FM dial scan highlights CLXIX

Six standout tunes heard this morning:

KDHX 88.1 FM

• You're No Good-Betty Everett (This is best known to most listeners as a strong Linda Ronstadt hit.  Until I watched a documentary on Ronstadt's life, I'd forgotten that this was a cover song.  It was good to be reminded in the documentary and on KDHX of Everett's 1963 rendition.  Her vocals and the appropriately melancholy piano backing deserve their due.)
• Suspicious Minds-Dee Dee Warwick (Warwick's commendable vocals also deserve their due, as the majority of listeners probably don't know that she covered this Elvis Presley tune.  Kudos to KDHX, also, for a good tie-in, as Warwick recorded "You're No Good" before Betty Everett.)

WSIE 88.7 FM

• Bossa Nova California-Lawson Rollins (An aptly titled breezy new guitar release with a '70s easy listening vibe.)
• Bee Bop Boogie-Hilton Felton (An infectious groove seemingly steeped in the mid '70s, although it was released in 1980.  Felton shines on keyboard in one of the stronger blendings of jazz and funk I've heard.)

KCLC 89.1 FM

• Only The Lonely-The Motels (I never disliked this 1982 hit, but I appreciate it more now.  Listen to how tastefully Martha Davis sings some of the better decade's better lyrics here.  There's a level of taste and sensitivity in "Only The Lonely" and "Suddenly Last Summer" that makes those hits hold up better than certain other throwaway, best-left-in-their-era '80s hits.)
• Insensitive-Jann Arden (I hadn't heard this 1996 hit in a while.  It holds up well as a way to acknowledge one's heartbreak.)
  

Online radio sampler highlights CXLVI

Eight Thursday standouts:

KAFM (Grand Junction, CO)

• Autumn Leaves-Jessica Tate And The Flat Fifths (Vocals and harp that are ideal for Autumn rumination.  When the tempo picks up, this is ideal music for strolling while hearing the crunch of fallen leaves at your feet.)
• Old Dan's Records-Gordon Lightfoot (It speaks well of KAFM that there's a place for these lyrics about honoring someone and his musical taste.  This is a good choice for a show title and theme song.)

KDKI (Twin Falls, ID)

• Countin'-Harry James (A frenetic big band rhythm, fit for kicking up a ton of dust on the dance floor.)
• Well, Git It!-Tommy Dorsey (Each soloist gets a moment to shine in this raucous-for-its-time dance number.  This isn't the tune for a bashful trumpeter.)

WDCB (Chicago, IL)

• Blues In Maude's Flat-Grant Green (A well-sustained guitar-anchored, midtempo groove that never wears out its welcome for 15 minutes.)

WXPN-2 (Philadelphia, PA)

• Everybody's Everything-Santana (It's difficult not to imagine Mardi Gras kicking into high gear in New Orleans when I hear this track; still one of the band's most energetic knockouts.)
• Justified-Kacey Musgraves (A lyrically effective way of conveying the thin line between love and hate.)
• People Say-The Meters (Once again, The Meters' consistently strong rhythm section is on display.)
  

Persistent earworm alert CCXLIII

I'm not surprised that Feist's "1 2 3 4" has been an earworm for me today.  Four seconds seemed to be the interval between my cat's repeated jumps on the table in an attempt to eat my salad today.  I could have accurately sung, "One, two, three, four, Collette's coming back for more."

It won't surprise me during the next time I have a salad if Collette's attempts to eat it are even more frequent and my persistent earworm is Len Barry's "1-2-3."

Context? CXXX

I was surprised to hear an AM radio talk show host ask this afternoon, "Who writes a song about New Madrid?"

Now, I'm curious to know the context, as the town of New Madrid, Missouri makes me think, "earthquake."  I'm sure there must be more to the town than that, however, so I wonder what aspects of the town inspired the songwriter.

The allure of shuffle mode VIII

Bravo to iTunes for pairing two songs in my collection that highlight two of childhood's best aspects.  Recently, in shuffle mode, I heard Erin Bode's cover of the Rickie Lee Jones song, "On Saturday Afternoons In 1963," followed by the Sara Watkins tune, "Night Singing."  Both songs feature appropriately sensitive vocals and instrumentation.  "On Saturday Afternoons..." captures the wonder and excitement of being young; lyrically, the song reminds listeners that, when you're younger, you don't have all the mundane routines and responsibilities of adulthood yet.  "Night Singing"'s lyrics assure a child that it's safe to go to sleep and that your parents are your protectors.

