The allure of shuffle mode XIX

iTunes crafted an impressive segue from my music library Wednesday.  Pairing James Taylor's "Fire And Rain" with Crowded House's "Better Be Home Soon" made me realize how compatible the guitar parts are and how well each song dovetails with the other.  Lyrically, it's a smart pairing, as well.  "Fire And Rain" acknowledges the suicide of someone the protagonist wishes he cold have saved, while "Better Be Home Soon" acknowledges a connection with "the one" that the protagonist wants to preserve.  Both songs convey the messages, "I care," and "You matter."

That's a thoughtful, sensitive mindset to have on the cusp of a new year.

Savoring Christmas II

While grocery shopping last night, I was pleased to hear an orchestral version of "O Come, All Ye Faithful" playing in the store.

"Good," I thought. "I'm glad to still hear evidence of the Christmas spirit.  This makes me want to shop here all the more."

Long live the lingering Christmas!

An exotic profession?

Earlier this month, I spoke with a friend who, like me, has been a DJ.  He said when people see that on his resume, they're usually intrigued, "more than they should be."

I knew what he meant.  I've gotten that reaction before, too.  One co-worker, upon hearing I'd been a DJ, exclaimed, "Very cool!"

I appreciated that reaction.  Most jobs don't involve communicating with an audience over the airwaves, so I suppose some people see the profession as somewhat exotic.  

To me, however, I was just sitting in a room talking and playing music.

Unexpected common ground

Last Thursday, I wrote about Lily the cat's reaction to a particular Christmas medley by The Osmonds.  Since then, I'd kept thinking, "What well-known song does 'Pine Cones And Holly Berries' remind me of?"  Then, it hit me--"Swing Low, Sweet Chariot."  The subject matter in those sets of lyrics and level of gravitas is miles apart, but melodically, there's a similarity.

Just when you think two worlds couldn't be further apart...

A reimagined Christmas favorite

As much as I've always liked every version of "On Christmas Night All Christians Sing (Sussex Carol)" I've heard, I never imagined it the way Erin Bode and Lawson White perform it on their newly released EP, "How Long (Songs For Waiting.)"  Hearing Bode's voice accompanied by guitar gives the carol an appealing contemporary folk music troubadour vibe.  It's well worth hearing, even after Christmas.

Savoring Christmas

Thursday night, a radio talk show host shared his Christmas present-opening routine as a kid.  He said his siblings and he were like "a pack of wild hyenas" tearing through wrapping paper as quickly as possible.

After he got married, the host had to adjust to the gift-opening habits of his wife's family.  They had a more orderly routine, opening gifts one at a time.

I'm all for not rushing Christmas and savoring every positive moment of it, so I favor his wife's gift-opening approach.

Similarly, I still enjoy hearing Christmas music in the days after Christmas.  I'm pleased that WSIE is still playing all Christmas music through 4 p.m. today.  The station understands that a lot of us want to prolong the warmth and happiness that Christmas gives us--and music is a large part of that savoring.

FM dial scan highlights CCVI (Christmas edition II)

Merry Christmas!  Here are noteworthy Christmas selections I've heard this morning:

KDHX 88.1 FM

• Do You Hear What I Hear?-The Persuasions (This is one of this group's best Christmas recordings.  The a cappella arrangement and baritone punctuation suit the tune well.  Also recommended: "Joy To The World.") 
• Poor Little Jesus-Maddy Prior & The Carnival Band (Captivating vocal harmonizing.)
• In Dulci Jubilo (Choir Of Clare College, Cambridge/John Rutter, conductor) (Powerful, resonant vocals.  Generally, I gravitate toward faster renditions, but this tempo is ideal for this arrangement.)
• What Child Is This?-Raison D'Etre (Appropriately solemn vocals. Kudos to "Lotsa A Cappella" host Marjie for packing such a strong assortment of carols and diverse genres into a one-hour program. )
  

WSIE 88.7 FM

• Winter Wonderland-Bobby Timmons (Cool jazz piano, a walking bass line, and percussion blend compellingly here.)
• I Saw Three Ships-Carolbeth True (I've heard many good versions of "I Saw Three Ships."  This is the first one I've heard that cooks and swings.  At times, I forgot I was listening to a Christmas carol; that isn't always a compliment, but in this case, it is.  True leads her combo on piano in this rendition that should be better known.)
• Santa Claus Is Coming To Town-Dave Valentin (In my opinion, this is the best track on the first GRP Christmas compilation.  It's an energetic flute instrumental that kicks into an infectious mambo-flavored gear.)
• The Christmas Waltz-Doug Webb (An appealingly peppy saxophone-driven rendition.)
  

