Positive perspective II

One recent night, I thought, "What can I listen to this year that's fitting for Memorial Day, especially as we turn the corner on this pandemic?"

The answer came to me while listening to an Anne Hills CD, "Angle Of The Light."  The lyrics and vocals are as thoughtful and consistent as those on any Carrie Newcomer CD.  Since rehearing it for the first time in a while, I've zeroed in on the closing track, "Enough."  Here's what I take from it: If you're enjoying those with whom you've come in contact, the daily activities that keep you functioning, and the environment around you, you're having a good day.

As elementary as that might sound, it's a good reminder for everyone--and a perspective that the threat of Covid-19 has forced us all to remember for over a year.

In memory of B.J. Thomas

I was sorry to learn last night of B.J. Thomas's passing.  His voice always struck me as self-assured and well-matched with the secular and sacred lyrics he sang.  In my view, these are five of his best tracks:

• Amazing Grace (This is how to sound confident yet unassuming when tackling one of the most frequently covered hymns.)
• God Bless The Children (In the wrong voice, this could sound treacly or insincere.  Thomas pulls off the right mix of sincerity and perspective in his vocals here, though.  I used to look forward to this track during KYKY's 1985-1991 36--in later years, 24--hours of Christmas music rotation.)
• Hooked On A Feeling (Lyrically direct ways of spelling out one's love for a wife or girlfriend are tricky.  When the lyrics are too overwrought, the singer's either conveying cloying sentiments he doesn't really mean or resorting to too many cliches.  I'd be thrilled to never hear another song about someone "climbing the highest mountain" or "swimming the deepest ocean" for his beloved.  "Hooked On A Feeling," however, strikes the right tone of "Hey, what we have here is great.")
• Mighty Clouds Of Joy (This should have been a bigger hit in 1971.  A listener doesn't need to be religious to appreciate the optimism with which Thomas sings this.  The comforting "Put On A Happy Face" vibe in the lyrics reminds us that bad times usually don't last forever.  Gerry Rafferty's "Days Gone Down" sounds musically compatible to me before or after this.)
• Raindrops Keep Fallin' On My Head (For many listeners, including me, Thomas's biggest hit is the one they've heard most.  This was a deserved chart-topper in 1969.  It's human nature to complain about literal and metaphorical rain in our lives.  The protagonist here admits, however, that getting angry about rain won't make it go away and resolves not to let it get to him.  That attitude of, "Oh, well; that's just life," has always appealed to me, even when I haven't practiced it.  Thomas's "Why worry?" vocal inflections fit the tune perfectly, as does Chuck Findley's happy-go-lucky trumpet outro.  This will always be one of my favorite oldies.)
  

A pre-Google one-word wordsmith

Today, people can look up the spelling of a word on dictionary.com.  That option didn't exist in 1988, however.  Thus, after an orchestra rehearsal one afternoon, a violinist's source for a spelling was me.  In the hallway, she asked if anyone knew the spelling of repertoire.  Another violinist pointed me out and told her, "Ask him.  If anyone would know, he would."

I appreciated the compliment.  Since then, the person who said it has had a long career with our local symphony orchestra.  Although I know she has the musical talent for the ensemble, I'd like to think that her judgment of character also made those who auditioned her all the more glad to have her in the orchestra.

Online radio sampler highlights CXXXIV

Six standout selections heard this morning:

KMHD (Gresham, OR)

• All Together-Novi Singers (I had fun trying to guess the year of this release.  It's from 1970, which is only about three or four years later than I would have thought.  This is how The Free Design might have sounded with jazzier backing.  This track is an interesting blend of Herbie Mann and Sergio Mendes & Brasil '66 influences.)
• Is Magic Gone?-FKJ (Captivating genre-crossing piano and prominent bass in this laid-back groove.  The technical wizardry on the vocals, resulting in multiple bent notes, got my attention.)