Given the general lack of power and control one typically has in pre-adult years, it's heartwarming to hear two songs cite positive aspects of being a kid.

The allure of shuffle mode VII

Feeling a bit blah and wanting music to match?  Take a tip from iTunes.  Last week, while listening in random play, I heard Nanci Griffith's "It's Just Another Morning Here," followed by the Liberty Horses tune, "King Of A Rainy Country."  Both songs provide a satisfying backdrop when one day feels as mundane as the next one.

FM dial scan highlights CLXVIII

Eight recommended selections heard this morning:

KDHX 88.1 FM

• The Old Laughing Lady-Neil Young (A metaphor for being too far down a self-destructive path.)
• That Kind Of Life-Michigan Rattlers (This track, released in May, offers a sobering dose of reality in its lyrics.  Vocally, this strikes me as an approximation of how Gin Blossoms might have sounded with a folk rock/country bent.)

WSIE 88.7 FM

• On The Hill-Oliver Sain (Wailing melancholy saxophone for when one feels blue.)
• Treasure-The New Mastersounds (Energetic guitar and keyboard.  Acoustic Alchemy's "Wish You Were Near" would sound right after this.)
• Gypsy In Me-Bonnie Raitt (Forthright vocals and guitar suit these lyrics about wanderlust well.)

KCLC 89.1 FM

• Not As We-Alanis Morissette (Endearingly honest lyrics about feeling vulnerable and chagrined when making a fresh start you hadn't anticipated.)

WFUN 96.3 FM

• Time Will Reveal-DeBarge (A graceful, heartfelt way of saying, "Trust me.  We're right for each other, and I won't let you down."  This slow jam holds up 38 years after its release.)

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

• Ottorino Respighi: Ancient Airs And Dances, Suite No. 2: IV. Bergamasca (Los Angeles Chamber Orchestra/Sir Neville Marriner, conductor) (A beguiling, upbeat movement for strings, harp, and winds.)
  

Online radio sampler highlights CXLV

Six Thursday highlights:

KVSC (St. Cloud, MN)

• Interplanet Janet-Lynn Ahrens (I always thought Janet had her priorities right in this "Schoolhouse Rock" tune.  If you have a chance to meet the sun, you might as well ask for an autograph.  This is exactly the kind of tune a college radio station should play...)
• Three Is A Magic Number-Bob Dorough (...as is this "Schoolhouse Rock" tune.  Counting in threes rarely sounds catchier.  This is one of the most memorable melodies from the "Multiplication Rock" series.)

WMMT (Whitesburg, KY)

• Samba Dees Days-Stan Getz & Charlie Byrd (One of the coolest examples of bossa nova; this is a great saxophone/guitar collaboration from 1962.  If I didn't know otherwise, I would have thought Django Reinhardt was about to launch into "Brazil.")
• When I Write The Book-Rockpile (Credit to Nick Lowe for turning a tale of woe into such a compelling hook.)

WSUM (Madison, WI)

• Everything Is Embarrassing-Sky Ferreira (A strong dance hook from 2012; Colleen Green's "Time In The World" wound sound good before this.)

WWOZ (New Orleans, LA)

• Waiting-Sybil Shanell (A solid social consciousness track from this year.  Sometimes, when you have big plans for the betterment of society, you just need to act on them.  You might not achieve everything you desire, but that shouldn't stop you from trying.  This inviting blend of vocals, guitar, and keyboard fits just as well into the singer-songwriter genre as it does into a jazz format.)
  

An overlooked cover tune XCVII

Lyrically, vocally, and instrumentally, the Seals & Crofts hit, "Summer Breeze," has held up strongly since 1972.  The relaxing images it evokes hold up in any era, accounting for its omnipresent place on oldies and soft rock station playlists.

If "Summer Breeze" appeals to you, give Bobby Broom's cover of it a listen.  Hear how the guitar and organ honor the original version's spirit while bringing out the tune's bluesy undercurrent.  Hear how the tune works just as well as an instrumental that should be a staple of any smooth jazz station's playlist.