KEZK 102.5 FM

• What Christmas Means To Me-Stevie Wonder (Even if I'd never heard of Christmas, Wonder's energy level and list of some of the holiday's best attributes would make me want to celebrate.)
• Winter Wonderland-Jewel (Jewel's voice strikes the right balance of confidence and idealism the lyrics require.  Instrumentally, it's a compelling blend of soft rock, jazz, and country styles.  Also recommended: "O Little Town Of Bethlehem," which KDHX had the good taste to play this morning.)
  

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

• Shepherd's Pipe Carol (James Galway, flute) (The singers don't skimp on emoting here.  I wouldn't doubt their conviction to follow the piper to Bethlehem.)

Minimal Christmas music? Horrors!

A former co-worker once told me that she was largely indifferent to Christmas music and would only listen to it "for an hour or so on Christmas Eve."

I respect her opinion. I don't share it, though.  Since late November, I've listened to over 1,000 Christmas selections--and there are more carols to come, I'm sure.

Whether you prefer to hear a lot, a moderate amount, a little, or no Christmas music, I hope everyone is enjoying the holidays.

Online radio sampler highlights CLXXXIX (Christmas edition)

Festive Christmas selections heard Thursday:

KPTZ (Port Townsend, WA)

• White Christmas-The Waikikis (A Hawaiian-style instrumental, as the group's name suggests.  This is for fans of bent notes on the guitar.)
• Sleigh Ride-Squirrel Nut Zippers (Brassy and fit for a Mardi Gras parade.)

KWMU-3 (St. Louis, MO)

• Here We Come A-Wassailing (Clare College Singers And Orchestra/John Rutter, conductor) (Crisply enunciated vocals that crescendo effectively.  If you prefer another proper yet somewhat less stately rendition, I recommend The King's Singers.)
• Frosty The Snowman (Hampton String Quartet) (When this version ended, the announcer said, "You feel smarter already, I'll bet."  Why, yes...Hearing one of the holiday's lighter tunes played in the style of Mozart has that effect on many listeners, I imagine.  Also recommended: "Do You Hear What I Hear?")

WCRB Ultimate Holiday Classical Mix (Boston, MA)

• The First Noel (Arturo Delmoni & Friends) (Ringing, reverential violin, viola, and cello.  For excellent renderings of familiar and obscure carols, all three discs of Delmoni's "A String Quartet Christmas" should be heard in their entirety.)
• O Come, All Ye Faithful (Stephen Siktberg, guitar) (This is one of the most tasteful guitar arrangements of this carol I've heard.)

WDCB (Chicago, IL)

• Christmas Time Is Here-Monika Herzig (Vince Guaraldi's version is definitive, but Herzig's piano rendition is also pleasant and contemplative.)
• The First Noel-Cyrus Chestnut (A different tempo and interpretation of this carol.  Chestnut gives the carol a warm reading on the piano.  The unexpected minor chord in the chorus gives this version a unique flavor.)
  

WXPN (Philadelphia, PA)

• Santa Claus Is Coming To Town-Sy Mann (A fun romp for synthesizer.)
• Frosty The Snowman-Cocteau Twins (I had just listened to this less than 24 hours earlier, but I had no objection to hearing it again.  The instrumentation and Elizabeth Fraser's vocals give this an otherworldly feel.)

A murky verdict VI

While listening to SiriusXM last Thursday night, I suspect my brother's cat, Lily, was amused--or not turned off, at least, by the vibe of "Pine Cones And Holly Berries" interspersed with "It's Beginning To Look A Lot Like Christmas."  The Osmonds combined those two happy-go-lucky melodies, making them plausible to sing while jumping rope or skipping.  I'm not positive, but I think Lily smiled:

I'll admit it's difficult to dislike that medley.  Even out of season, those melodies are fit for times when you don't have any woes.

