a tune from the movie, "Three Amigos."  If you like the feel of "Happy Trails," this tune will likely appeal to you, as well.  Other recommended covers: "Moon River" and "Pure Imagination.")

  4.  Save The Best For Last-Erin Bode (Bode's heartfelt sincerity shines on this cover of a Vanessa Williams tune.  There's not even a hint of overproduction, which serves the vocals well.  Also recommended: Bode's cover of "Happy Together" by The Turtles and "Because Of You," which features David Sanborn on saxophone and has a more overtly commercial sound.)

  3.  New Frontier (Live From The Beacon Theatre)-Donald Fagen (Fagen's album, "The Nightfly," with its intelligent lyrics and vision of the future, was a standout release in 1982.  Recording it live 39 years later was a smart choice.  This track and "I.G.Y. (What A Beautiful World)" hold up especially well.)

  2.  River Rise-David Crosby featuring Michael McDonald (These mature lyrics acknowledge that much of life is out of our control.  Also recommended: "For Free," a cover of the Joni Mitchell tune featuring Sarah Jarosz.)

  1.  Amoeba-Clairo (Compellingly written, sung, and produced; an effective combination of lyrics about questioning one's priorities against a memorable undercurrent of piano and guitar.  This tune is rhythmically strong and moody in the best way.  Thus, it's my favorite song of 2021.)

Heavenly harpist

Last Thursday night, I listened to the LP, "Three Harps For Christmas," by Sylvia Woods.  Inevitably, I started picturing my dearly departed cat, Sylvia, playing Christmas carols on a harp in Heaven.  You might think it's impossible for a cat to play a harp, but I hold out hope that somehow, Sylvia the cat is able to arrange her paws accordingly and bestow her intuitive musical gifts on the world from above.

An overlooked (Christmas) cover tune CIII

After listening to the Jim Cullum Jazz Band's version of "O Holy Night" recently, I was struck by how effectively it uses Dixieland instrumentation.  If I didn't know otherwise, I would have thought this version was from an album called "Christmas In New Orleans."

Even after hearing it multiple times, I keep expecting Leon Redbone to start singing over it.

Context? CXLV

While watching an interview with Phil Collins recently, the closed captioning cited the band Genesis as an example of "Prague rock."

"They've always been a strong band," I thought, "but imagine having no knowledge of the band or its history, hearing a band member's British accent, and thinking mistakenly, 'Wait, so they're from the Czech Republic?'  Is Prague rock an offshoot of this prog rock I've heard about?"

Efficiently played Christmas standards

If you're looking for an accessible easy listening compilation of short Christmas tunes, listen to Lawrence Welk's "Silent Night" album.  After I listened to it two nights ago, I thought, "It seems like the LP was over before it even started."

That's because the longest carol on the album is "It Came Upon The Midnight Clear."  It clocks in at only two minutes and 21 seconds.  

If the essence of a Christmas carol is enough for you, "Silent Night" is your album.

SiriusXM highlights CXXVII (Christmas edition)

Christmas 2004: Signs of the season in the family room.  Here's hoping everyone's Christmas or other Winter holiday is at least as cozy and inviting as this.

Christmas standouts heard today:

'70s/'80s Holidays

• Joy To The World-Andy Williams (For those who associate Williams with "Happy Holiday" and "It's The Most Wonderful Time Of The Year," the slower than usual tempo and somewhat more sedate vocals might be surprising.)

Acoustic Christmas

• Frosty The Snowman-Fiona Apple (Many listeners might see this as casting against type.  Don't let that prevent you from enjoying Apple's rendition.  Her voice conveys the requisite carefree wonder needed here.)

Holiday Pops

• Away In A Manger-Nicolaus Esterhazy Sinfonia/Peter Breiner, conductor (Brassy and regal.)
• Hugo Distler, arranger: Lo, How A Rose E'er Blooming-The National Lutheran Choir (Airy, reverent vocals.)
  
• Christmas Time Is Here-Los Romeros (The tone-setting opening number from "A Charlie Brown Christmas" translates well to a guitar quartet.)

Holiday Soul

• The Christmas Song-The Stylistics (Smooth, soaring vocals, as usual.)

Holiday Traditions

• White Christmas-Beegie Adair (A swingin' piano-led version in an accessible jazz combo style; this is one of the stronger versions of "White Christmas" I've heard.)
• Have Yourself A Merry Little Christmas-Jackie Gleason (Endearing old school easy listening; plenty of strings with comforting backing vocalists.)
• It's The Most Wonderful Time Of The Year-Chris McDonald Orchestra (Slick saxophone, horns, and piano; I wouldn't be surprised if an ensemble was playing this rendition in the lobby of the swanky condo building across the street.)

Jazz Holidays

• Sleigh Ride-Take 6 (Not just any ensemble can pull off an a cappella version of this; it doesn't surprise me that Take 6 nails it.)

Navidad

• Good King Wenceslaus-Manfredo Fest (One of the most simmering, percolating, energetic instrumental renditions I've heard.) 

Noel Incontournable

• O Tannenbaum-Paul Mauriat & His Orchestra (Right from the opening cascade of descending notes, this is a perfect rendition, conveying the awe that a Christmas tree elicits.)
  

Online radio sampler highlights CLI

Five recommended Christmas and three non-Christmas standout tunes:

KAFM (Grand Junction, CO)

• Land Ho-Supertramp (With its ear-catching rhythm and radio-friendly accessibility, it's surprising that this wasn't a hit.)
• The Heart Is Wrong-Mail Order Messiahs (With spooky instrumentation and vocals seemingly wrapped in gauze, this is indie rock well suited for the middle of the night.)

KORJ (Butte Falls, OR)

• Jesu, Joy Of Man's Desiring-Stevan Pasero (A faithful guitar rendering at just the right tempo.  Also recommended: Pasero's "Seasons" CD.)
• Joy To The World-Tom Caufield (Pastoral new age guitar; this is one of the subtler versions I've heard.)

WDCB (Chicago, IL)

• Visions-Melissa Aldana (A winding, swirling stew of saxophone, piano, vibes, drums, and bass.)
• Have Yourself A Merry Little Christmas-Dexter Gordon (Gordon's warm tenor sax tone carries the melody, and the rhythm section gets to stretch out on this expansive rendition.)

WXPN-2 (Philadelphia, PA)

• In The Bleak Midwinter-Shawn Colvin (Colvin's voice is ideal for conveying the starkness this carol requires while maintaining an optimistic undercurrent.)
• Christmas Is The Season Of The Bells-Jo Stafford (A fun, lighthearted, brisk tune lodged firmly in 1964.  Stafford accompanies sings lead and backing vocals, giving the tune added texture.  The last time I heard this tune on a local station was 20 years ago, during the music-of-your-life days of WRTH-AM.)
  

Warm weather Christmas melodies

What Christmas music fits the mood on a sunny, unseasonably warm December day?  Ottmar Liebert's "Poets & Angels" CD.  On each Christmas carol, Liebert uses the melody as a template on which to build easy-on-the-ears flamenco guitar embellishments.  It wouldn't surprise me if many listeners took in these Christmas covers with the window open or the top of their cars down.

Context? CXLIV

I still wonder about the context of one AM radio talk show co-host telling another, "Not bad for an animal hater," yesterday.  It puzzles me how anyone could hate animals in such blanket terms, so I'm glad the co-host clarified that he's "an animal tolerator."  Although that's a tepid endorsement, at best, of our animal friends, it's a start.  Hopefully, in time, the host will come to appreciate animals more fervently.

One goofy, partial Christmas segue

I've never heard anyone approach "Joy To The World" the way Hagood Hardy did.  The energy level that the vocalists and instrumentalists convey on Hardy's 1980 version is fit for a marathon or a rocket launch.  Its late '70s dance feel mirrors that of Aragorn Ballroom Orchestra's theme from "Lord Of The Rings," which would sound smooth before it.