Context? CXXIX

I'm not sure who the AM radio talk show host was interviewing yesterday, but when I flipped past, the guest said, "Someone asked me if I'm famous.  I told (that person), 'You've answered your own question.'"

True.  If you have to ask...

Context? CXXVIII

Whenever a radio reviewer says a production is "challenging," I listen to see if (s)he'll follow up with, "but rewarding" or "but worth the effort."  That didn't happen in one critic's recent appraisal.  In fact, she went further, saying, "If you can sit through (this play) without wanting to lop your own head off, you deserve to be knighted."

If she'd posted that review on Twitter, it would likely pass for relatively mild criticism.

FM dial scan highlights CLXVII

Six Sunday morning gems:

KDHX 88.1 FM

• Trouble, Heartaches & Sadness-Ann Peebles (A forthright way of saying, "Bad times, be gone!")

WSIE 88.7 FM

• Europa-Gato Barbieri (Great wailing saxophone, suitable for a slow dance or bluesy rumination.  I always enjoyed playing this version of Santana's tune on KNJZ.)
• Affirmation-George Benson (Another KNJZ favorite: This is a life-affirming, uptempo guitar piece whose melody reminds me of the Lou Rawls tune, "You'll Never Find Another Love Like Mine.") 
  

KCLC 89.1 FM

• One Place-Everything But The Girl (Tracey Thorn sings thoughtful musings about what it might be like to settle down in one locale instead of living a touring musician's city-to-city life.  Since 1992, this has been one of my favorite songs.)

KSHE 94.7 FM 

• Flor D'Luna (Moonflower)-Santana (Another one of Santana's most appealing guitar melodies and yet another tune that was fun to play on KNJZ; this is the ideal midpoint between a rock instrumental and dance number.)
• Like China-Phil Collins (A somewhat overlooked track that I only hear once in a great while on the radio; rhythmically, it sounds like an appealing precursor to one of the best Genesis tunes, "Home By The Sea.")
  

Online radio sampler highlights CXLIV

I've heard a compelling mix of serious and sunny tunes this morning.  Among the highlights:

KRVB (Boise, ID)

• Harshest Critic-Allison Ponthier (Sincerely sung, honest lyrics about the bravery of baring your soul as a musician; this is one of 2021's more endearing songs.)

KVSF (Santa Fe, NM)

• Star Eyes-Frank Wess (It's no wonder there have been so many covers of this engaging uptempo tune.  Charlie Parker's version is still my default one, but Wess shines on flute here, and the combo maintains the melody's bounce commendably.)
• Three And One-Toots Thielemans (Another appealing bouncy, uptempo melody, thanks to Thielemans on harmonica and his rhythm section.)

WCVU (Solana, FL)

• Here Comes That Rainy Day Feeling Again-The Fortunes (Despite its downcast lyrics, this oldie feels like a pick-me-up.)
• It's Just A Matter Of Time-Brook Benton (Lyrically and rhythmically, this smooth ballad would segue well with Sam Cooke's "Bring It On Home To Me.")
• Hurting Each Other-The Carpenters (The Carpenters were adept at crafting hits that hold up. Karen Carpenter's vocal intro on this tune is one of her most captivating ones, and she sings each lyric and the chorus with equally effective heart and gravity.) 

WERS (Boston, MA)

• "Fraggle Rock" Theme-The Muppets (It's difficult not to feel better about life after hearing this carefree theme.)
• Dream A Little Dream Of Me-The Cat's Pajamas (Throwback vocals, whistling, and instrumental accompaniment; this version of the 1931 tune was released in 2005 but sounds much older.  I used to play the Mama Cass version of the tune on WEW; if this rendition had existed in 1996, I would have played it, as well.)

Context? CXXVII

I'm not sure if this was a commercial or public service announcement I flipped past.  I'd still like to know the context, however, of the announcer's declaration, "You don't know what 'perception' means.  Well, golly, you're a big dummy."

Persistent earworm alert CCXLII

Sometimes, when I've had work-related deadlines, one song has come to mind, spurring me on with its sense of urgency.  It was one of 1985's better pop songs, so it still puzzles me that Michael McDonald's "No Lookin' Back" wasn't a bigger hit.  Maybe it's because listeners don't like being reminded that sometimes, we all have to run from or toward things that we'd rather not face.

How little we knew...

A memory from the '80s: Before the new season none of us in a high school/college orchestra knew what to expect from the new conductor.  At least two of us had concerns, though.