"A Charlie Brown Christmas" twists and turns

Thanks to YouTube, I've heard the generous assortment of alternate takes on the newly expanded "A Charlie Brown Christmas" soundtrack.  Although I think the renditions on the original edition are still the best ones, these are some interesting different versions:

• Christmas Is Coming (#5, Take 1) (September 17, 1965) (At the 1:54 mark, there's more prominent bass and more freewheeling piano improvisation from Guaraldi.  As a result, the middle section has a slower, slyer walk of a melody than usual.)
• Christmas Is Coming (#1, Take 2 and #1, Take 7) (September 21, 1965) (It's interesting hearing a different middle section that continues the already established theme in a different key.  When Guaraldi made that transition, I envisioned a plane taking off.)
• Christmas Time Is Here (Vocal) (#1, Take 4 and #1, Take 5) (It's endearing hearing this familiar piano backdrop with guide vocals instead of finished lyrics.)
• Greensleeves (Take 6, Take 7) (October 28, 1965) (I was startled to hear "What Child Is This?" as a mambo, but it works.)
• Skating (#3, Take 3) (September 17, 1965) (If you're a drummer who thinks brushes are underused, this version is for you.)
• Skating (#7, Take 1) (September 22, 1965) (A faster tempo and a punchier arrangement.)

Knowing that there were so many versions from which to choose, it makes the choices on the original soundtrack all the more impressive.  What discerning ears Guaraldi and company had--and what an outstanding blend of styles for a soundtrack that has most deservedly stood the test of time.

All about the buildup

The majestic orchestral strings suggest that a mountain-climbing team is about to scale its tallest, toughest obstacle yet.  And then, the smooth jazz guitar comes in and brings the volume down.

Sometimes, Christmas music gets your attention with epic grandeur in its intro before inviting you to settle in.  Peter White and company achieve this on "The First Noel."

The warm glow of nostalgia II

I knew the YouTube algorithm had caught onto my nostalgic ways earlier this month.  My viewing choices triggered multiple videos of shopping mall and department store Christmas music rotations.

The music loops ranged from 1964 to 1977, which didn't surprise me.  I doubt it shocks regular readers of this blog.

Reconsidered (Christmas) merit IX

I've written previously about my general dislike for "Blue Christmas" as a song.  Its melody doesn't do much for me, and the lyrics elicit more of a shrug than sympathy from me.

About a week ago, however, I saw Norah Jones and former "Saturday Night Live" cast member Kevin Nealon sing an impromptu version of it on Nealon's "Hiking With Kevin" YouTube series.  For the duration of their rendition, I forgot that I disliked the song.  In large part, that was due to Jones's voice, which is always pleasant and multifaceted.  It's also due, however, to Jones and Nealon making the lyrics sound more wistful than self-pitying.  That's the trick, I think, to pulling off a successful version of "Blue Christmas."

I've been sitting on this post for several days, and until last night's "Saturday Night Live," that's where it was going to end.  I softened a little on the tune once again when I saw it used as a sendoff for Cecily Strong, one of the most versatile performers the show has had.  Having that positive association of "Blue Christmas" as a tribute to such a talented cast member still doesn't make me like Elvis Presley's version--but it reminds me why the song strikes a chord with so many listeners.

A murky verdict V

When it snows, why shouldn't we be able to enjoy it with the mouse, kangaroo, and monster who live with us?  That's the commendable attitude Laurie Berkner and her band take in the fun romp of a tune, "I Live Inside A Snowglobe (Shake It Up.)"  I wasn't sure how my brother's cat, Lily, thought about that while listening to SiriusXM Thursday night, though:

At one point, I thought I saw a wry smile on her face, though, so I gather that she at least respects Berkner's whimsical take on snow.

A murky verdict IV

In sales jobs, as well as life, you might not always meet your quotas.  Often, this may be due to factors beyond your control.  That same unfair, bitter reality applies to self-imposed quotas, as well.  When you become accustomed to hearing Jim Nabors sing a Christmas carol on SiriusXM every time you visit your brother's cat, Lily, you expect the streak to continue.  Luckily, it did last night.  With just minutes to go before Thursday turned to Friday, Nabors sang "O Come, All Ye Faithful."  Lily maintained a convincing poker face throughout the tune:

This was a sound approach.  Each version of a song should be evaluated on its own merits.  In fact, Nabors belted out "...Faithful" with such conviction that I think it's the best rendition of a Christmas carol I've heard him sing so far.  I suspect Lily agrees, but she hasn't confirmed that for me yet.