FM dial scan highlights CLXXIV

Five standout songs heard this morning:

KDHX 88.1 FM

• You Make It Easy-Air with Beth Hirsch (Hirsch's vocals convey the tenderness these lyrics require, and there's a spacey grandeur in the instrumentation.  I'd be curious to hear Everything But The Girl's Tracey Thorn sing this.)
• Ghosts Of A Different Dream-Guided By Voices (Meant to be turned up loud when you're driving, full of life, and are convinced that the open road is yours.)

WSIE 88.7 FM

• The Christmas Waltz-The David Benoit Trio featuring Jane Monheit (Benoit plays piano in a more traditional jazz style than usual, which meshes well with Monheit's strong, confident vocals.  This has more of a brisk feel than most versions.)
• God Rest Ye Merry Gentlemen-Marian McPartland (An appropriately somber piano interpretation with shifting tempos and jazzy, improvised embellishments to keep things interesting.)

WFUN 96.3 FM

• Anytime-Brian McKnight (An especially heart-wrenching tune about missing someone.)

Three Sondheim-related memories

In honor of Stephen Sondheim, who passed away Friday, I offer these three memories:

• The best production that my college theater pass allowed me to see was my university's production of "Assassins."  Yes, the subject matter is dark, and the antagonists don't deserve anyone's sympathy.  The cast I saw, however, rose to the show's musical demands, turning in some of the most convincing performances I've ever seen on stage.  "Unworthy Of Your Love" is a particular standout, as it puts an appropriate amount of delusion with a dollop of self-awareness into the mouths of actors playing John Hinckley and Lynette "Squeaky" Fromme.  Even out of context, the song holds up.  I could tell that a lot of DJs at KCOU saw the same production I did in 1992, as there was a spike in the soundtrack's airplay.
  
• Of the high school, college, and professional productions in which I played the bass, "West Side Story" had the most challenging score.  With its distinctive, exposed melody, it's especially important to nail the precise rhythm and feel of "Cool."  During a rehearsal, I caught on immediately that I needed to listen to the singer closely so our tempos were synchronized.  That strategy worked; after the final performance, Mr. Z., the director, told me, "When you were playing 'Cool' tonight, I was bouncin' right along with you."  That's still one of my favorite compliments about my bass playing.
• An incident from the '90s that still moves me: A woman I knew told me, "I want to play one of my favorite songs for you.  It makes me think of my sister."  She then played Barbra Streisand's version of "Not While I'm Around" from "Sweeney Todd."  Upon hearing it, I thought, "I see why this moves you.  It's a direct, emotionally honest way of saying, 'As long as I'm here, I'll protect you.'"  People aren't that emotionally vulnerable that often, so I appreciated her sharing that with me.  I haven't seen that woman or her sister in a long time, but I hope they're both doing well--and looking out for each other.
  

Few people have a gift of lyricism that reaches so many people, whether they're lifelong fans or casual listeners.  When someone so influential passes away, it's challenging to write accolades that don't sound like scores of others.  Thus, I asked myself, "What Sondheim-influenced memories do I have that are unique to me?"  I recommend this approach to others facing the same dilemma.

An overlooked (Christmas) cover tune CII

Can an accordion and saxophone coexist harmoniously in the context of a great Vince Guaraldi number?  Absolutely.  Check out Hot Club Of Detroit's rendition of "Skating."  The unusual instrumental combination suits the original version's spirit well, while adding just enough of an oom-pah-pah feel.

Best to watch the levels II

If you're playing a sung rendition of "Once In Royal David's City" on the radio or even just listening to it on a home system, watch the levels like a hawk.  In some versions, the vocals start out relatively faint but crescendo to an almighty volume.  (This is especially true in the collaboration between The Chieftains and The Renaissance Singers.)  If you're not careful, the loudest passages will sound distorted to listeners.  If the levels are set too high on the console, the sudden blasts of sound might blow you back and pin you to a wall.

Needless to say, it's difficult to correct sound levels when you're pinned to a wall.

An overlooked (Thanksgiving) cover tune CI

Actually, a more accurate headline would be "An overlooked (to younger listeners) cover tune CI."  Until recently, I hadn't known that Perry Como recorded "We Gather Together" as "Prayer Of Thanksgiving."  Upon listening to it a few times, I've concluded that...

...its tempo is on the slow side, but that's not to its detriment.

...more organists should play with this warm tone.  It conveys reverence without sounding too strident.

...Como sings the tune with appropriate solemnity.  This rendition conveys gratitude for one's family, health, and security convincingly.

Here's wishing everyone a safe, harmonious Thanksgiving.

"Way to segue--but keep going!"

For many years, I've assembled a Christmas presents wrapping mix CD for my family's Thanksgiving get-together.  Each year, while assembling the music, I've had to stop myself from listening to various chosen carols back to back and thinking, "Yeah!  That flows!  Let's hear those again...and again...and again."

The time to revel in a mix CD is after you've completed it.  Congratulating yourself too much while you're assembling it is ill-advised and stalls the momentum you've established.

An incomplete ensemble

Yes, it's a nice, low-key Christmas tree, with ornaments spanning several decades.  It's heartwarming to see the representations of Santa, Snoopy and Woodstock, trains, cats, instruments, and...

...Wait a minute.  Where's the French horn ornament?  The orchestra is incomplete without it.  It wouldn't have nearly the same ring if The Philadelphia Brass Ensemble was called The Philadelphia Brass Ensemble Minus French Horn.  Did it fall into a box or behind a piece of furniture?

If necessary, I could order another French horn ornament, but it wouldn't be the same.  It wouldn't be the French horn ornament that has traveled from house to house with me since the late '80s.  The appearance and the sentimentality I attach to it just wouldn't be the same.

I understand all the more now why musicians are so attached to their violins, cellos, and other chosen instruments.  The timbre of various models varies widely.  Not just any make and model of an instrument speaks to a person, after all.

Missing old school supermarket Christmas music?

If you miss the sedate sound of old school piped-in instrumental Christmas music, segue "La Primera Navidad (The First Noel)" by Waldo De Los Rios with "Have Yourself A Merry Little Christmas" by The Hollyridge Strings.

You'll feel like you're strolling the aisles of a supermarket around Christmas decades ago.

The foot-biting default option X

My cat, Collette, just sauntered in, singing "New York, New York" in the style of Frank Sinatra.

"Just stand there in place--and I'll bite your feet...," she began.

By the end of the song, she wasn't even pretending to hold back.  

She bellowed, "They're just a snack--your feet, your feet!"

I'm not sure that even qualifies as chutzpah anymore, coming from her.  At this point, it's simply a character trait.

Persistent earworm alert CCXLIV

Since hearing it this morning on KDHX, I haven't been able to get The Laurie Berkner Band's "(I'm Gonna Eat) On Thanksgiving Day" out of my mind.  I don't mind, though.  Sometimes, it's fun to have a song in your head that doesn't have any hidden, complex meaning.  Lyrics about what you're going to eat on Thanksgiving Day?  Why not?  Berkner and company also do kids a service; hearing a whimsical, unpretentious song like this could make kids comfortable singing a cappella--in a round, no less.  If you make a mistake while singing it, there's no pressure.  You're not on trial, after all.  You're just singing about what you plan to eat.

Priorities in the right place VI

One Christmas, on former Classical station KFUO, I heard a Christmas melody I liked played on handbells.  I was disappointed when I checked the station's playlist.  That version was part of someone's private collection and not commercially available for purchase.

Then, however, I thought, "Does every recording ever made need to be commercially available?  It was generous of the person whose private collection it was to share it with the audience in the first place.  I'd never have known about it otherwise."

Heading into the Christmas season, I still think that's the right mindset.