Before the season started, a violinist in the orchestra asked me in a wary tone, "Did you see that picture of him?"

I had.  In the orchestra brochure, the photo, taken when the new director was conducting, made him look stern and menacing.  That photo and a short biography in the brochure were all we had to go on.

Today, orchestra members would be able to read reviews of a new director's conducting skills, see video of his work and/or interviews on YouTube, and would be able to find out how much he paid for his house.  

Back then, however, we had much less information beforehand.  Maybe it was better that way.  Ignorance really is bliss sometimes.  Besides, as with a new teacher or work supervisor, you still have to deal with whoever you get; knowing more about the conductor ahead of time doesn't change that.

Context? CXXVI

It's refreshing to hear a radio interviewer stay calm during technical hiccups.  Recently, I heard one DJ who, when unable to bring up her guest on the air, say, "Well, if I press enough buttons, I'll eventually hear what I'm supposed to be hearing."  

She was able to get the guest on the air, but then, shortly into the interview, the guest had trouble hearing the DJ.  He offered to move to another location with better reception.

"Technology is not always our friend," the DJ mused.

I turned off the radio at that point, as I'd arrived at my destination.  I hope the rest of the interview went smoothly, or that it was rescheduled if it didn't.

Green means go.

I wasn't even on the road when I heard this, but it still irked me.  Years ago, I heard two morning DJs tell a driver stopped at an intersection, "When the light turns green, just stay there.  Don't move, and see how long it takes other drivers to get angry and honk."

Inexplicably, the driver did this, and there were horns honking and irritated drivers expressing their displeasure.  Questions to which I'd still like to know the answers:

• Why would a driver do this?  You never know who might overreact and how (s)he might overreact, to the point of threatening your life.  You're not obligated to do what the DJs say, especially when you're the one assuming all the risk.
  
• Why would DJs consider this a form of entertainment?  Is it supposed to be hilarious to hear other drivers become disgruntled or even violent?
• Why would anyone want to contrive a nuisance, especially when it's a safety hazard?

Just before I switched the radio off, I said to no one in particular, "Don't do that.  Do better."

Here's hoping the driver and DJs wised up and didn't repeat that stunt.

An overlooked cover tune XCVI

In previous posts, I've praised the Glen Campbell, Isaac Hayes, and Herbie Mann versions of "By The Time I Get To Phoenix."  An LP from my collection yesterday jogged my memory of another solid cover of it.  

Campbell and Hayes proved how successfully two disparate vocalists could convey the tune.  Mann proved it translated well to the flute.  Leo Wright, however, also showed how well an alto sax carries the melody, making it sound fresh and breezy.  Surprisingly, I've never heard his version on any radio station.  It fits equally well into traditional jazz and smooth jazz formats, though, so maybe, one day...

When details matter

Whenever an air check I'm recording off the radio truly matters to me, I do my best to encapsulate it well on the CD or cassette insert.  On September 11, 2002, I thought it was important to hear as much reflection on the atrocious terrorist attacks from one year earlier as possible and summarize it as well as I could.  If it were an ordinary day, I might have just written, "9/11/02--KWMU, KMOX, KYKY," on the label.  Given the gravity of the coverage, I didn't think that was sufficient on that day.  Instead, my notes on the CD label read like this:

"KMOX--Total Information A.M.--Doug McElvein & Nan Wyatt, Live From World's Fair Pavilion, Forest Park, Charles Jaco in New York; Tom Ackerman--Baseball as a diversion..."

"KYKY--Guy Phillips & Co.--How people's interests and behavior have changed since 9/11/01"

I reserved the most detailed notes, however, for the NPR affiliate:

 "KWMU--Morning Edition--One year since terrorist attacks on U.S....Tribute plans, security alerts, Scott Simon live from Ground Zero, The Pentagon mostly repaired...Pennsylvania memorial; Eyewitnesses--i.e. Ginger & her cat--of World Trade Center disaster; New York police officers try to cope...Port Authority police force working 12-hour shifts; Remembering those who died; Bagpipe-and-drum procession plans; People consider how their world has changed...Lucy Kaplansky reflects & writes a song, 'Land Of The Living,' as a result."