Context? CCXIV

A radio talk show host said today it amuses him that his wife still refers to the refrigerator as the icebox.  He said, "My generation is showing."

Mine, too, I guess.  A refrigerator is called a refrigerator, as far as I'm concerned.

Online radio sampler highlights CLXXXVIII (Christmas instrumentals edition)

Seven seasonal instrumentals heard early this morning:

KORJ (Butte Falls, OR)

• Greensleeves-Stevan Pasero (This impressively played guitar rendition of "What Child Is This?" is one of the longer versions I've heard.  Pasero's prelude and embellishments respect and enhance the melody.)
• Jesu, Joy Of Man's Desiring-Georgia Kelly featuring Marcia Miget (A well-balanced, angelic version for harp and flute.)
  

WCRB Ultimate Holiday Classical Mix (Boston, MA)

• Percy Grainger: The Sussex Mummers' Carol (Jeffrey Biegel, piano) (This is such a warm reading of a carol that I'd overlooked.  To me, this sounds like a Brahms interpretation of a Beethoven sonata.  I listened to it three times, as a result, and also sought out equally inviting vocal renditions.  I look forward to hearing more of this WCRB stream before Christmas.)

WDCB (Chicago, IL)

• We Three Kings-Dave Stryker (Stefon Harris's vibraphone playing gives this guitar-anchored interpretation mystery and depth.)
• Silent Night-Stanley Jordan (Reverential, somewhat bluesy piano.  Jordan lets the notes resonate, making this carol breathe effectively.  His approach reminds me of how Hank Jones played piano on gospel tunes with bassist Charlie Haden.)

WQXR Holiday Channel (Newark, NJ)

• Angels We Have Heard On High (Ayako Shinozaki, harp) (If ever a carol demanded such delicacy from a harp...)
• Silent Night (Ensemble Galilei) (A beautiful, tender viola-and-harp rendition.)
  

Context? CCXIII

A Classical station announcer, while back announcing a piece yesterday, asked the audience, "Did you hear the similarity to Bruckner?"

I hadn't heard the similarity because I'd just tuned in.  Nevertheless, in an increasingly customized world, I like that there's an art form that asks listeners to reach up to it instead of pandering to them.

FM dial scan highlights CCV (Christmas edition)

Sunday and Monday highlights:

WSIE 88.7 FM

• God Rest Ye Merry Gentlemen-Dawn Weber (It's interesting hearing this carol played as an assertive, expansive waltz for trumpet and rhythm section.)
• Winter Wonderland-Chet Baker & Stan Getz (A fast, impressive romp for trumpet and saxophone.)

KCLC 89.1 FM

• The Wexford Carol-Yo-Yo Ma & Alison Krauss (I've listened to this version many times, but until yesterday afternoon, I'd never heard it on the radio.  It made my Sunday to hear this while driving.  Krauss's soaring vocals and Ma's gripping cello accompaniment make me appreciate the solemnity of this carol in ways that other renditions haven't.  Or, as one of KCLC's announcers succinctly put it, "Beautiful.")

KEZK 102.5 FM

• Winter Wonderland-Darlene Love (There's an infectious joyfulness in Love's vocals that invites listeners to sing along.  If this doesn't perk you up, I don't know what else to suggest.  I'm already primed to like this version because when I hear the intro, I expect "Build Me Up Buttercup" by The Foundations to start.)

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

• In Dulci Jubilo-Chanticleer (The airy acoustics complement these tasteful vocals.  The slower tempo helps the listener appreciate the melody's beauty all the more.)
  

Sad curtailing of a Christmas classic

Surprisingly, I haven't heard "Merry Christmas, Darling" by The Carpenters on the radio yet this year.  I can't remember the last year I hadn't heard it at least once by December 11.  If radio stations are phasing it out due to the song's age or a decline in popularity, that's a shame.  Karen Carpenter sings it with such convincing warmth and longing.  It's no accident that the public took to it and that radio stations have played it frequently at this time of year since 1970.