Priorities in the right place V

Kudos to my cat, Collette, for waiting to start leaping and spinning in the air until the right song came up on a Christmas CD.  During her playtime session with the Cat Dancer toy tonight, Warren Wolf's cover of Vince Guaraldi's "Skating" came up.  It was the ideal accompaniment for demonstrating a skater's grace.

Priorities in the right place IV

Is having a content, sleeping cat in your lap mandatory to enjoy the beauty of the Christmas carol, "Still, Still, Still?"

No, but it sure helps.  That was my realization today while listening to The Bach Society Of Saint Louis with my cat, Collette.

Context? CXLIII

A radio talk show host recommended The Manhattan Transfer's "Snowfall" as a cure for insomnia today.  I was relieved when she clarified her recommendation as a compliment. 

She's correct that it's "so soothing."  The group's warm vocals on the tune can send listeners into a dreamlike state almost immediately.  That's the kind of mindset to have while watching snow fall gently to Earth.

Grappling with short-lived radio stints

I wonder what mindset most DJs have when they start a new on-air job.  Considering how precarious making a living in radio is--with frequent format changes, personnel changes, and ratings determining one's fate--do most DJs think, "Well, if I can make this work, I'm good for at least six months?"

SiriusXM highlights CXXVI

Compelling Christmas and non-Christmas tunes heard today:

'60s Gold

• Needles And Pins-The Searchers (I'm glad there's still an outlet for this tuneful, relatable oldie.  Rhythmically, "I'll Feel A Whole Lot Better" by The Byrds segues well with it.)

Acoustic Guitar Instrumentals

• The Sound Of My Room-Lari Basilio (Atmospherically, this uptempo track reminds me of Michael Hedges.)

Elevations

• Learn To Fly-Vitamin String Quartet (The drive of this Foo Fighters tune lends itself even better to an orchestral arrangement than I would have guessed.)

Heart & Soul

• Show Me Your Soul-Lalah Hathaway & Robert Glasper (Lyrically and vocally empowering.)
  

Holiday Instrumentals

• The Christmas Song-Glenn Miller Orchestra ("Good night and Merry Christmas, everyone.  The Bright And Merry Ballroom is closing for the evening.  Before it does, though, here's one more festive slow dance number...")
• Up On The Housetop-Beegie Adair (Adair lays down a swingin' beat on the piano, and there's room for a saxophonist to shine, as well.  This is possibly the hippest jazz version of this I've heard.)

Holiday Pops

• Ding Dong! Merrily On High-Chanticleer (Stately, crisply enunciated vocals convey the inherent joy and fun of this carol.)

Jazz Holidays

• Jesu, Joy Of Man's Desiring-David Benoit (Reverential piano and guitar.)
• Oh Tannenbaum-Barbara Dennerlein (Dennerlein takes an appealingly laid-back approach to this tune on the organ.  It wouldn't be out of line to think of her rendition as "Oh Groovy Christmas Tree.")
  

Jolly Christmas

• Santa Claus Is Comin' To Town-The Carpenters (I like that Karen Carpenter's approach to these lyrics isn't hectoring.  Too often, this tune is sung with too much of a, "Tut, tut.  You'd better be good or else," attitude.  Carpenter's vocals, however, convey a more refreshing, "Hey, you know how this goes.  Just be good, and Santa will reward you," attitude.)

Luna

• O Pato-Eliane Elias (Smooth, beguiling uptempo piano and vocals.  Basia's "An Olive Tree" would sound great after this.)

Piano Instrumentals

• Closing Rhyme-Chad Lawson (An effective way to mimic a racing heart; this tune is fit for life's tense but exciting moments.)

Soul Town

• Friendship Train-Gladys Knight & The Pips (A very of its time, i.e. 1969, sentiment that still needs to be heeded today.)

An overlooked (Christmas) cover tune C

This is a grudging recommendation.  Until recently, I'd loathed any version I'd heard of "I Saw Mommy Kissing Santa Claus."  Any vocal rendition I hear makes me want to shout at the kid singing it, "If what you saw scars you that much, tell your therapist!  Don't sing about it!"  At a minimum, sung versions of the tune should be used to torture low level offenders in traffic court.

Hearing Ferrante & Teicher play it on the piano softened my contempt slightly, however.  Any artists who make such a cloying song sound palatable deserve respect.  The duo embellishes the song with ornate flourishes not unlike those in their interpretation of Gershwin's "Rhapsody In Blue."  That's a surprising approach to take on such a number, but it makes me appreciate their technical prowess, at least.

"I Saw Mommy Kissing Santa Claus" will never be one of my favorite Christmas songs.  For a few minutes, however, Ferrante & Teicher made me set aside my lifelong hatred of the tune.  That's no easy feat, so I have to respect their effort. 

An overlooked (Christmas) cover tune XCIX

When thinking of the song, "It's The Most Wonderful Time Of The Year," versions by Andy Williams, Johnny Mathis, and Amy Grant come to many listeners' minds.  I recommend another rendition, as well, after hearing it last night.

Although I'm used to hearing vocal renditions of the tune, the Canadian Brass ensemble shows how effectively it works as an instrumental.  In fact, it's graceful enough that people could skate to it.

Now, if an all-tuba collective could pull it off just as gracefully, that would be especially impressive.

Context? CXLII

Yesterday, I heard an out-of-town radio station trying to persuade businesses to advertise on their station because "93 out of 100 people retain what they hear on the radio."

I'm curious to know the source of that statistic.  If it's true, it's a pretty persuasive reason to buy commercial time.

Context? CXLI

Heard on an Ohio radio station bumper between songs this afternoon: "...No, we don't have any bait, so quit knockin' on the door."

That sounded a tad cryptic until I heard that the station broadcasts from an RV on a campground.  That clears things up.  After all, radio stations don't ordinarily give away worms as contest prizes.

Priorities in the right place III

Every so often, I'll listen to an obscure artist, band, or piece and think, "I should be paying rapt attention to this music.  I shouldn't just have it on in the background or fall asleep to it.  After all, I might be the only person on the planet--or locally, at least--listening to it right now."

This thought occurred to me one night last month as I listened to a CD of the Brno State Philharmonic Orchestra, under the direction of Karel Sejna, performing Vitezslav Novak's Moravian-Slovak Suite, Opus 32.

I've only heard the piece once on the radio.  As I listened to it on KFUO in the mid to late '90s, I thought, "Why isn't this piece better known?  The 'In The Church' movement is particularly appealing."

About a quarter-century later, I thought, "I'd better not listen to this passively.  I should listen to it attentively out of respect for the music and the fact that it's underappreciated."

Now, I'm going to apply that same logic as I listen to the "Worry Dolls" album by Devils Wielding Scimitars.  The lyrics are solid, the lead vocals are compelling, and "Blue Star Linoleum" should have been a hit.

FM dial scan highlights CLXXIII

Six recommended tunes heard this afternoon:

KDHX 88.1 FM

• It Don't Mean A Thing (If It Ain't Got That Swing)-The Puppini Sisters (This impressive cover features vocal harmonies reminiscent of and building upon the style of The Andrews Sisters.)
• Roll Out The Barrel-The Accordion Polka Band (Yes, really.  Vocally and instrumentally, this version is fit for a parade float.)
• Pata Pata-Miriam Makeba (A well-known, much-covered dance number with strategically placed spoken word interludes about the dance.  A dance this joyous should have a difficult time wearing out its welcome.)

WSIE 88.7 FM

• So Live-Soulive (A cool, keyboard-propelled groove with a bounce.)
• How High The Moon-Janet Evra & Ptah Williams (This is yet another elegant vocals-and-piano cover from this duo.) 

KCLC 89.1 FM

• Summer Girl-Haim (A well-sustained rhythm and quietly self-assured vocals.  The saxophone gives an already strong group an interesting new dimension.) 
  