WCRI (Block Island, RI)

• Paul de Schlozer: Etude in A-flat major, #2 (Jorge Bolet, piano) (With such fast, demanding arpeggios, I hear why advanced piano students would warm up with this piece.  Also recommended: Eileen Joyce's rendition; her dazzling dexterity illustrates how you master this piece.)
• Alexander Borodin: String Quartet No. 2 in D major: III. Notturno (Nocturne): (St. Louis Symphony Orchestra/Leonard Slatkin, conductor) (Movingly lyrical, regardless of which instrument one plays in the quartet.)

WEXT (Amsterdam, NY)

• How Can You Mend A Broken Heart?-Al Green (Best known to most listeners in its original Bee Gees incarnation, this version gets less radio airplay than it deserves.  Green's version is impressively emotive and expansive while staying true to the original version's spirit.)
• Thank You-Bonnie Raitt (Excellent bluesy, soulful, and heartfelt vocals from early in Raitt's career; the keyboard, guitar, and flute arrangements sound like 1971 in the best sense.)

Riding out the storm with jazz

It's storming heavily as I write.  Most people, upon first hearing thunder, would likely think, "I hope this doesn't last too long."  I have thought that, but my first thought when today's storm hit was, "This would be an appropriate time to listen to Weather Report's 'Heavy Weather' album..."

And, it is...I don't know that there's any connection between a thunderstorm and the memorable opening notes of "Birdland," but that won't stop me--as long as I still have electricity.

Persistent earworm alert CCXXX

An earworm resurfaced for me today in a different context. I dreamed about a cadre of puppets performing Terry Stafford's oldie, "Suspicion," a song I haven't heard on the radio since about 1979.  (For some reason, hearing it on KXOK's "Super Oldies Show" has stayed with me decades later.)  The backing vocals stood out to me in the dream because two wolf puppets howled them with surprisingly perfect pitch.  Maybe I shouldn't be surprised; the "Awooooo" backing fits that song better than any other. 

Reasonable people may dispute this, believing that coyote puppets would mimic those vocals more accurately.  For now, though, I'm sticking with wolves.

Appropriately anthemic

I've written before about my favorite hymn, "Christ The Lord Is Risen Today."  Lately, however, "Crown Him With Many Crowns" has become my second favorite hymn.  Those hymns share a similar joyous reverence and put the honor where it's meant to be.  That's the way to start Mass, in my opinion.

A petty fixation VI

Earlier tonight, I discovered a typo in a previous blog post.  In the past, upon spotting a typo, the chorus of Alice Merton's "Lash Out" would come to mind, and I'd swear, pound on the desk, and/or throw a random object at the wall.

I did none of those things tonight.  Instead, I corrected the mistake calmly and went on with life.

This must be that mellowing-with-age concept I've heard about.

Music for chewed feet III

Tonight, I was determined to eat dinner at my kitchen table without giving into Collette the cat's demands for a snack.  She'd just had dinner shortly before I started eating.

After she bit my feet a few times, however, I relented and gave her a small snack.  As I went to get her food, I sang softly to the tune of "Coming Up" by Paul McCartney & Wings.

"I'm caving in," I sang.  "I'm caving in..."

Online radio sampler highlights CXXXIII

Seven ear-catching tunes heard today:

KEWU (Cheney, WA) 

• How Are Things In Glocca Morra?-Sonny Rollins (Rollins carries the melody on tenor sax perfectly, and Wynton Kelly's piano playing adds considerably to the song's atmosphere.)
• Turn Out The Stars-Karrin Allyson (A sensitively yet powerfully sung rendition of a great Bill Evans piano instrumental.)
• After You've Gone-Wynton Marsalis (Ringing trumpet, elegant strings and piano; the Renee Rosnes version of "Misty" would sound great before or after this.)
  

KTKE (Truckee, CA)

• Going and Going. And Going.-Icebird (A strong rhythm section and vocalist made me pay attention to the forceful intro and wait patiently for the melody to pick up steam again, later in the song.  The song's slower middle section brought Led Zeppelin to mind.)
• Red Wine Stars-Oceanroyal (The guitar, bass, and vocals leap out of the speakers; this is great accompaniment for driving and seizing the day.  U2's "Beautiful Day" could segue with this.)