Hopefully, radio stations with appropriate formats for it will play it on Christmas Eve, at least.  That's when the song takes place, so it would be considerate to let the audience hear it at least once that night.

A murky verdict III

This has been an unexpected new routine this holiday season.  Whenever I visit my brother's cat, Lily, Jim Nabors has to be singing at least one Christmas carol on SiriusXM.  On Thursday, it was "O Little Town Of Bethlehem."  This was Lily's reaction:

She might not have been reacting to the vocals; after all, Nabors sings a perfectly credible rendition.  It might have just been the odd coincidence of a Nabors Christmas carol playing whenever I visit.  One concept that psychology instructors teach college students is that correlation does not imply causation.  Now, however, I'm wondering.

Dialed up Christmas cheer

I made my annual call to a dial-a-carol service last night.  The caroler who sang my request, "God Rest Ye Merry Gentlemen," deserves credit for not skimping on the verses.  She prefaced her rendition by mentioning that she had just sung that carol with a friend, and it was a fun one to sing.  With gusto, she then launched into four verses of "God Rest Ye..."

Sometimes, in previous years, carolers have stopped after singing just one verse of my request.  That's perfectly fine, as their caroling is a free service, and there could be many other callers on hold.  It always impresses me, though, when the carolers sing more than one verse.  That demonstrates, even though their pitch might not be perfect, their dedication to the task at hand is.  Bravo to them for their commitment and courage in singing for strangers.

Context? CCXII

Actually, the context in this situation wasn't particularly vague.  When I worked at KBIA in the early '90s, a sign posted on the the studio door said, "This door is to be shut, closed, not open, not ajar when microphone is in use."

I understood why the sign's author was so emphatic.  When you're on the air, you aren't supposed to  broadcast profanity, confidential information, or inappropriate chatter.

Getting a point across sometimes necessitates synonyms.

A petty (Christmas) fixation XX

In the '80s, Al Jarreau's version of "The Christmas Song" wasn't as easy to buy as it is now.  Initially, the song was released only to radio stations and wasn't available commercially.  Upon hearing it, it quickly became my favorite rendition.  I still have yet to hear a warmer, more welcoming version.  In the late '80s, I called a radio station and asked if they'd be playing it soon.  The DJ said it wasn't scheduled soon, but "our 36 hours of Christmas music will start fairly soon, so it maybe it'll be played at some point then."

I thought but didn't say, "Actually, it isn't part of that rotation.  It's the same Christmas music in the same order each year.  I know because I've heard all of it in pieces over the last several years."

I didn't want to be a wet blanket, so I replied, "Oh, maybe so.  Thank you."

Presumably, the DJ finished his shift and went on to do trivial things like enjoying Christmas Eve and spending time with his family.  Honestly...Where were his priorities?  How could anyone not know offhand that Al Jarreau's "The Christmas Song" wasn't part of a 36-hour music rotation?  :-)

FM dial scan highlights CCIV

Five standout songs heard today:

KDHX 88.1 FM

• Your Side-The Beths (The lyrics convey emotionally honest longing for someone, and this is catchy power pop, as well.  If I'd heard this song before today, it would have placed in my favorite-music-of-2022 countdown.)
• I Don't Want To Discuss It-Delaney & Bonnie (There's an infectious Ike & Tina Turner-style energy in this track.)

WSIE 88.7 FM

• Winter Wonderland-Jack McDuff (A pleasant, unhurried version for organ and guitar.)
• Frosty The Snowman-Marcus Roberts Trio (This might be the best jazz version of this I've heard; Roberts strikes just the right light touch on the piano.  In fact, "Celebrating Christmas" is one of the most consistent Christmas jazz CDs I've heard.)

KEZK 102.5 FM

• It's Beginning To Look A Lot Like Christmas-Bing Crosby (If a voice this authoritative says it looks a lot like Christmas, I'm not questioning that it does.  Besides, I've seen no shortage of evidence around town.)
  

Sharing the stereo II

Despite what I wrote two days ago, it's gratifying when your cat reacts reverentially to the music you're playing.  It amused me Saturday when my cat, Collette, started tapping her tail against a box in time to the end of "Let It Snow, Let It Snow, Let It Snow" by Boots Randolph and Tommy Newsom's Jazztet.