SiriusXM highlights CXXV

Sunday night standouts:

Bluegrass Junction

• Where I Am-Chris Jones & The Night Drivers (Infectious pickin' on this uptempo instrumental; Nickel Creek's "Ode To A Butterfly" would sound great after this.)

Deep Tracks

• The World Tonight (Rough Mix)-Paul McCartney (An enjoyable version that brings out the acoustic guitar and more freewheeling vocals.  "Things We Said Today" would sound smooth before or after this.)

Escape

• Teach Me Tonight-Beegie Adair (A classy piano arrangement of this much-covered tune.)

Holiday Traditions

• Winter Wonderland-Chris McDonald Orchestra (A swingin' big band rendition and a trumpeter's showcase.)

Holly

• Joy To The World-Diana Ross & The Supremes (The joy is readily apparent in the vocals--and the tempo; this is one of the fastest renditions I've heard.) 

Real Jazz

• Mr. Dayimani-McCoy Mrubata (An inviting big band arrangement, with impressive harmony in the brass section.)
  

Soul Town

• I Feel So Bad-Little Milton (This tune about a relationship's demise sports a catchy blues feel.)

Tom Petty Radio

• Ridgetop-Jesse Colin Young (An appreciative ode to the natural beauty and solitude of one's surroundings.  In my opinion, this was one of the best album rock additions to KNJZ's playlist in its waning months.)
  

Priorities in the right place II

It was an abrupt way to wake up.  In the middle of a sound sleep, I said to no one, "I didn't inadvertently misspell conductor Sir Georg Solti's first name on the blog as George, did I?"

Fortunately, I'd spelled it correctly.  I was able to sleep even more peacefully after that.

The foot-biting default option IX

My cat, Collette, and I sometimes sing this exchange to the tune of the famous Chicken Of The Sea tuna jingle:

Me (singing:) What's your worst habit?

Collette (singing:) Biting of your feet.

Collette might just have too much free rein around here.

Context? CXL

An exchange heard on an AM radio talk show this morning:

Caller: I'll stand by and listen to your erudite comments.

Guest: I'll try and live up to that.

The caller wasn't being sarcastic.  He genuinely respected the program's guest and wanted to hear his thoughts on an issue he raised.  Such overt respect is less common than it once was, so it was an unexpected breath of fresh air in the middle of the night.

Online radio sampler highlights CL

Seven of the better tunes I've heard today:

KCOU (Columbia, MO)

• Every Day Is Blue-Maida Rose (Sometimes, one needs to be insular.  That's just part of being human.)
• It Feels Like I Start Over Again-Faience Knife (The spacey instrumentation and echo on the vocals serves these lyrics about a clean slate well.)
• Working For The Knife-Mitski (A lyrically brave admission that when it comes to a career, most of us don't get to live our dreams.)

KNTU (Denton, TX)

• I Concentrate On You-Nicole Glover (Glover carries the melody on saxophone in this classy rendition of a Cole Porter tune.)
• Westwood Walk-The Clarinet Choir Of Clare Fischer (Simply put, this swings.  The blending of old school and contemporary approaches works well.  I liked the warm clarinet tone immediately and the prominent placement of bass in the mix.)

KOKO (Fresno, CA)

• Never Knew Love Like This Before-Stephanie Mills (Today's pop music scene could use more of this lyrical and vocal 1980 starry-eyed optimism.)
• Best Thing That Ever Happened To Me-Gladys Knight & The Pips (Lyrically, this is a sound way of taking stock of one's life and acknowledging that the positives outweigh the negatives.  This was a deservedly big hit in 1974.)
  

Context? CXXXIX

Heard today on an out-of-state college radio station: "(The World Series is) really about getting hot at the right time."

That comment summarized a spirited on-air discussion among sports fans.  During the discussion, the station's website showed that 13 people were listening online. 

I'm curious to know how many people were listening to the radio at the time.  I like knowing that the number of listeners probably didn't matter to the program's hosts.  That's a large part of what college radio is and should be--discussing your passions in music, news, or sports with fervency, even it's only for 13 listeners.

FM dial scan highlights CLXXII

Five standout tunes heard today:

KDHX 88.1 FM

• An Speic Seoigheach-The Chieftains (KDHX played this in memory of the group's co-founder, Paddy Moloney, who passed away October 12.  This Celtic instrumental shows the group's delicacy, also exhibited on "Sea Image" and one of my favorite sounds-like-a-music-box Chieftains tunes, "Morgan Magan.")
• Space Junk-Beth Bombara (This new release features forthright guitar and lyrics that work as a metaphor for one partner not treating the other with respect.)

WSIE 88.7 FM

• Exactly Like You-Feyza Eren (Eren's smooth lounge/torch vocals mesh well with the unexpected stadium-style keyboard backing.  I'm glad she has a new release, "A Jazzy Christmas."  On first listen, two highlights are the percussive arrangement of "Joy To The World" and "O Come, All Ye Faithful," in which her vocals blend gracefully with elegant piano accompaniment.)
• Low Life-Donald Byrd (This is how to pull off a sorrowful midtempo trumpet melody with a bounce.)

KCLC 89.1 FM

• Telepath-Manchester Orchestra (This April release offers sensitive, direct lyrics about committing to someone for a lifetime and knowing you made the right choice.)
  

Less gore, more pumpkins

October 2007: When cultivating a pumpkin patch on top of the stereo, variety is essential.

Three years ago, I recommended the 101 Strings version of "Psycho: The Murder" somewhat reluctantly.  I wrote, "I was on the fence about recommending this.  Saying this is a departure for one of the best known easy listening ensembles is an understatement.  Still, it's appropriately grim and tense, which shows the orchestra has range beyond its generally sedate repertoire."  

After hearing it again yesterday on Stingray Music, my review would now read, "An easy listening ensemble takes a dark turn.  The repeated opening note reminds me of a smoke detector."  Honestly, though, I don't think I'd recommend it now.  In the midst of the pandemic, a decline in civility, and a precarious democracy, frights don't need to be contrived.  That same thought occurred to me when Stingray played Billie Eilish's "Bury A Friend" and "Psycho Killer" by Talking Heads.  While both songs have musical merit, it's odd to hear them on the Holiday Hits station.

This Halloween, I'm inclined not to stray too far past Vince Guaraldi's "Great Pumpkin Waltz."  Does anyone really need to be scared past the point of what the world has already thrown at us?

Stingray Music highlights LXXXVIII

Friday and Saturday standouts:

Alt Country-Americana

• Somebody New-Michaela Anne (Well-sung lyrics about the ripple effects of pursuing someone when it wasn't your plan.)  
  

Canadian Indie

• Higher-Alejandra Ribera (Compelling energy, quiet vocals, and trumpet backing.)

Cocktail Lounge

• Champagne And Quail-Henry Mancini (Pleasant, lush orchestration and appropriate backing vocals; this is the classier side of easy listening.)
  

Everything '80s 

• Watching The Wheels-John Lennon (When you've already enjoyed stratospheric fame, it makes sense that you'd want to step back and enjoy a quieter life.  I've always liked these lyrics.)

Folk Roots

• Lord, Won't You Help Me?-Sara Watkins (Moving lyrics about seeking help from a higher power when your resolve is crumbling.)

Holiday Hits

• Werewolves Of London-Warren Zevon (This is the kind of swagger one needs to pull off a hit like this; the piano and vocals coalesce perfectly.) 
  

Jazz Now

• Barbarie-Lo'Jo (A somewhat sinister-sounding waltz.)

Nature

• A Forest Bird-Grant Mackay (Family cats Sammy and Sylvia would have enthusiastically endorsed these birdcalls that mimic a flute.)

New Age

• Cast Adrift-Steve Hackett (A thoughtful piece with seemingly Baroque influences from the '70s Genesis guitarist.) 

