FM dial scan highlights CLII

Six standout selections heard this morning:

KDHX 88.1 FM

• Three Cheers For Our Side-Orange Juice (I hear a partial Talking Heads vibe in this 1982 track.  Its stylistic transitions make me think "Stranded In The Jungle" by New York Dolls would sound good before this.)
• No Expectations-Della Mae (Forthright slide guitar sets the mood for these forcefully sung lyrics about leaving a place to which you won't return.  "Harmony Hotel" by The Williams Brothers would sound appropriate before or after this.)

WSIE 88.7 FM

• Caipirinha-Swing Out Sister (Uptempo vocal punctuation and instrumentation with a Brazilian feel, fit for welcoming viewers to a movie theater before the film begins.  Also recommended: "Let The Stars Shine.")
• Remember-Hank Mobley (This is how to play a tune with a bounce--with shimmering tenor sax tone and an equally first-rate rhythm section.  WSIE's broadened musical focus continues to impress me.  Traditional jazz, smooth jazz, R&B, blues, and singer-songwriter music that's compatible with those genres all contribute to making this an intriguing station.)

KCLC 89.1 FM

• Safe And Sound-Capital Cities (A lyrically persuasive case for being with someone, set to a danceable beat.)

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

• W.A. Mozart: Symphony No. 34 in C major, K.338 (Prague Chamber Orchestra/Sir Charles Mackerras, conductor) (Announcer Jim Doyle's description of this piece as "cheerful (and) celebratory" is accurate.  I'll add that it's immediately accessible and brisk, right from the opening notes.  The first and last Allegro vivace movements are particularly energetic and make me feel like a slacker for not being able to compose such a piece as Mozart did at age 24.)

Ah, school...

...the place where I learned English, history, science, math...and vengeance?

Looking back, it's odd that teachers in three grades showed "Sweeney Todd" to the class.  Few things say, "Go ahead and smite your enemies," more than a musical in which the villain turns his tormentors into meat pies.

Persistent earworm alert CCXXIV

Sometimes, the most unlikely confluence of events triggers an earworm.  While listening to Marc Maron's podcast interview with "Saturday Night Live"'s Laraine Newman this afternoon, I was sifting through paper products.  I set two green envelopes from the electric company aside to recycle just as Newman told Maron that her sister, Tracy Ann Newman, had been a member of The New Christy Minstrels.

As I put the green envelopes into the recycling bag, the 1963 New Christy Minstrels hit, "Green, Green," started playing on a mental loop and hasn't left my mind since then.

If you're going to have a melody stuck in your mind, that's a fun one.  I remember playing it on WEW occasionally and understanding why the public connected with the hook.  I also thought it would probably work well as an accordion instrumental.  That's something you can't say about just any pop hit.

Context? CX

Heard on the radio in 1986: "Now, here's Al Jarreau.  We can't give away any more tickets to the Jarreau concert because that was Tuesday, but B.B. King will be here at the Westport Playhouse..."

It's unusual to hear a DJ clarify that tickets can't be given away because a concert already took place.  Mentioning an upcoming performance in the same breath, however, is wise because it gives the audience something else to anticipate.

SiriusXM highlights CXXII

Noteworthy tunes heard today:

1st Wave

• (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.) 
  

'50s On 5

• My Foolish Heart-The Excels (Classy vocal harmony on this much-covered standard.  "Earth Angel" by The Penguins flows well after this.)
• I'm A Fool To Care-Les Paul & Mary Ford (Ford's smooth, self-assured vocals complement Paul's ringing guitar.  Norah Jones would sound great covering this.)

'60s On 6

• Blessed Is The Rain-Brooklyn Bridge (The DJ was correct in wondering why this wasn't a hit.  This is from 1969, but these confident vocals have a partial '50s throwback feel.) 
  

The Coffee House

• Fire For You (Exclusive)-Cannons (The spacey gloss suits the vocals well.  "Domino" by Nicole Atkins would sound right after this.)

The Coffee House Discovery

• Happy Anniversary, Stranger-Matilda Mann (This is how to admire someone from afar--respectfully with a no-pressure attitude of, "Hey, maybe we should get to know each other, if you want."  These are some of the catchier vocals I've heard recently.)
  

Luna 

• Anabis-Chucho Valdes (A great fast showcase for piano and percussion.) 