WXPN (Philadelphia, PA)

• Nightflyer-Allison Russell (This new track features confidently sung, empowering lyrics that remind the listener how much power and influence an individual has.)
• Last Day Of Summer-Kirsty MacColl (How is this tune not better known?  It's lyrically downcast--but honest and relatable to many listeners.  It's melodic with an appealing guitar part.  Furthermore, it's well-produced.  The ingredients are there.  Why hasn't this song gotten its due?)

FM dial scan highlights CLVI

Five standout selections heard today:

KDHX 88.1 FM

• How Many Times Must I Knock?-Roscoe Robinson (The great, catchy buildup in the brass underscores the singer's frustration.  This impressive R&B track should have been a hit in 1968.  Also recommended: "That's Enough.")
• Soul Bird-Narada Michael Walden (The synthesizer, flute, and vocals encapsulate 1977's music scene.)

WSIE 88.7 FM

• Baila-Janet Evra (Appealingly mellow vocals and instrumentation; Michael Franks would likely cover it well.)
• Rainbow Visions-The Crusaders (A laid-back, dreamlike melody that allows the trumpet and keyboard to shine.  This is from one of the group's most consistently strong albums, "Chain Reaction."  Also recommended: "Creole," "I Felt The Love," "Mellow Out," and the album's title track.) 

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

•  Georges Bizet: Symphony In C: IV. Finale: Allegro vivace (Concertgebouw Orchestra Amsterdam/Bernard Haitink, conductor) (An impressive accomplishment for a 17-year-old; vigorous strings bring the symphony to a satisfying close.)
  

An overlooked cover tune LXXXVI

I played "Rum And Coca-Cola" by The Andrews Sisters on WEW at least twice 25 years ago.  The vocal harmonies stuck in my mind easily each time I heard the song.  I never imagined the tune as a clarinet instrumental, but listening to a Ken Peplowski CD I hadn't heard in a while today reminded me how adaptable the tune is--and how I should listen to more clarinet-based music, in general.

Persistent earworm alert CCXXIX

For a song I've only heard heard on the radio once, years ago, it's amazing how much mileage my brain has gotten out of the guitar part.  Whenever I walk past a grocery store's case of seafood gumbo, I think of New Orleans.  Despite never having been to New Orleans, my mind triggers a guitar riff that seems compatible with that city...

...And, thus, I can count on that guitar lick from Tony Joe White's "Roosevelt And Ira Lee" to occupy my mind for at least the remainder of the shopping trip.  In fact, four days after it last sprang to mind, it's still there, conjuring up the image of a swamp.

I know the tune wasn't a national hit, but given how strongly the song latches onto you once you hear it, I wonder if it had regional chart success.

"Luntiful" sunshine?

Usually, my Ambient weather forecaster is accurate.  On two occasions in March, however, it went a tad berserk.  The current temperature and forecast description for March 4 were both off the mark:

Upon reading this, I imagined my grade school vocal music class singing "Zip-A-Dee-Doo-Dah" with an alternate lyric predicting "lunty of sunshine."  Admittedly, "lunty of sun" would have helped, had the temperature of  -7 degrees been accurate.

An unfortunately inevitable outcome

What do you do when you're at the helm of a quality station whose ratings are nonexistent?

Years ago, I called a program director I knew, to ask how things were going at her jazz station.  She said that the station, unfortunately, wasn't registering in the ratings.

"According to (the ratings company), we have no listeners," she said.  "Apparently, I don't even listen."

The program director allowed the announcers to choose the music they played, resulting in an impressive, expansive array of jazz aired.  The station won a Marconi award for its excellence.

Unfortunately, both of us knew what typically happens to a station with no ratings--a format change, which took place later that year.

Three cheers for news

New York news station WINS uses one of my favorite slogans, "You give us 22 minutes, we'll give you the world."

Even in an age of instant online news updates, I still think that's one of the best slogans I've ever heard.  Not just any station promises you the world.  I like that image of a station striving to live up to such lofty idealism.  It conveys to me, "Keep listening, and we'll keep you well-informed."

That's the image an all-news station should present.

The mildest scofflaw

How do you handle requests from listeners when your station only plays requests during limited hours?  You can level with a listener, as I once did, and say, "We're not playing requests right now, but (the song you requested) is scheduled to come up two hours from now."