Retro R&B

• I Can't Get Next To You-The Temptations (Tunes about knowing you won't get to be with someone you seek are seldom catchier than this.) 

Swinging Standards

• Who Can I Turn To?-Nancy Wilson (This could segue with multiple versions of "Good Morning Heartache.")

World Carnival

• Mali Cuba-Afrocubism (This could segue with David Sanborn's "Bang Bang.")

Context? CXXXVIII

Earlier this week, a radio talk show host mused that naming various people who had texted the station was like being on "Romper Room."  He's not wrong.  As he observed, naming those who sent texts isn't so different from an adult on "Romper Room" saying, "I see Susie.  I see Robbie."

The same principle also applies to naming those who tweet about the station.

Stingray Music highlights LXXXVII

Thursday morning highlights:

Big Band 

• I Can't Get Started-Bunny Berigan (The vocals on this much-covered standard convey universally relatable lyrics about heartbreak.  Berigan's trumpet playing on this 1937 recording underscores those sentiments powerfully.)
  

The Blues

• All You Ever Bring Me Is The Blues-Teresa James & The Rhythm Tramps featuring Johnny Lee Schell (Downcast vocals fit for a rainy, gloomy morning such as this one in St. Louis.)

Chamber Music

• Franz Schubert: Piano Sonata in B major, D.575 (Wilhelm Kempff, piano) (I can always trust that I'll enjoy a Schubert piece.  It's a pleasure to hear Kempff play lyrical passages that mimic rolling sea waves in the first movement and jauntier, skipping-along passages in the fourth movement with equal grace.)
  

Cool Jazz

• Eight-Nicholas Payton (Payton plays trumpet and keyboard with equal finesse in this tune, with an intro that reminds me of Chick Corea during his Return To Forever years.  Jon Batiste's "Blacck" would segue well after this.) 

Folk Roots

• Little Lies-I'm With Her (Excellent, heartfelt vocal harmonies from Aoife O'Donovan, Sarah Jarosz, and Sara Watkins, as usual.  Lyrically, these are brave admissions that arise from acknowledging that a relationship doesn't quite work.  In all likelihood, this trio could sing about tax-deferred municipal bonds or taking out the garbage, and their lyrics, instrumental prowess, and vocal harmonies would be strong enough for me to recommend the song on this blog.) 
  

Holiday Hits

• J.S. Bach: Toccata And Fugue in D minor, BWV 565 (Simon Preston, organ) (This is the most recognizable haunted organ melody to most listeners.  It's fitting for Halloween, but it's important to choose the right version.  I've heard renditions in which the organist plays the piece too fast, obscuring the eerie impact of the melody.  I've also heard versions in which the organist plays too deliberately slowly, lingering too long between notes.  Preston wisely takes the middle ground.)

Indie Classics

• We Could Send Letters-Aztec Camera (The lyrics, vocals, and jangly guitar on this 1983 tune still hold up.  Lyrically, this is a good way of saying, "Maybe we aren't meant to be together forever, but we still treasure each other, so let's keep in touch."  I wish I'd thought to play this on KCOU.)
  

Latin Lounge

• El Amor Acaba-Valeria (The piano and rhythm section anchor this laid-back groove well, but the vocals, while effective, are a tad buried in the mix.)

Retro R&B

• Got To Get You Off My Mind-Solomon Burke (Rhythmically, this 1965 hit would segue well with any version of "How Sweet It Is To Be Loved By You."  Lyrically, however, the tunes are polar opposites.)
  

Stingray Music highlights LXXXVI

Highlights heard yesterday:

Alt Country-Americana

• Letting Me Down-Margo Price (Vocally, I'm reminded of Stevie Nicks and Garrison Starr.)

Classic Masters

• Johannes Brahms: Symphony No. 3 in F major, Op. 90 (Chicago Symphony Orchestra/Sir Georg Solti, conductor) (I'm drawn especially to the drama the strings convey in the first movement and the delicate, lyrical conclusion of the fourth movement.)
  

Classic R&B And Soul

• Wade In The Water-Ramsey Lewis Trio (If you like the way Lewis plays "The In Crowd" on the piano, you'll probably enjoy this as well.  The rhythm is similar, and in my view, it's the best version of the tune.)

Flashback '70s

• Then Came You-Dionne Warwick & The Spinners (Outstanding vocalists bring timeless lyrics about finding that special someone to life.) 
  

Folk Roots

• Who Knows Where The Time Goes?-Liz Simmons (I've written before of my admiration for Sandy Denny's lyrics and soaring vocals on her original version of this.  Simmons sings it with heartfelt sincerity, as well; as her video shows, this is a perfect song for sitting in a swing and taking in late Autumn foliage in the woods.)

Holiday Hits

• "The X-Files" Theme-Mark Snow (Even without seeing the show, I'm not sure there could be a more appropriate theme for a program about FBI agents looking into paranormal cases.)
  

Jazz Now

• You Know I Care-Eddie Henderson (Clear, resonant trumpet and sublime piano backing; this is an ideal soundtrack for a moonlit night.) 
  

The Spa

• Nocturne-Anthony Phillips & Andrew Skeet (A pleasant, subtle guitar melody, suitable for sitting and reflecting.)
  

Context? CXXXVII

Prior to the pandemic, when I heard a radio talk show host say something like, "I had the burger, and my friend had the turkey panini," I'd think, "I'd better switch stations because this is a live commercial for a restaurant I probably won't visit, passed off as a conversation or spontaneous monologue."

Now, however, I consider that many restaurants have been hard hit since last year with restricted capacities, reduced menus, fewer workers, conflicts over mask requirements, and generally, a lot less business.  This morning, when I heard a live restaurant commercial, I thought, "Keep talking, radio show host.  Why not mention the delicious desserts and beverages the restaurant has, for good measure?"

Stingray Music highlights LXXXV

Monday morning highlights:

Adult Alternative

• How To Be Invisible-Kate Bush (This sounds to me like a Pretenders song with a sinister bite.  The instrumental backing reminds me of The Alan Parsons Project's "Prime Time" and "Eye In The Sky.")

Alt Country-Americana

• All I Need-Tara Nevins (Juice Newton's "Queen Of Hearts" would flow well into this.)

The Chill Lounge

• Sisters-Manu Zain (This spacey instrumental groove has an encouraging but tempered promise-of-a-new-day vibe.)

Cocktail Lounge

• Hackney Carriage-King Palmer (I wouldn't be surprised to hear this in multiple "Mystery Science Theater 3000" shorts.  It's the type of instrumental underscoring you'd expect in a short from the '50s with no real conflict.  Imagine a short such as "A Day At The Carnival (or Park, or Beach.)" 
  

Folk Roots

• Down By The Sally Gardens-Dervish featuring Kate Rusby (Sung with Rusby's customary heartfelt delicacy.)

Holiday Hits

• Theme (Main) From "Poltergeist"-Countdown (The strings and vocals convey a disconcerting innocence.) 

Indie Classics

• Home Again-The Auteurs (A catchy way of blowing off steam for a guitarist or drummer.) 
  

Jazz Masters

• Ruby, My Dear-Thelonious Monk (This type of piano elegance never wears out its welcome with me.)

Stingray Music highlights LXXXIV

Recommended tunes heard through U-verse this morning:

Canadian Indie

• Raw-Loony (Self-assured, slick, throwback-sounding R&B released in January.)
  

Cool Jazz

• Summer Wind-Madeleine Peyroux (Peyroux's voice is ideal for covering this tune, known to many listeners in its Frank Sinatra incarnation.) 
  

Easy Listening

• Calypso Melody-David Rose and his orchestra (Jan August's version of "Begin The Beguine" would segue smoothly into this.)

Folk Roots 

• Eye To Eye-John Smith featuring Sarah Jarosz (Endearing vocal harmonies and guitar accompaniment in this March release bring these lyrics about a faltering relationship to life.)
  