Real Jazz

• Harbor No Illusions-Peter Bernstein (An accessible romp for guitar, piano, bass, and drums.)
• Let's Call This-Thelonious Monk Quartet +2 (An engaging dialogue between piano and horns.)
• The Fishin' Pond-Onaje Allan Gumbs (I never imagined the theme from "The Andy Griffith Show" as a cookin' piano melody or springboard for a jazz combo's improvisation, but this incarnation soars.)
  

SiriusXMU

• Pristine-Snail Mail (The lyrics and feel of this indie rock track could segue into Real Estate's "Darling."  If I'd been at KCOU when this was released, I would have played it.)
  

Soul Town

• Not On The Outside-The Moments (The feeling of loneliness in the vocals reminds me of Billy Stewart's "Sitting In The Park.") 

Spa

• To The Sky-Todd Mosby (A guitar melody with vocal punctuation that suggests hopefulness.)

Underground Garage

• Chance To Get Away-Dwight Twilley Band (Considering its tuneful vocal harmony and guitar, I'm surprised this wasn't a hit upon being released in 1977.)
• Nobody Knows-The Raspberries (Impressive Beatles-influenced vocals, especially in the chorus.)
  

Context? CIX

You know that your thought process has taken an odd turn when you ask yourself, "Have I written about the Wookiee yet?"

Apparently, I haven't mentioned it yet, so here's what happened.  When I was in broadcasting school, one student decided to refer to himself as a Star Wars character during his mock radio shift.  The instructor listening to his demo tape fast forwarded through it tactfully to see if there were any non-Wookiee segments on it.  Whenever she stopped the tape, however, the student was saying some variation of "Oh, it's the Wookiee!"

I wonder if that student ever went into professional broadcasting.  If so, I'm guessing he modified his on-air style.  Although Wookiees' strength and imposing presences are useful in difficult situations, there probably isn't much demand for them on the radio.

An atypical standout XII

Bread had a string of hit ballads in the early '70s.  Most listeners, upon hearing the band's name, might think of songs such as "Baby I'm-A Want You," "If," or "It Don't Matter To Me."  

Another song of theirs, however, has stayed with me lately.  "Dismal Day" wasn't a hit, but the band and/or record company apparently felt strongly enough about it to make it the first or second track on two of their anthologies.  Lyrically, it's an indictment of other people's rudeness.  The guitar part, however, sounds bouncy and hopeful.  Although the song sounds like it should have one more verse and could do without the octave leap in the vocals, it's one of the band's catchier tunes.  If you believe a much better day is on the horizon after a lousy one, this is your song.

Online radio sampler highlights CXXVIII

Six selections that got my attention today:

KQAL (Winona, MN)

• Dreams Never End-New Order (Sometimes, the plans you make don't pan out--or, they pan out but not the way you envisioned.  This 1981 track holds up well despite its downcast lyrics. To lighten the mood lyrically with something musically compatible, play "In My Car" by The Sneetches after this.)

KSDS (San Diego, CA)

• Four In One-Renee Rosnes (A swingin', dexterous-on-the-piano rendition of a Thelonious Monk tune.  This is one classy radio station, playing Renee Rosnes tunes throughout the day, in honor of her birthday.  For an entire disc of exquisitely played standards, listen to the "Without Words" CD.)
• Blue Bossa-J.J. Johnson & Joe Pass (This Kenny Dorham melody is so memorable that it would be hard to imagine a bad rendition of it.  This trombone and guitar rendition is one of several versions that clicks.  For a faster tempo, check out Lou Donaldson's version.)
• Libertango-Besos de Coco (As much as I like Yo-Yo Ma's version of this on cello, this trio's rendition demands just as much attention.  This is some fine guitar work, and you might be hard-pressed to tell if someone is playing percussion or dancing during this interpretation.  Either way, it makes a strong case for respecting the tango.) 

WGUC (Cincinnati, OH)

• Gabriela Lena Frank: Leyendas: An Andean Walkabout: Coquetos (Del Sol String Quartet) (This piece could vie with "Libertango" in an intense dance-off competition.)

WREK (Atlanta, GA)

• Words Are Not My Own-Christina Carter (Haunting guitar and vocals.  Carter's "Salvation" has a similar feel.)

An overlooked cover tune LXXIX

Some songs are locked definitively into one specific era.  Given the psychedelic nature of the vocals and instrumentation on "Green Tambourine," it doesn't surprise me that The Lemon Pipers topped the charts with it in early 1968.  It's unlikely that it would have been a hit at any other time.