As thoughtful as I remember all of those radio segments being, I haven't been able to listen to them since they originally aired.  I'm going to break that streak today, however, and listen to this CD.  On this 20th anniversary of such an awful day, it's the least I can do.

Online radio sampler highlights CXLIII

Six early morning recommendations:

KCOU (Columbia, MO)

• New Heights (Visions Of Aisha Malik)-Kamaal Williams (A well-sustained seven minutes of somewhat avant garde jazzy piano, bass, and drums; an ideal middle-of-the-night tune.)

KOHO (Wenatchee, WA)

• Patience-Tame Impala (A swirling, laid-back, midtempo dance groove, with vocals over an appealing keyboard backdrop.)

WBLV (Twin Lake, MI)

• Blackbird-Stacey Kent (An appropriately sensitive, reverential vocals-and-piano rendition of the Beatles classic.  The timbre of Kent's voice here reminds me of Petra Haden.)

WKSU (Kent, OH)

• Arnold Rosner: Responses, Hosanna, And Fugue: II. Allegro (The Philharmonia Orchestra/David Amos, conductor) (An intense, gripping movement for strings.)

WMOT (Nashville, TN)

• Yearnin' Learnin'-Earth, Wind & Fire (Infectious piano underscores the vocals.  Boney M.'s "Daddy Cool" would sound right after this.)
• Stay Clear-Black Violin featuring Kandace Springs & Robert Glasper (An appealing midtempo dance rhythm and keyboard propel the vocals.  This would segue well into Dionne Warwick's "Take The Short Way Home.")
  

FM dial scan highlights CLXVI

Six standout tracks heard today:

KDHX 88.1 FM

• Beside April-BADBADNOTGOOD featuring Arthur Verocai (This new track 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; this is an accompaniment for "I think I can" moments.)
• Simple Song-The Meters (A strong cover of the Sly & The Family Stone tune with arguably the most infectious recurring beat.  Another Meters tune, "Handclapping Song," would segue well with this, but the most obvious, proper segue choice is...)
• Sing A Simple Song-Sly & The Family Stone (...the original version of the tune.  The beat, as mentioned, and the unusual vocal structure make this possibly the group's strongest song.)

WSIE 88.7 FM

• Stay With Me Tonight (Cabana Mix)-Lisa Addeo (A steady piano groove, fit for driving.)
• Pop And Circumstance-Dudley Moore Trio (I'd like to think a new audience will discover this catchy, of-its-time-for-1969 piano groove with a kick, as it was rereleased in May.)

WFUN 96.3 FM

• Sweet Thing-Rufus featuring Chaka Khan (With a vocal and instrumental hook that's this pleasant and accessible, it's surprising that this big 1976 hit doesn't always get its due.  R&B stations still play it, but I don't think I've ever heard it on an oldies station.)
  

A linguistic irritant XXX

Let's not have any more radio commercials, please, for restaurants that claim to "use only the freshest ingredients."

That's a baseline expectation, after all.

Overthinking the obvious III

Once, while glancing at a Bert Kaempfert CD's track listing without my glasses, I thought I'd seen a song called "Sawdust."  I started laughing.  "I can't have seen that right," I thought.  "What kind of an easy listening tune is called 'Sawdust?'  That might make sense for a whimsical percussion piece, but otherwise..."

On second glance, I saw it was actually a cover of the Hoagy Carmichael song, "Stardust," which made more sense.

Thinking of the tune, "Skylark," shortly after that amused me even more, as I imagined the word, "Sawdust," in place of "Skylark" each time it was sung.

While people might still consult skylarks for their wisdom occasionally, I don't imagine they seek the counsel of sawdust.

An overlooked cover tune XCV

For their Labor Day livestream, The Kennedys performed songs about working people.  While there were many strong covers, they nailed "Wichita Lineman," best known to most listeners in its Glen Campbell incarnation.  Maura Kennedy sang convincingly about the mind-wandering impulses many workers have when doing the same type of work repeatedly, and her husband, Pete, played the telegraph sound perfectly on guitar.

Honorable mention: Another highlight was the duo's take on "Five O'Clock World" by The Vogues.  Once again, Maura's vocals captured the relief people often feel when they leave work for the day, and she mastered the yodeling portion of the chorus.

While it's understandable that people are expected to work and contribute to society, those songs state their cases for downtime convincingly.  That's the essence of Labor Day--striking a reasonable balance between work and free time.  Here's hoping everyone gets to enjoy that balance today.