Holiday Hits

• Theme From "Jaws"-John Williams (Has there ever been a scarier two-note warning?)

Jazz Latino

• D Vuelta-Omar Sosa (Melodic, contemplative vocals and saxophone that wouldn't be out of place in a smooth jazz format.)
• Como Un Bolero-Caribbean Jazz Project (A relaxing melody for clarinet and rhythm section, with a hint of mystery; this could segue with Maria Creuza's "Algo Contigo.")

New Age

• Phi_log-Floex (Haunting strings set the stage for the clarinet, resulting in a tune that's part jazz, part new age, and part techno.) 
  

Retro R&B

• I Want You Back-David Ruffin (The Jackson 5's version is still the catchiest, but this strong solo rendition maintains a similar feel.)
• Shoo Be Doo Be Doo Da Day-Stevie Wonder (One of Wonder's most infectious '60s rhythms.  I checked out Wonder's "Looking Back" LP retrospective from the library multiple times in the '80s to hear this.  I knew the records were warped, but somehow, the dishy sound on the turntable never prevented me from enjoying this song.)

Sinister chords for Halloween

Earlier this week, I played the Tony Banks LP, "A Curious Feeling," for the first time in a while.  Besides being impressed all over again with the album's lyrical and instrumental consistency, I recommend "From The Undertow" as an instrumental fit for Halloween.  I can imagine a haunted house grabbing visitors' attention from the first eerie chord of this keyboard number.

I never hear this 1979 track on the radio, but I hope that some college, community, or album rock stations take the hint and play it this Halloween.  If you like the epic, spooky sounds of Banks on the Genesis tune, "Watcher Of The Skies," this will likely appeal to you, as well.

An overlooked cover tune XCVIII

Autumn is my favorite season, and October is my favorite month, in terms of weather and foliage.  It's difficult for me to see this season in a wistful light.  However, I know some people view Autumn as a season of loss.  In that light, then, I respect the lyrics of the Johnny Mercer-penned tune, "Autumn Leaves."  

Last night, I listened to a cover of "Autumn Leaves" I hadn't heard in a while.  Madeline MacNeil's vocals convey the tune's melancholy feel effectively without wallowing in sadness.  

If you're going to sing about how Autumn challenges you, I suppose that's how you do it.

Context? CXXXVI

An AM radio announcer made a humorous qualifier during a live car dealership commercial.  He said that although the dealership offers a wide array of cars, "you probably can't get a DeLorean or a Sherman tank."

Not a bad disclaimer for potential smart aleck customers who expect a pizza or sandwich "with everything" to include sawdust and gravel...

Benefits of a long intro

A wish for DJs: If you have just the right easy-going instrumental intro, hopefully, listeners won't mind if you talk until the vocals start.  One such intro in October 1985 had that effect on me.  A DJ on WMRY spun Earl Klugh's underplayed "I Never Thought I'd Leave You" as he talked.  The vocals don't start until more than a minute into the tune, so he made the most of things.  He mentioned that he'd changed times with another DJ, gave a weather forecast, talked about how temperatures were warmer than usual for Autumn, and said our hometown baseball Cardinals were winning big over the Dodgers. 

A DJ can--and should--do all of that over a long, appropriately pleasant, easy-going guitar intro.

"Just do the work."

In broadcasting school, students recorded mock radio shifts that an instructor critiqued.  It always puzzled me, during group critique sessions, when students would mumble their way through their tapes and give excuses while we all listened.  Excuses given would include, "I had a lot to do this morning," "I was up late last night," or "I just wasn't in the mood to do this today."

One instructor, after hearing a student give such excuses during multiple sessions, said, "You know, you won't be able to do this if you get on the air for real."

Even when that student didn't offer an excuse, however, his tapes tended to sound tossed off.  His approach to mock radio shifts reminded me of supposed authors who haven't written anything yet "but have it all in mind."

I always want to say to those so-called writers, "If you haven't put the goods on the page, though, you aren't really a writer."

So it is with broadcasting.  If you haven't been on the air or taken it seriously when you've been on the air, you aren't really a broadcaster.

Context? CXXXV

From a KEZK newscast, heard on October 4, 1985: "The St. Louis light rail project appears to be on the fast track..."

Um, well...The key words in that sentence were "appears to be."  St. Louis eventually got a light rail service, nearly eight years later.  I know some people use it, but St. Louis still isn't known for heavy light rail use.

KCOU playlist flashback: 7-10 p.m., 10/17/92

The music I chose to play on-air 29 years ago:

   1.  California Kid-Beat Farmers (*) (I rarely started off an air shift with a listener's request.  Energetic guitar, a distinctive low-pitched voice, and somewhat atypical lyrics for a song from 1985 make up this memorable show-starter.)

   2.  Castle On The Hill-Ten Hands (This still stands out amongst the quirky indie rock tracks I played multiple times on KCOU.  I always wondered if the lyricist drew inspiration from Emily Dickinson's life of isolation.)

   3.  Re: Evolution-The Shamen

   4.  Took Me By Surprise-The Starkweathers (*) (This country-tinged indie rock tune was one of the most impressive songs I discovered during my two years at KCOU.  It's not easy to write a heartfelt tune about grappling with someone's suicide and set it to such an infectious rhythm, no less.)

   5.  The Road Goes On Forever-Joe Ely

   6.  Straight Line-Ditch Witch (*) (To my ears, "If I Lose" is still the band's catchiest track, with no-holds-barred vocals and one of the best indie rock guitar outros I've heard.  This track, to its credit, retains a decent amount of "If I Lose"'s feel.)

   7.  TV Scream-Dreamhouse (*)  

   8.  Superkool-Mousetrap

   9.  Midnight Key-The Neville Brothers (Immediately accessible energy; I still think this should have been a hit.  It puzzles me that the band's performance of it on "Saturday Night Live" didn't translate into more record sales.)

 10.  Real Cool World-David Bowie

 11.  Who Broke The Jail?-Paradox

 12.  A Million Colours-Channel X (A techno groove played in clubs with throbbing, changing lights, I would guess...)

 13.  Kiss Me When I Get Back-Tom Tom Club (An impressive other (vocal) light in which to hear Talking Heads bassist Tina Weymouth; this is one strong, infectious rhythm.  Remembering the band's performance of it on David Letterman's show made me file it in my memory for future reference.  I remember being on the phone with another DJ from KCOU, as I transitioned from Channel X's "A Million Colours" into this tune, resulting in a "Nice segue" compliment.)

 14.  Footprints-Squeeze (Since I first heard this on WMRY in 1988, I've thought the lyrics are ideal for the back-to-reality aspect of the first day of school.  Rhythmically, lyrically, and vocally, this is one of the band's best songs.)

 15.  You're The One-The Vulgar Boatmen (Accessible instrumentation and vocals, fit for a segue with various roots rock tunes.  I still like this song and wonder if the band might be better known if it had chosen a different name.) 

 16.  Ignoreland-R.E.M.

 17.  State Of Emergency-Steel Pulse

 18.  The Strong Survive-Junior Reid

 19.  Love Is Like A Rock-Donnie Iris (A minor of-its-time hit from 1982; a cool guitar part and a chorus fit for an arena.)

 20.  Bone To Pick-Youth Gone Mad (I'd be curious to hear Cruiserweight cover this.)

 21.  Moonshiner-Uncle Tupelo (*)

 22.  Throw Me Out A Line-Erik Voeks (Voeks had a way with a hook.  This chorus still holds up easily.  Also recommended: "The Symmetry" and "Hannah.")

 23.  King For A Day-XTC (Speaking of a way with a hook...This is one of XTC's best efforts, in my opinion--well-constructed lyrics, a strong sing-along chorus with a bounce, and perfect instrumentation to match.)