It did surprise me to learn there's an instrumental cover of it from that same year.  Oliver Nelson and Steve Allen pulled off an unusual arrangement that combines Baroque-sounding harpsichord with saxophone and strings.  It was puzzling, at first, to hear Classical, jazz, and easy listening elements blend this way, but after a couple of listens, I realized it worked--and was appropriate to the song's throwback-but-contemporary-for-its-time nature.

Online radio sampler highlights CXXVII

Six tunes heard tonight that are worthy of a spotlight:

KAFM (Grand Junction, CO)

• Gillian's Reel/Charles Sutherland/Donald Stewart The Piper (featuring Violet Tulloch)-Aly Bain (Spirited Scottish fiddling.)

WAER-HD2 (Syracuse, NY)

• Imagination-Joe Williams (Sincerely sung lyrics about unlikely-to-be-fulfilled longing.)
• We Will Meet Again-Herbie Mann (A great, sensitively played guitar intro leads into Mann's flute playing.)

WERS (Boston, MA)

• Wild Horses-The Sundays (Harriet Wheeler's vocals float over the instrumentation in this cover of a Rolling Stones tune, giving it an ethereal feel.)

WOMM (Burlington, VT)

• Effie's Song-Jennings & McComber (Heartfelt lyrics, vocals, and acoustic pickin'.  This reminds me of Troubadours Of Divine Bliss.)

WSUM (Madison, WI)

• On-Kelly Lee Owens (Strong techno pop; appealingly breathy vocals over a hypnotic beat.)
  

FM dial scan highlights CLI

Eight standout tunes heard today:

KDHX 88.1 FM

• Fionnghuala-The Bothy Band (Singers must have fast, precise synchronicity to pull off this challenging tune.  The Bothy Band clearly has this, as do Runa and Nightnoise in their renditions. For an especially impressive rendering of the tune, find The Bothy Band's 2009 live performance of it on YouTube.  I was pleased to hear "Folks Of The World" celebrate St. Patrick's Day belatedly today with a hearty helping of Celtic music.)
• This Is-Aslan (Appealing Irish folk-rock from 1986; the Freddy Jones Band song, "In A Daydream," would sound good before this.)

WSIE 88.7 FM

• It's A Shame-The Spinners (This sports one of the band's many catchy hooks, along with perfect lead and harmony vocals.  It was recorded before a change in lead singers, so it alone has a different feel than the band's other excellent hits.)
• Hip Hop Joint-Keyon Harrold (An immediately slick, welcoming groove; I can especially hear why a saxophonist or keyboardist would want to learn this tune.)

KWMU 90.7 FM

• Twilight-Lisa Hilton (An intense, invigorating piano-anchored piece.)
• How Ruth Felt-Regina Carter (Sweet, elegant, ringing violin tone, as usual.  The Charlie Watts Quintet/Bernard Fowler version of "Bewitched" would sound great before this.)

KSHE 94.7 FM

• Livin' Ain't Livin'-Firefall (Bob Seger's "Turn The Page" would dovetail well into this tune's intro before it gives way to a faster, impressive blend of saxophone, guitar, and vocals.)
• Living In The U.S.A.-Steve Miller Band (The organ groove is so commanding that it almost doesn't matter what vocals are sung over it.  Between the organ and the harmonica, this melody could underscore the Indy 500.)

Persistent earworm alert CCXXIII

After seeing the video for it over a week ago, Iggy Pop's "I'm Bored" has infiltrated my thoughts at odd times, even when I'm not bored.  This was the only time I'd ever heard the tune, but my first impression was, simply, that the singer was bored.  My reaction, at the time and now: "OK, then.  Being bored often indicates a failure of imagination, but it's no crime.  Did you need one more song to fill up an album on a tight deadline?"

Persistent earworm alert CCXXII

Reading a good Rolling Stone article about the genesis of the Santana/Rob Thomas song, "Smooth," earlier this month sparked my memory of another Santana hit; unlike "Smooth," however, it's one that radio stations seldom play today.

I never disliked "Hold On" when it was a hit in 1982, but at that time, it blended in with a lot of pop hits and album rock tracks.  Hearing it now after many years, however, I underestimated how smoothly produced it is.  The lead vocals, backing vocals, guitar, and rhythm section gel perfectly.  The verses build up effectively to the chorus, giving the song a Christopher Cross, "Ride Like The Wind" feel.  

