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.

Context? CXXXI

I heard one of the most effective radio public service announcements recently.  Its tag line: "If they can find their presents, they can find a gun."  If that doesn't convince parents of the danger in having guns where kids can find them, I'm not sure what would.

Online radio sampler highlights CXLVII

Friday morning standouts:

KQAL (Winona, MN)

• Prime Time-The Tubes (This firmly lodged in 1979 track reminds me somewhat of Blondie.  This is one of the better examples of female/male call and response vocals.  I'm surprised this wasn't a hit and wish I'd thought to play it on KCOU.)

WARR (Warrenton, NC)

• Send Me, I'll Go-The Canton Spirituals (An illustration of unwavering faith and strong vocals.)

WBGO (Newark, NJ)

• Quicksilver-Horace Silver (Energetic piano, bass, and drums.)

WIIT (Chicago, IL)

• Talk About It-Jungle (This propulsive 2021 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.)

WKSU (Kent, OH)

• Agustin Barrios: Madrigal (Berta Rojas, guitar) (A tenderly played, immediately accessible melody.)

WTMD (Towson, MD)

• 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.)

WUMB (Boston, MA)

• Perch-less Bird-Heather Maloney (A new vocally and instrumentally well-crafted singer-songwriter release with a bit of a Classical touch.  This is a lyrically direct way of recognizing that a relationship has reached its end.)
• Where I'll Find You-Joan Shelley (A classy, low-key folk/country charmer; lyrically, it's a heartwarming way to say, "I want to be with you.")