 24.  I Send A Message-INXS (The synthesized essence of 1984.)

 25.  You, My Flower-Afghan Whigs

 26.  Trying Times-Sweet Honey In The Rock (I didn't mark the beginnings and ends of music sets on this playlist, but surely, I must have ended a set with this song.  Such poignant lyrics could never segue with...)

 27.  Psycho Killer-The Bobs (...this a cappella cover of a Talking Heads tune.)

 28.  (Nothing But) Flowers-Talking Heads (A tongue-in-cheek way of conveying that people don't appreciate nature as much as they should.  This song's video is still the only one I've seen that conveys ecological facts without being ham-handed.)

 29.  What A Wonderful World-Miss World (Yes, this is a cover of the song best known to most listeners in its Louis Armstrong incarnation.  This is an unlikely blend of low-pitched vocals and somewhat incongruous instrumentation.)

 30.  Hey Now-Brotherhood Creed 

 31.  If You Get What You Want-Burning Flames

 32.  Living On The Highway-Freddie King

 33.  Morning After-The Mar-Keys (If you like the party groove of the band's "Last Night," the saxophone and organ maintain a similarly appealing feel here.)

 34.  Cold, Cold Nights-Black Friday

 35.  What You Don't Know-The Waking Hours (Half of the strongest indie rock 45 I played on KCOU; this fast tune with universally relatable lyrics should be better known.  So should its excellent flip side, "I'm Falling Down.")

 36.  Give It Up-Hothouse Flowers (This was the last song I played on my last KCOU shift in 1993.  I liked it from the moment I first heard it on "Saturday Night Live" in 1990.  It's a comforting reminder that even when your surroundings change, you're still you at your core.  Also, you can give or receive a comforting word to those who need it--at any age.)

 37.  We Close Our Eyes-Susanna Hoffs

 38.  Candy Everybody Wants-10,000 Maniacs (*) ("Give 'em what they want," indeed.  There weren't many other shifts where I played as many as six requests from listeners.)

 39.  Big Idea-The Brecker Brothers (This contemporary-for-its-time instrumental got my attention the first time I played it.  Conceivably, it could dovetail into a hip hop tune.  I was pleasantly surprised to hear this tune recently on WSIE; for nearly three decades, I'd never heard another DJ play this on-air.)

(*) indicates a listener's request. 

Improvisation is a hallmark of jazz, but...

...it was a mistake for me to play "Get Back" by The Beatles with a bowed bass line.  As I became more deeply entrenched in the high school jazz band, I tried bowing certain songs that would have been plucked otherwise.  I was curious to hear what it sounded like, and no one was stopping me.

Maybe they should have stopped me on "Get Back."  A bowed bass line on that tune, when amplified, sounds downright strange.

Shattering an illusion

Admittedly, the content of a radio station's programming is what matters.  Still, it bugged me slightly when I went to a low power FM station's website recently and saw that the station is just a laptop and a console.  Obviously, that wasn't surprising.  It is 2021, after all, and that's a logical way to set up a radio station on a limited budget.  I have to respect the station's honesty.

"Still," I thought, "even if you have to use stock footage to do it, give the illusion that your station is a vast source of musical treasures.  Show photos of shelves lined with LPs, 45s, and CDs.  Plant the idea in listeners' minds that at least part of the time, they'll hear rare gems they won't likely hear anywhere else."

Even after all this time, radio, at its core, is still a theater-of-the-mind experience.

FM dial scan highlights CLXXI

Seven noteworthy songs heard today:

KDHX 88.1 FM

• Bummed-Andrew Gabbard (This new track boasts chiming guitar reminiscent of The Byrds underscores vocals and lyrics reminiscent of Big Star and The Zombies.  Lyrically, this is a sobering reminder that no one gets out of this life without some degree of heartache and disappointment.)
• Through The Fog-Marinero (Another strong 2021 release.  It's a compliment to say this isn't conventional radio fare; the Brazilian-sounding flute arrangement seemingly drawn from the late '60s and early '70s enhances the vocals.)
• Squib Cakes-Tower Of Power (Infectious interplay between the brass and rhythm section.  Dr. C., one of my two college Jazz, Pop & Rock class instructors, played this track as students filed in the first day.  I thought, "Now, that's how to start a music appreciation class."  Sidebar: Thank you, KDHX, for being such a well-programmed, wide-ranging music appreciation class for St. Louis since 1987.  Happy birthday!)

WSIE 88.7 FM

• Obsidian Rain-Kayla Waters (An appropriate midtempo piano melody for a rainy, gloomy St. Louis day like today.  This falls somewhere between smooth jazz and new age.)
• Who Dun It?-Blue Mitchell (Mitchell's trumpet, the flute, and rhythm instruments create a feeling of suspense and hot pursuit of a suspect.)
• Blue Salt-Jennifer Wharton (This April release from a captivating trombone-led ensemble could segue after Blue Mitchell's "Who Dun It?" or Dirty Dozen Brass Band's "Open Up (Whatcha Gonna Do For The Rest Of Your Life?)" 

WFUN 96.3 FM

• Zoom-The Commodores (The idealism of these lyrics is heartwarming.  Stevie Wonder's vision of a more just world in "Saturn" would sound right before this.)
  

Context? CXXXIV

You know someone has a ubiquitous presence when a radio talk show host refers to her only by her initials during a celebrity birthday list.

So it was on an AM station today, where a talk show co-host said, "A.O.C. is 32 today." She assumed, correctly for the most part, that everyone knew she was referring to congresswoman Alexandria Ocasio-Cortez.

The foot-biting default option VIII

My cat, Collette, and her kittens performed an encore I didn't mention Saturday.  They made up their own lyrics, and singing in the style of Lambert, Hendricks & Ross, nailed Count Basie's "Jumpin' At The Woodside."  Although I wasn't thrilled when I heard, "We're gonna biiiiiite...your feet toniiiiiight," their vocal harmonies impressed me.  Also, Collette's sense of rhythm on the piano matched Basie's, causing me to overlook my gnawed, aching toes.

Chewed feet notwithstanding, I have to admire such ingenuity.

Only in college XC

Last week, I intended to listen to a college radio station I hadn't heard before.  On the station's website, I saw the "now playing" song listed as Unknown Track by Unknown Artist.  This intrigued me, as I thought it might be some rare live performance or some obscure song obtained from an unlabeled CD or test pressing of a record.

The station's stream didn't work, however, so I couldn't listen online.  I wonder if something like this happened.  For all I know, the station might not have even been on the air.

In college, that's not unheard of.

Context? CXXXIII

This DJ deserves credit for honesty, if nothing else, in this situation: Earlier this week, I heard an out-of-town DJ say he was about to play a song by a band a listener requested.  He admitted it wasn't the song that listener requested.  He said he was going to substitute his song choice for the listener's "because I just like this song so much more."

As much as I like the song the DJ chose, I kept thinking, "That's not how requests are generally handled."  I wonder if, in the future, he'll say on-air, "Feel free to request a song. I'll play it as long as your taste aligns with mine."

The foot-biting default option VII

Although it was a treat to see my cat, Collette, reunited with her kittens, the context under which it happened compromised it somewhat.  It all started when Collette woke up one recent morning.  After yawning and stretching her paws out, her kittens and she launched into their version of Silver Convention's "Get Up And Boogie."  In their case, however, it was "Get Up And Bite Feet."  Although I admired the synchronicity of their rehearsed dance moves, I enjoyed the performance less when each cat bit my feet.  Hearing Collette's offspring repeat the song's parenthetical title, "That's Right," added insult to injury.  I admired their pitch-perfect intonation on the refrains of "Bite feet," however.

Perhaps I'm too permissive as a pet owner.