Here's hoping more listeners discover or rediscover this semi-forgotten gem.

Thematic compatibility

During my deep dive into Celtic music yesterday, I kept thinking, "Mary Black's 'Strange Thing' stands out to me on her 'Without The Fanfare' CD, but I can't quite articulate why."  Then, I thought a little harder.  Thematically, its lyrics remind me of Joni Mitchell's "Help Me."  Considering the expansive definition of jazz that some smooth jazz stations have, it wouldn't be out of place in a late night smooth jazz playlist, either.

I wonder if any radio station has ever played those songs back to back.

SiriusXM highlights CXXI

St. Paddy's Day Radio has taken over the Spectrum station today.  I've heard an impressive variety of traditional and modern Irish music on that channel and a wide selection of ear-catching tunes in other genres this afternoon.  Among the highlights:

The Coffee House

• Iris-Phoebe Bridgers & Maggie Rogers (These impressively sung harmonies give this Goo Goo Dolls tune a sensitivity I didn't realize it possessed.)
  

Deep Tracks

• Even In The Quietest Moments-Supertramp (Everyone can relate to wanting to stay in a moment or with someone indefinitely.  Supertramp's lyrics acknowledge this.  In keeping with that feeling, the tune builds appropriately slowly with chirping birds and acoustic guitar.) 

Escape

• Who Can I Turn To?-Beegie Adair (Elegant piano, as always; this arrangement is fit for a slow dance.)
• Jean-Peter Nero (I'd praised Rod McKuen's vocals on this in a recent post.  Not surprisingly, the tune lends itself well to an easy listening piano and strings arrangement.)
  

The Loft

• Searching For A New Day-Sharon Jones & The Dap-Kings (This was released in 2017 but has a strong late '60s/early '70s vibe, vocally and instrumentally.) 

Love

• I Only Have Eyes For You-Art Garfunkel (Best known to me through the excellent Flamingos version, this tune requires an angelic-sounding voice or voices.  Thus, Garfunkel's voice is ideal.)

Luna

• Mas Que Nada-Dizzy Gillespie (A brisk romp for trumpet and flute, and a great workout for the piano.  With a melody this infectious, could there ever be a bad version of this Jorge Ben tune?  I also recommend the Sergio Mendes and Marc Antoine renditions.)

Real Jazz

• Theme From "The Anderson Tapes"-Quincy Jones (This is one of the most impressive examples of genre-blending I've heard.  Funk, jazz, electronica, easy listening, and international influences coalesce perfectly in this instrumental.)
• Society Red-Dexter Gordon (Strong tenor sax and trumpet underscoring for a dapper night on the town.)

Spa

• Spinning Song-Keola Beamer (I remember this song, also known as "Spinning Wheel," from a John Thompson piano instruction book.  This memorable melody translates effectively to the guitar.)

St. Paddy's Day Radio

• Roaring Water-Altan (A midtempo gallop for fiddle.)
• The Rocky Road To Dublin-The Dubliners (Those who like the raucous, uptempo rhythm of "I'm Shipping Up To Boston" by The Dropkick Murphys will likely enjoy just about any version of this.  The High Kings do it justice, as well.)
• The Parting Glass-The Clancy Brothers (See the first sentence of my Deep Tracks review of Supertramp's "Even In The Quietest Moments.")
• The Musical Priest-Cora Smyth (An uptempo fiddler's banquet.)
• A Jig & 5 Reels: The Leitrim Fancy-The Bothy Band (If this isn't fit for foot-stomping, I don't know what is.)

Watercolors

• Sao Paulo-Rick Braun (A laid-back groove for trumpet with a pleasant hook.  There's yacht rock. Why not yacht jazz?)

Yacht Rock Radio

• Vahevala-Loggins & Messina (A welcoming sing-along chorus, fit for a travel agency commercial.  Also, does the intro remind anyone else of ABBA's "Fernando?")
  

A cat's reel?

As I listened to an enjoyable medley of reels by Solas today, I was struck by how much my cat's meowing in her sleep blended in with the music.  At one point, I couldn't tell if I was hearing a melodic instrument or my melodic cat, Collette.

Kudos to Solas for inadvertently composing a piece for tin whistle and tabby.