Later, I was just as impressed when Collette sat perfectly still on my lap, seemingly transfixed by side one of a Paul Mauriat Christmas LP.

The next night, it was heartwarming to see her close her eyes and smile as I petted the sides of her face in time to Edward Gerhard's guitar rendition of "Silent Night."  

In case anyone doubts that cats have strong senses of rhythm, reverence, or taste...

Favorite music of 2022

There have been stronger years for music than 2022, but every year has its thought-provoking singer-songwriter gems, melodic jazz and R&B, intriguing indie rock, and clever, cross-categorical oddities.  Here are 25 of my favorite tunes from this year:

25.  Virtue Is (Mostly) Boring-Spunkshine (If you're going to compose a song with just one lyric, it ought to be a captivating one.  Spunkshine achieved that in this May release.  The recurring lyric, "Why am I doing this?," somehow just works in the context of an otherwise throbbing electronica tune.  Who says electronica and existentialism can't coexist?)

24.  Fine Feathered Dinosaur-Levity Beet (If They Might Be Giants recorded a children's tune over a melody much like Head East's crunchy rocker, "Since You Been Gone," what would be the end result?  Most likely, it would be similar to this May release.  Bouncy piano, bouncy vocals, silly lyrics...Even a curmudgeon like me can't resist that combination.)

23.  Song For Slowdancing-Someone & Tessa Rose Jackson (This May release sports a waltz-like tempo, guitar, and wafting vocals that are particularly effective in their upper register.  This could segue with Hem's "Gently Down The Stream" or Crowded House's "Pineapple Head.")

22.  Valley Eyes-Hellcat Bloom (Sultry vocals in an indie tune fit for a Quiet Storm format.)

21.  Pierced Arrows-Hurray For The Riff Raff (This energetic January release is suitable for strengthening one's resolve or powering through an irritating task.  Rhythmically, "Slipping Away" by Dave Edmunds would sound good before this.)

20.  Eastern Standard Time-The Accidentals (This refreshing January release has thoughtful lyrics about what a beautiful world this is--and how we'll compromise it irreparably if we're not careful.  Rhythmically, it sounds like a faster version of Eliza Gilkyson's "Easy Rider."  I also recommend the song's scenic video.)

19.  Lonely Nights-Cecilia Castleman (This June release has honest, endearingly sung lyrics about common mistakes that lead people to be without partners, at least temporarily.)

18.  Samba Cat-Bill Heid (This May release chugs along with an appealing synergy between the organ and guitar.)

17.  Tin Man-J.S. Floyd (This June release is a pleasant smooth jazz, guitar-dominated cover of the soft rock hit by America.  Hearing it in this context makes me realize how well the Seals & Crofts hit, "Summer Breeze," segues with America's "Tin Man" and how smoothly J.S. Floyd's rendition of "Tin Man" segues with Bobby Broom's "Summer Breeze" cover.)  

16.  Yardbird Suite-Alan Broadbent Trio (Tal Farlow's brisk guitar take has always been my default version of this Charlie Parker-penned tune.  In this rendition, Broadbent shows how well the melody transfers to the piano at a somewhat slower tempo.)

15.  Hidden Valley-Alexis Normand (Normand's pleasant voice blends well with the instrumentation in this thoughtfully crafted tune.  Lyrically, this shows an appreciation for nature and the world's vastness.)

14.  Parasite-Bibi Club (This track, released in August, is a bouncy breath of fresh indie pop air.  This duo has a sunny, infectious "Seize the day" ethos in its vocals and instrumentation.) 

13.  Why Not?-Kiefer (A cool jazz/funk instrumental with a steady keyboard melody and prominent bass.  This groove sounds extracted from the '70s; there's an appealing blend of George Duke and Chick Corea styles.  On a related note...)

12.  WHATUP-DOMi & JD BECK (...This fast keyboard-and-drums instrumental also reminds me of Chick Corea & Return To Forever.  This is an appropriate soundtrack for a meteor hurtling to Earth.)

11.  Days Ahead-Bruce Hornsby featuring Danielle Haim (These two voices blend well in an appealing tune with instrumentation that conjures up a floating sensation.)

10.  Leave You With A Smile-Willie Nelson (A sincere way of conveying that you still think the world of your beloved and regret the mistakes you've made.  If you can't look back at your life and convey these sentiments at age 89, then when can you?)