Online radio sampler highlights CXLIX

Six of the better tunes I've heard this morning:

KBEM (Minneapolis, MN)

• A Race Against Yourself-Alexa Tarantino (Compelling, brisk playing from saxophonist Tarantino and the rhythm section.)
• Three To Get Ready (Live)-Dave Brubeck Quartet (An immediately friendly, memorable piano hook, with customary smooth, melodic alto sax support from Paul Desmond.  Seek out the 1976 version recorded at Symphony Hall in Boston.  The players are clearly enjoying themselves, resulting in a fun, freewheeling performance.)

KCMU (Napa, CA)

• To This World-Soel (Sobering questions about the state of the world, set to a downcast beat.  This is from 2003, and the questions asked are even more resonant today.)

KHMB (Half Moon Bay, CA)

• Hitchin' A Ride-Vanity Fare (An ill-advised way to travel, but I've thought this would be a fun oldie on which to play piano.)

WRFU (Urbana, IL)

• All My Friends-Amos Lee (A good reminder, lyrically, that we're all in this life together and that everyone has troubles.  Instrumentally, it conjures up the sensation of floating, making it a good middle-of-the-night song.)

WTND (Macomb, IL)

• Back To Dreamin' Again-Pat Shannon (The Grass Roots recorded a slightly slower version of this.  I wonder if Shannon's happy-go-lucky, skippin' along version would have been a hit if it had been released in 1966 instead of early 1970.  It sounds somewhat like The Lovin' Spoonful and even more like The Monkees to me.)
  

Context? CXXXII

Heard recently: Before a break, an announcer said, "In a moment, music from a precocious teenager."

"Thanks for the chance to switch stations," I thought.

FM dial scan highlights CLXX

Five recommended tunes heard today:

KDHX 88.1 FM

• Live Life Free (Live)-The New Mastersounds (Good lyrics about being true to oneself set to an infectious dance rhythm.  This would segue well with "El Nino" by The Sound Stylistics.)
• Baby Face (Live)-The Arcadia Dance Orchestra (Credit to this ensemble for replicating a brassy sound and vocal style from 95 years ago.)

WSIE 88.7 FM

• If I Could-Seal & Joni Mitchell (A strong vocal harmony pairing; this must sound breathtaking in surround sound.)
• Pleased To Meet You-Vincent Varvel (This is a great way to straddle the line between folk guitar and jazz guitar.)

KCLC 89.1 FM

• Amoeba-Clairo (Compellingly written, sung, and produced; an effective combination of lyrics about questioning one's priorities and a dance beat.)

Online radio sampler highlights CXLVIII

Seven noteworthy tunes heard this morning:

KHEN (Salida, CO)

• Searching-Skadi (Rhythmically, Seamus Egan's "Along The Way" or Hem's "Gently Down The Stream" would sound right before this.  Powerful guitar and piano augment the vocals.)
• Anniversary-Roger Green (A celestial odyssey for guitar.)

KXRW (Vancouver, WA)

• Ready To Go-Republica (I imagine a lot of drivers fight the urge to drive too fast when this song comes on; zooming down a road as though you're invincible is one ill-advised way to keep up with the tune's energy.)

WCLK (Atlanta, GA)

• I Didn't Know What Time It Was-Cyrus Chestnut (This Rodgers & Hart standard works well as a expansive piano solo.)
• Sun's Out-Carol Albert (This piano instrumental pulls off the interesting feat of sounding guardedly optimistic and simultaneously foreboding.)

WMNH (Manchester, NH)

• I Dreamed Last Night-Justin Hayward & John Lodge (I was pleasantly surprised to hear any station play a track from the "Blue Jays" album; this side project by two Moody Blues members is generally overlooked.  If you like the plaintive, thoughtful lyrics of various Moody Blues tracks, you'll likely enjoy this, as well.  Also recommended: "Blue Guitar.")

WXCS (Cambridge Springs, PA)

• Play By Your Own Rules-Sam Bush (Good lyrics about being strong and skeptical, when necessary, while still remaining compassionate.)

Best to watch the levels

Twice in recent weeks, I've heard two radio stations whose music was turned up too high on the sound board. The vocals were muddy and distorted, as a result.  I wondered if the DJs would have taken the hint if I'd called those stations and said, "Modulate!"

That would have been impolite, however, so I didn't make those calls.  I wonder how long the music stayed distorted.

KCOU (Demo tape) playlist flashback: 5-6 a.m., 10/3/91

On this morning 30 years ago, I recorded my on-air demo tape for KCOU.  I programmed the last hour of music and was the DJ for the last hour of a 2-6 a.m. shift.  The DJ during that shift had played a lot of rap music, which contained lyrics such as, "F&*$ the mother#&*$ers in the house, oh yeah!"  I didn't continue that trend.  I attempted to balance my sensibilities with those of the listeners, while making sure to play the requisite number of current tracks.  This was my playlist:

  1.  Pain & Pleasure-The Snapdragons  (I thought I should start with something uptempo, although I thought the rhyme scheme of the chorus was somewhat forced.  For the first two tracks, I was programming with the listener in mind instead of myself.  I'm pretty sure this was only time I ever played this song...)

  2.  Dis---land (Was Made For You & Me)-Timbuk 3 (...or this one.)

  3.  I Need Someone-The Sneetches ("Let's end this set with a tune I like," I thought.  This is still some of the catchiest power pop I've ever heard.  The opening guitar hook is still one of my favorites and the vocals practically command the listener to join in.  Also recommended: "Only For A Moment," "Stranger Things," and the band's cover with Shoes of the Raspberries tune, "I Wanna Be With You.")

  4.  Life Ain't Nothing But A Party-B.B. King (Another objective for my demo tape was not to just play an hour's worth of thrashing alt rock guitar and vocals.  I knew this blues tune from having checked it out years earlier from the library back home, so I knew what to expect...)

  5.  Bye Bye Blackbird-Miles Davis (I was definitely going to play KCOU's featured artist of the week during my hour.  It hadn't been a full week since one of the most influential jazz trumpeters in history had passed away, so I was definitely going to honor his memory with one of his classiest renditions.)

  6.  School Days (Live)-Stanley Clarke (I was also determined to play this memorable jazz bass riff on the air, even if I had to shoehorn it in.)

  7.  Girl In Room 12-The Smithereens (The Smithereens are a reliable choice for any rock-heavy, guitar-heavy station.)

  8.  The Silence Of The Sirens-The Cakekitchen (Distinctive lead vocals and quiet instrumentation bring the volume down and make this an appropriate but not obvious segue with "Girl In Room 12.")

  9.  Hypnotized-Fleetwood Mac (This was another case of being determined to play I song I like.  The drums, bass, and guitar set an effectively spooky mood right from the first beat.  This was one of Bob Welch's best songs.)

10.  One Toke Over The Line-Brewer & Shipley (Since I played Fleetwood Mac, I reasoned, "Why not play a sing-along album rock track that most listeners know?"  The 6-9 a.m. DJ arrived while I was playing this.  I knew I'd made the right song choice when she started singing along, "Sittin' downtown in a railway station...")

11.  Lowdown Man-Havana Black (I'm drawing a blank here.  Of the 12 songs I played, I don't really remember this one.)

12.  Out That Door-Hoodoo Gurus (A logical choice for the end of a radio shift...)

Apparently, I'd made the right song choices and sounded confident enough as a DJ.  The chief announcer rode by on his bicycle while I was standing in front of the music building a few days later and said, "You're ready to go on the air."  I did a weekly 6-9 a.m. shift for the rest of that semester.  Thus began a great two years at an enjoyable radio station with many interesting people.  At 6 a.m. on this day 30 years ago, I thought, "Few people heard it, I'm sure, but I made it through an hour on-air at a real radio station.  I love choosing the music I play and being on the air.  This is definitely for me."  I'm sure many other college and noncommercial DJs have had that same feeling of elation, as well.