Persistent earworm alert CCXXI

Until tonight, there was a song I hadn't thought about since playing it on the bass in a high school production of "Camelot."  I'm thinking about it tonight, though.  Recently, people started moving into a rather opulent new building nearby.  I hope they're tactful enough not to look at those of us in more modest accommodations across the street and sing, "What Do The Simple Folk Do?"

If that's not possible, I hope they have at least enough decency to sing it out of earshot.

Context? CVIII

While listening to "The Thistle & Shamrock" radio show, the wording of the host's introduction got my attention.

"Hello again, it's The Thistle & Shamrock," the host said.  "I'm Fiona Ritchie, and you're very welcome."

"That's interesting," I thought.  "Interpreted one way, it could mean that a 'Thank you for the music we're about to hear,' from the audience is implied.  Most likely, though, its intended meaning is, 'You're welcome to stay tuned and listen.'"

Actually, I'm fine with either interpretation.  Why not be thankful for a weekly hour of thoughtfully composed, played, and sung Celtic music?

Online radio sampler highlights CXXVI

Seven of the better selections I heard last night:

KSJZ (Monterey Bay, CA)

• High Tide-Stephanie Sante (This uptempo electronica/new age/smooth jazz instrumental pulls off the neat trick of sounding simultaneously relaxing and foreboding.)
• Breezin'-Il Santo (This is not a cover of the great guitar instrumental that George Benson made famous.  It does, however, have a warm, uptempo blend of vocals and guitar in bossa nova style; it's an ideal late night track for a lounge music station.)

KUAF-HD2 (Fayetteville, AR)

• Rebecca Clarke: Lullaby (Helen Callus, viola) (Rather melancholy for a lullaby, but that doesn't make the piece any less captivating.)
• George Gershwin: Lullaby (St. Louis Symphony Orchestra/Leonard Slatkin, conductor) (The strings capture the piece's beauty and delicacy.  That's no surprise, coming from this ensemble.)
• Claude Debussy: La plus que lente (As Slowly As Possible) (Javier Perianes, piano) (A warm, lyrical introduction gives way to alternating displays of force and grace.)

WPVM (Asheville, NC)

• Crazy-Willie Nelson (I've praised various cover versions of this on this blog, so it's time I praised the most famous version's sincere vocals and the piano backing that brings Floyd Cramer's music to mind.)

WSGE (Dallas, NC)

• Stop Lying-Jackie Wilson (A lyrically direct way of saying, "Look, you're being cheated on.  Why not pursue me instead?"  I'm surprised this wasn't a hit.  "Build Me Up Buttercup" by The Foundations would segue well after this.)
  

An overlooked cover tune LXXVIII

The Four Tops scored a plethora of hits from the mid '60s through the early '70s.  As enduring as many of those hits are, their 1981 comeback hit, "When She Was My Girl," is still one of my favorites.  I've hardly ever heard it on the radio since it was a hit.

I was pleased to learn tonight that The Persuasions recorded a strong cover of it.  All of the band's vocalists show that song is just as catchy when it's sung a cappella.  The backing vocalists' phrasing of "doo, doo-wop" throughout the song reminds me of The Jackson 5's backing on Stevie Wonder's "You Haven't Done Nothin'." It's a clever, captivating way to take the place of backing instruments.  

Hearing this imaginative interpretation makes me appreciate both versions all the more; that's always a hallmark of a good cover.

An overlooked cover tune LXXVII

"This Must Be The Place" by Talking Heads has always struck me as strangely cold, cynical--and appealing.  Offhand, I can't name another instrumental backing track that's similar to it.  David Byrne sings over this dark, circular rhythm, with lyrics that suggest an uneasy satisfaction with a relationship.

It isn't the type of song I'd expect a jazz band to cover, but the Joe Policastro Trio pulls it off--in a faster tempo, to boot.  The guitar carries the melody with assistance from bass and drums.  The ensemble respects the melody while carving out space for its own tangents.  That best-of-both-worlds scenario honors the tune, which deserves more airplay.

Context? CVII

Anyone who attended my broadcasting school likely remembers having to read a radio commercial script that began, "Company coming?  Then, you'll want to try Scott's Ale in the big new jumbo quart!"

I managed a respectable reading, but I was never 100% satisfied with the way I asked, "Company coming?"  It's not natural for me to ask that of anyone--not with that phrasing, at least.

Just now, nearly 28 years after the fact, I think I nailed it.  The trick, I think, is not to think about it while you're asking the question.