  9.  Call Me Home-Sasami (A vocally and lyrically impressive release from February.  Lyrically, it's a good reminder that no matter how strong and constant one's desire for wanderlust is, it's reassuring to have a home base and a support system.  The production gloss serves the tune well.)

  8.  Easier Said Than Done-Thee Sacred Souls (To my ears, this is one of 2022's most pleasant releases.  Its throwback R&B sound in the vocals and instrumentation would make Young-Holt Unlimited's "Soulful Strut" flow well after it.)

  7.  Broken Record-Alexa Givens (A well-sung-from-the-heart ballad.  It was released in May but could pass for a '70s R&B throwback.)

  6.  (Remember Me) I'm The One Who Loves You-Watkins Family Hour featuring Fiona Apple (There's an appealing Grand Ole Opry feel in the vocals and guitar.  It's a shame Chris Thile's show, "Live From Here," is no longer around, as it would have been a perfect venue for this tune.  Also recommended: "The Late Show," featuring Jackson Browne.)  

  5.  Talkin' To Myself-Sarah Shook & The Disarmers (This was the song I listened to most for the first four months of 2022.  The guitar hook is irresistible, and as my brother put it, Shook sounds like Fiona Apple fronting a rock band.)

  4.  The Dealer-Nilufer Yanya (A powerfully infectious rhythmic stew of vocals against a club backdrop.)

  3.  State Lines-Kristiane (There's being attached to someone, and there's this level of being attached.  This August release sports some of 2022's catchiest driving guitar and vocals.  It's one of the year's best indie rock tracks.)

  2.  I'd Rather Be Lonely With You-Janet Evra (A warm blanket of a tune with honest, endearing lyrics about missing someone.  The song's animated video on YouTube warrants viewing, as well.  This is from my favorite CD of the year, "Hello Indie Bossa."  Also recommended: "Tenderly.")

  1.  I Was Neon-Julia Jacklin (Lyrically, this is a compelling reminder not to compromise who you are, set to a beat that reminds me of the Genesis tune, "Abacab."  In my opinion, "I Was Neon" has 2022's strongest chorus, and thus, it's my favorite song of the year.  Also recommended: "Love, Try Not To Let Go.")

Sharing the stereo

Thursday night, Linda Ronstadt's "I'll Be Home For Christmas" was playing as my cat, Collette, lunged wildly for the Cat Dancer toy and showed her scratching post who was the boss.  Her manic leaps were completely incongruous with the music.  This scene repeated itself last night while Oscar Peterson's "Away In A Manger" played...

...And that's fine.  Music spurs people and animals to life, but it's worth remembering that we all have our own internal music that manifests itself in ways unique to us.  I've kept that in mind since I adopted Collette three years ago.  I've also remembered that I share the stereo with her, as she reminded me in December 2020:

An overlooked (Christmas) cover tune CXX

After hearing it Wednesday night, I was impressed by how respectfully Denny Lloyd covers Greg Lake's "I Believe In Father Christmas."  My brother pointed out that it isn't a frequently covered song, and I think that's for good reason.  When you compose an original song about learning a truism you might rather not know yet wishing everyone an enjoyable Christmas and new year nevertheless, that tune should be covered only sparingly, if at all.

Lake's version remains the definitive one, but Lloyd also captures the tempered, melancholy tone in his vocals appropriately.

An overlooked (Christmas) cover tune CXIX

Yesterday, for a few seconds, I thought I was about to hear an instrumental cover of America's "A Horse With No Name."  Instead, it was Dan Crary's acoustic guitar take on "Masters In This Hall."  My brother's cat, Lily, seemingly agreed with me that Crary stays faithful to the melody without overdoing the carol's authoritarian bent:

In memory of Christine McVie

As readers might have noticed, I've referenced my Fleetwood Mac fandom on this blog many times.  Today, I was saddened and surprised to learn of Christine McVie's passing.  What a fortuitous choice her addition to the band was in 1970.  She brought a distinctive voice, a hook-laden style of piano playing, and songwriting talent that made her the guiding force behind the majority of the band's hits.  Before I list my favorite Fleetwood Mac tracks of hers, I'll cite one of her best Chicken Shack tracks:

• Get Like You Used To Be (For those who haven't heard McVie's pre-Fleetwood Mac output, this is a strong example of her appealingly bluesy singing and piano playing.)