Context? CXXV

Heard today on a Texas radio station: "Clear sidewalks make it safer to walk..."

They do, indeed.  Luckily, there's a public service announcement to remind us.

FM dial scan highlights CLXV

Six standout tunes heard today:

KDHX 88.1 FM

• Four Wheel Drive-Buddy Emmons (Catchy, ringing steel guitar tone on this number that flies by.)
• Red Wing-The Quebe Sisters (Swingin' fiddle and rhythm playing.  I can almost hear Garrison Keillor saying, "We'll be right back with the second half of our live broadcast of 'A Prairie Home Companion...'")

WSIE 88.7 FM

• 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.)
• Midwatch-Billy McLaughlin (Guitar accompaniment fit for challenging, turbulent times.)
• Around The Block-Under The Lake (Cool, smooth synergy, particularly between the organ and bass.)

KCLC 89.1 FM

• Crazy-Seal (This hit that launched Seal's pop career 30 years ago is still one of his most compelling, gripping songs.)

Persistent earworm alert CCXLI

I haven't thought about any late '50s songs by Danny & The Juniors for many years--until today.  Nothing I heard on the radio this morning had any similarity to the group's oldie, "Rock And Roll Is Here To Stay," but somehow, that song looms large in my mind right now.  

And now, my mind is starting to shift from "Rock And Roll..." to "At The Hop."  That was inevitable, I think; the rhythms of those two hits are similar enough that it's difficult to think of one song without the other.

By today's standards, it's amusing to think that either of these songs were ever seen as dangerous or rebellious in the late '50s.  I remember hearing them on KXOK's "Super Oldies Show" around 1979 through 1981.  Back then, I thought they were both catchy and that it would be a blast to play piano underneath the vocals.

Actually, I still think so.  Although I don't think about it every day or even every year, kudos to the staying power of early rock and roll.

Online radio sampler highlights CXLII

Eight noteworthy selections heard today:

KQAL (Winona, MN)

• How Long Must I Wait For You?-Joe Jackson (Jackson, best known for such '80s hits as "Steppin' Out," "Breaking Us In Two," and "You Can't Get What You Want," and his band prove their range and credible big band chops here.)

KVSC (St. Cloud, MN)

• The Hang Of It-Dan Israel (Lyrically, this is a breath of fresh air.  The "Conformity be damned; I am who I am," outlook powers the tune.  If I hadn't known it was a new song, its Lynyrd Skynyrd vibe might have made me think it was a '70s album rock track.)

WPCO (Columbia, SC)

• Windows Are Rolled Down-Amos Lee (The vocals-and-guitar arrangement of this tune would sound right before or after Belle Starr's "Rearview.")

WQXR (Newark, NJ)

• Percy Grainger: Country Gardens (Slovak Radio Symphony Orchestra/Keith Brion, conductor) (Think you don't know this piece?  Maybe you do, after all.  As soon as I heard the first few measures, I realized, "Hey, that's the piece that Rowlf The Dog and Fozzie Bear played as a piano duet on 'The Muppet Show.'"  The Slovak Radio Symphony's interpretation is brassier but just as jaunty.  I missed hearing the Jim Henson and Frank Oz dialogue from my childhood, though.)
  

WRTI-HD2 (Philadelphia, PA)

• Blues For Bill-Jessica Williams (This is the best song I've heard this afternoon.  This welcoming piano rhythm that swings is an excellent tribute to Bill Evans.)
• Until You Come Back To Me-Christina Watson (The contemplative piano accompaniment furthers the mood established in Watson's vocals.  I'm used to Aretha Franklin's and Basia's strong versions, but this take also deserves its due.)
• Honeysuckle Rose-Ben Webster (Warm tenor sax tone, as usual.)
• Moanin'-Adrienne Fenemor (A cool, expansive version of this tune, best known in its Lambert, Hendricks & Ross vocal rendition.  Fenemor plays the organ with the aplomb of Jimmy Smith.)
  

Context? CXXIV

A memory from 1983: After playing Neil Diamond's hit, "I'm Alive," a DJ said, "Neil Diamond, who's alive, and it's a good thing because he owes us a concert on (such-and-such date) at (such-and-such venue.)"

Decades later, that's still the strangest segue from a song to a concert announcement I've heard.