"Two hours?" she replied incredulously.  "Oh, come on.  Be a good guy.  I really have to hear it."

"OK," I relented.  "I won't be able to play it immediately, but I'll try to play it soon."

Thus, in the next set, when it made musical sense, I played "You Can't Run" by Vanessa Williams.

The listener called me back and said, "Thanks, babe," after I played the song, and no one admonished me. 

Sometimes, being an ever-so-slight outlaw is the right choice.

A petty fixation V

Somehow, in 35 years, I hadn't noticed this before.  On one of my Classical LPs, the record label leaves an s off of the ensemble's name.  It's correct on the cover, but the label says the two symphonies are performed by "Academy Of St. Martin In The Field," instead of Fields.  

I could just write in an s on the label, but I don't want to deface the record.  Most likely, I'll just leave it as is while superimposing the missing s on it in my mind.

Now, I understand Yosemite Sam's insistence on rushing to the piano and playing the correct note that eluded Bugs Bunny.  He blew himself up in the process, as the correct note was rigged with explosives.

At least, he had closure, though, as extreme as it was.

FM dial scan highlights CLV

Five commendable tunes heard today:

KDHX 88.1 FM

•  A World Of Our Own-The Seekers (This is a good metaphor for what a relationship should be--a society of two.  Lyrically, it's particularly appropriate for life during this pandemic.)
• What Is Going On?-Hannah Jadagu (The gloss on the vocals suits the song's head-in-the-clouds outlook about getting to know someone who seems perfect, at first.  This current track is a portent of impressive things to come from this surprisingly young artist.)

WSIE 88.7 FM

• Elegant Evening-The Crusaders (I'm surprised this hasn't been a staple track on jazz stations around the country since 1980.  The first jazz album I ever checked out of the library was "Rhapsody And Blues," and this track, along with "Last Call," "Soul Shadows," and the title track, are still huge standouts to me.  This perfectly titled tune conjures up images of a pleasant evening at a restaurant.  Joe Sample's keyboard playing and Wilton Felder's saxophone licks set the atmosphere perfectly.)
• On Her Way-Pat Metheny Group (One of many songs that highlight Metheny's goes-down-easy intensity on the guitar and atmospheric vocals.)

KCLC 89.1 FM

• Backburner-Maia Sharp (Lyrically and musically, this new track about a missed opportunity is a solid companion piece with my favorite song of Sharp's, "Something Wild.")
  

"Why radio? Because I love it--sort of..."

A memory from 1993: I had just finished my morning classes at broadcasting school and was heading to my car.  A worker on lunch break from a nearby business said, "Hey, I saw you walk out of (broadcasting school.)  What's it like there?  What kind of broadcasting are you pursuing?"

I gave the school a generally positive review and then talked about my desire to be on the radio and ideally become a program director.  Then, without prompting, I started listing all of the reasons why it was precarious to pin my hopes on a radio career.  

"Radio doesn't tend to have a lot of job security," I said.  "Stations change formats and personnel frequently, so people in radio often have to move from city to city.  Frequently, it doesn't pay that well.  Also, there's the threat of automation.  Paying one DJ in one city to voice track the same shift for five classic rock stations in five different markets instead of having to pay five separate announcers saves companies a lot of money..."

As I heard myself saying all of this, I thought, "Why do I want to be in radio again?  The music...That's right.  Because I love music.  I don't love the lack of job security, the thought of having to move constantly, or the low pay, but I love music.  Right.  Sound career plan there..."

There's nothing like saying your plans out loud to realize the flaws in them.

Online radio sampler highlights CXXXII

Seven standout selections heard today:

KSBR-HD2 (Mission Viejo, CA)

• Illuminate-Steve Oliver (It's a curious aspect of smooth jazz.  Any number of melodies sound fairly similar to this, but this one jumps out at me whenever I hear it.  The relaxed guitar melody and well-placed vocal punctuation that capture my attention.)
• Coasting-Joyce Cooling (A driving, percolating rhythm for guitar and keyboard.)