With that finally settled, how does one sound realistic when touting big new jumbo quarts of ale?

Context? CVI

A topic of discussion on a BBC Radio talk show caught my attention tonight.  The host asked listeners how they responded when "technology said, 'No,' to you."

I wish I could respond that I said nothing stronger than, "Oh, well."  I wish I could say I reflected on how lucky I am to be able to communicate and complete numerous tasks so coveniently, thanks to today's technology.  I wish I could honestly report that I just shrugged and said, "It's not the end of the world.  Usually, this computer (or other device) works just fine for me.  Today's glitch is a rare exception."

I know myself better than that, alas.

Plausible song parodist tabby

I think my cat, Collette, has gotten too comfortable with biting my feet.  Recently, I could have sworn I heard her sing, to the tune of "Clap Your Hands Together," "Bite, bite, bite your feet, bite you on the feet now.  Bite, bite, bite your feet, bite you on the feet now.  Bite, bite, bite, bite, bite, bite, bite.  Bite, bite, bite, bite, bite, bite.  Bite, bite, bite, bite, bite, bite, bite, bite you on the feet now."

Admittedly, that didn't actually happen--the singing, I mean.  

I don't doubt that it could, however.

An overlooked cover tune LXXVI

There are any number of emotive vocal renditions of "Amazing Grace."  Until today, however, I hadn't heard it interpreted as an odyssey for flute, with expansive solos and plenty of room for the piano, bass, and drums to not only underpin but expand upon the melody.

Credit to Andrea Brachfeld and company for sustaining this imaginative jazzy rendering for over eight minutes.

Context? CV

A compliment/criticism heard on a noncommercial station that wouldn't likely be heard on a commercial station: "Requests are always welcome, and under the new regime, it's probably a little bit easier to get your request on now than it was before, so feel free to give me a call or drop me a line..."

Context? CIV

The AM radio station that didn't draw much of audience in the early '80s was probably just fulfilling a public service requirement.  I, however, was pleased to hear an unexpected program one weekend morning.

"Hey, I know that voice," I thought.  "That's the same host of 'Man And Molecules,' the science radio show on tape that I used to check out from the library.  Apparently, the show is now called 'Dimensions In Science,' which sounds more inclusive and wide-ranging."

I'd like to believe I was part of an exclusive club.  There's a strong chance I was the only radio listener in town, at least in my age bracket, discovering that renamed show at that moment--and knowing that it had been renamed.

Persistent earworm alert CCXX

I'm still thinking about Rhythm Heritage's "Theme From S.W.A.T.," which played on KDHX as I drove last night.  When I reached my destination, I felt like a slacker for not scaling the building and breaking through a window.  Such is the effect of an adrenaline-drenched melody.

Life is full of missed opportunities, alas.

Mall shopping days of yore

While listening to radio air checks from 2001, I was reminded that WMLL 104.1 FM was still around then.  Calling a station "The Mall" seemed like a bit of a stretch then, as malls were in decline.  Considering the station had an '80s format, though, that identifier was likely intended to make listeners nostalgic for a time when people frequented malls more often.

Today, however, I'd be surprised if a station referred to itself as "The Mall."  Today, a station identifier that brings to mind vacant or nearly vacant buildings on the cusp of being repurposed is best avoided.

Persistent earworm alert CCXIX

For the last two days, I've been reappraising a song I hadn't thought about since it was a hit in 1982.  I never disliked Ronnie Milsap's "Any Day Now," but I didn't seek it out.  Thinking about it now, though, I'm impressed by how smoothly it straddles the line between country and soft rock formats.  Milsap's voice is ideal for these lyrics about the eventual failure of a relationship.  If sung with too much anguish, the tune could have veered into Nilsson's "Without You" territory.  (Sidebar: Although I like most of Nilsson's music, his biggest hit is too maudlin for me.)  Milsap, however, sings with a lighter touch, indicating he would be sad if his beloved left but would also have a healthy "Oh, well" outlook.  "Any Day Now" is relatively low-key for songs of its type, but that's to its benefit.  Hopefully, before too long, it'll turn up more frequently on stations with "music of your life" formats.

A linguistic irritant XXIX

There's some narrowcasting here, but...

...if you're playing the role of a Classical music announcer in a sitcom, don't overpronounce the word concerto.  If you labor too long on one or more syllables, it'll make at least some audience members think you're not in the habit of saying it.