KZIO (Duluth, MN)

• Time Has Told Me-Nick Drake (A contemplative highlight of Drake's "Five Leaves Left" album; we should all be as introspective as Drake was in his twenties.)

WCLK (Atlanta, GA)

• Good Vibes-Dexter Moore (A steady piano-anchored groove with prominent bass; this is ideal for a smooth jazz station's midday playlist.)
• I Just Want To Hang Around You-MiChelle Garibay-Carey (An impressively sung and played cover of a George Benson tune that's generally overlooked today.  Speeding up the tempo suits the song better than I would have imagined.)

WOCM (Ocean City, MD)

• Dog Years-Maggie Rogers (It's difficult to say goodbye to your college years, especially when the job and life you have waiting for you are uncertain.  Actually, as you get older, it becomes all the more tempting to want to freeze time or go back in time.  Rogers captures that concern about the passage of time well.)

WRCJ (Detroit, MI)

• Rick Sowash: Concerto For Clarinet And Orchestra: III. Allegro (St. Petersburg Symphony Orchestra/Vladimir Lande, conductor; David Drosinos, clarinet)  (A bright, lyrical, sometimes fluttering conclusion for a concerto.)
  

An overlooked cover tune LXXXV

When I bought Ruth Moody's CD, "These Wilder Things," it didn't occur to me that the song, "Dancing In The Dark," would be a cover of the Bruce Springsteen song.  As talented as all of the vocalists from The Wailin' Jennys are, I never imagined those two worlds coming together.  

Moody nails her rendition of Springsteen's hit, however.  If you're only familiar with Springsteen's version, you probably don't envision it with quieter vocals, mandolin, violin, viola, cello, and trumpet.  While listening to it again for the first time in several years, I realized just how simpatico those instruments are with Moody's voice--and how well Springsteen's song lends itself to such an acoustic arrangement.

A time and place for dedications

Call it cognitive dissonance,  but I was never a huge fan of the Long Distance Dedication on "American Top 40."  Admittedly, there are good reasons to have that feature:

• It gives people a way to reach out to others close to them in a public forum.
• It gives airplay to songs that move a lot of listeners, especially if they're going through situations identical or similar to those in the letters read on-air.
• It adds a dose of humanity to the program, reminding listeners that a countdown show can be more than just a listing of the latest hits.

Despite those arguments in its favor, however, I'm still not a huge fan.  When I tuned into "American Top 40" throughout the '80s, I wanted to know how songs ranked on the Billboard chart and to hear new music as it debuted.  When a Long Distance Dedication came on, I often thought, "This must be a thrill for the letter writer and the person to whom (s)he's dedicating the song, but this is an unnecessary break in the action for those of us who tuned in to hear the week's 40 biggest hits."

I still think, "This is why soft rock stations have request and dedication shows, typically at night.  Those are the proper venues for people pouring their hearts out through a song."

Context? CXIV

A memory from the mid '90s: A news/talk radio station was on in the office.  The newscaster said, "Tonight on the north side, murrrrrrderrrr."

One of my co-workers asked, "Is this a Sherlock Holmes mystery?"

His reaction was understandable.  The event was tragic enough.  Why sensationalize it by elongating the word "murder?"

Persistent earworm alert CCXXVIII

Since having my second Covid vaccine shot this morning, I've felt invincible.  Logically, I know that the shot won't protect me from other diseases or make me more patient, more coordinated, or less profane.

Still, ever since having the vaccine, the lyric, "Nothing can hurt you at allllll," from the Genesis song, "Entangled," has run through my mind.

Why shouldn't it?  After worrying about getting Covid-19 for over a year, it's nice to have the illusion, if only for one day, that Moderna's vaccine will protect me from all harmful things.

Cue the power chords...

...and you've got a theme fit for a sitcom or action/adventure show set in the late '80s.  Exhibit A: Daryl Stuermer's instrumental rendition of "I Don't Wanna Know" from his "Steppin' Out" album.  Try listening without imagining freeze-framed photos of various actors and actresses in an opening credits sequence.  It's not easy.  The same is true of Stuermer's track, "The Highlands."

Sitcom music coordinators missed two opportunities for memorable, confidently played guitar themes in the '80s.  If anyone plans to revisit 1988 in a sitcom or procedural show, however, perhaps they'll seize the opportunity this time.

Context? CXIII

This afternoon, I heard an AM radio talk show host joke, "We've solved all the world's problems, and we still have a little over an hour to go."

Talk about having the wind at your back.

In all seriousness, the host and his co-hosts still managed to have a good final hour.  After all, when the world's problems are all solved, that gives you more time for comedy.

Persistent earworm alert CCXXVII

I thought I'd purged this song from my mind.  Alas, I haven't.  Michael Zager Band's minor hit, "Let's All Chant," was on the charts at this time 43 years ago.  I hadn't thought of it in many years, but something about the mechanical noises I heard in another artist's song must have triggered my memory of the tune's recurring "Oooa, Oooa" lyric.  

In fact, I'm not sure if "Oooa, Oooa" is the most accurate representation.  I'm not sure that sound translates completely into print.  Once it gets into your mind, though, expect it to settle there--for an extremely long time.

In memory of DJ Jeff

I was startled to learn that Jeff, a DJ with whom I'd worked at KCOU, passed away last November.  Looking back, I realize that Jeff was one of the most well-rounded people I knew when it came to learning how KCOU worked.  From the time he arrived at the station in early 1992, he was in the thick of it.  He logged more hours on-air than almost anyone else when I was there, doing his regular shifts and subbing for other DJs.  His voice was on a number of the station's promotional breakers, some of which he also wrote.  Whether it was doing a jazz show or multi-format show, conducting an interview with a band, or promoting a concert, it seemed like he was playing or touting good music constantly.  Thus, it didn't surprise me when he rose through the ranks to become assistant chief announcer and promotions director.  I remember when he tabulated the listeners' votes in 1992 to determine the station's annual top-88-songs-of-all-time countdown.  I never asked him how he tabulated the rankings or how he broke inevitable ties when two or more songs received the same number of votes.  Knowing how seriously he took the task, though, I never questioned that his methodology was sound.

The capper, during my time there, was a lesson in how great things can happen when you dream big.  Jeff and Mike, KCOU's general manager, convinced power pop band Big Star to reunite and headline the station's 1993 Springfest concert.  Talk about powers of persuasion; not just anyone can convince a band that hasn't performed live in nearly 20 years to reform and perform.

I still listen to a song Jeff recommended to me.  Antenna's "Rust" reminds listeners not to fritter away their time and to make the most of their lives.  Based on what I heard and saw, Jeff followed this advice by touting too-frequently-overlooked music at KCOU and in his hometown of Boston.  Here's hoping he's getting to hear and promote all the music he wants in the afterlife.

Only in college LXXXVI

Admittedly, it's easy to throw caution to the wind when you program all the music you play on a radio station.  Looking back at the playlist I assembled for a May 2, 1992, 1-4 p.m. KCOU shift, the eccentricity of this set stands out to me:

• Roll The Bones-Rush
• Sarah Cynthia Sylvia Stout Would Not Take The Garbage Out-Shel Silverstein (mixed with Blood Of The Sun-John Klemmer)
• Greene Street-Grover Washington, Jr.
• The World I Used To Know-Rod McKuen

While each track has merit individually, I asked a lot of the audience with that set.  Essentially, I was programming for four different audiences.  In listening to the John Klemmer track now, I wonder how on Earth I thought it would underscore Shel Silverstein's poem.  I wish I had a recording to see which segment of that avant garde piece I used to warp Silverstein's reading.  I hope I played at least one promo between songs to signal an abrupt change of genre.  In retrospect, it's telling that prior to that set, I had received and played song requests that afternoon.  After that set, I didn't.

Persistent earworm alert CCXXVI

I only played "Want To Talk" by The Cucumbers once on KCOU, and I regret not playing this impressive power pop track more often.  The tune grabs you with its hook from the first note and never lets go.  Each instrument is essential to the tune's propulsion, and the vocals have a quintessentially '80s vibe.  Late in the tune, there's a hypnotic quality to the repetition of the word "eyes."

Talk about crafting a great riff and sustaining it.  I'm thankful to have rediscovered it earlier this year.