Now, here are my favorite McVie-centered Fleetwood Mac songs:

• Brown Eyes (This is a quiet, somewhat overlooked track from the "Tusk" album.  The band and McVie almost sound like a different group here, which makes the tune intriguing.  It also segues well with "No More Looking Back" by The Kinks.)
• Crazy About You (Can't Hold Out Much Longer) (BBC session) (This live-in-studio session of nearly four minutes is some of the catchiest singing and piano playing of McVie's I've heard.  This is my favorite track on the "Madison Blues" 1970-71 compilation album and deserves to be better known.  McVie plays and sings at a fast clip with considerable verve here, and the rest of the band feeds off of her energy.)
• Don't Stop (An honest yet reassuring way of saying, "Although we're not together anymore, don't let that stop you from having a bright future.")
• Keep On Going (Bob Welch wrote this tune, but McVie sang it as if she'd written it.  This is an atypical style for the band and her; the exotic-sounding guitar part and string orchestra give the song an unusual feel.)
  
• Love In Store (I haven't always given this hit its due for its easy sing-along chorus and pleasant vocal harmonies.)
• Over My Head (I've always thought this was one of McVie's most appealing hits.  I've always liked how the song eases the listener in and builds to a strong chorus with an unlikely blend of voices--Stevie Nicks, Lindsey Buckingham, and McVie.)
• Remember Me (One of the better tracks from the "Penguin" album that's a prototype of the sound McVie would perfect on the band's self-titled and "Rumours" albums.)
• Say You Love Me (One of the most appealing piano intros in rock history and another example of strong harmony singing from Nicks, Buckingham, and McVie.)
• Songbird (It's no accident that this piano-and-vocals number of McVie's was used over a documentary montage of the band's various eras.  These are some of McVie's most touching lyrics, suitable for bittersweet nostalgic times.)
• You Make Loving Fun (This is how to build to a chorus.)
  

Online radio sampler highlights CLXXXVII

Eight Tuesday highlights:

KMRD (Madrid, NM)

• Who Else But You-Eilen Jewell (These sensitively written lyrics about a painful parting remind me of Patty Griffin.)
• Don't Wait Too Long-Madeleine Peyroux (I'm primed to like this type of cool, jazzy rhythm.  It's nearly impossible not to sound self-assured singing over this backdrop.)

WQXR Holiday Channel (Newark, NJ)

• O Sanctissima (Philadelphia Brass Ensemble) (This stately brass arrangement is a natural fit for this carol.)
• The Shepherd's Cradle Song (Choir Of King's College, Cambridge/David Willcocks, conductor) (From soprano to baritone, this must be a satisfying carol to sing.  Its tenderness builds to a forceful crescendo.)
• Rocking Carol (Choir Of Gonville & Caius College, Cambridge/Geoffrey Webber, conductor) ("Once In Royal David's City" would sound right before or after this somewhat underrated carol.)

WTUL (New Orleans, LA)

• If You Were Mine-Erika Lewis (This April release has endearing lyrics and vocals and appealing country-rock/Americana guitar.  Its rhythm brings to mind James Taylor's version of Buddy Holly's "Everyday.")

WZUM (Pittsburgh, PA) 

• The Sadness In My Eyes-Nancy Wilson (Emotive vocals and a smooth rhythm section make this tune ideal for a late night Quiet Storm playlist.  Al Jarreau's "Save Your Love For Me" would sound good before this.)
• Satin Doll-Earl Hines (It's fun to hear a peppier piano arrangement of this Duke Ellington standard.  If I didn't know otherwise, I would have thought this was Erroll Garner's playing.)

FM dial scan highlights CCIII

Five good tunes heard this morning:

KDHX 88.1 FM

• After Midnight-Phoenix ("1901" is still this band's high-water mark, in my opinion, but I like the driving energy and synthesized backing on this track.)
• Sunset-Caroline Polachek (Being able to sing this many words to this particular fast beat requires a strong sense of rhythm and breath control.  Polachek pulls off both qualities impressively.)

WSIE 88.7 FM

• White Christmas-Oscar Peterson ("Away In A Manger" is the most sublime track on "An Oscar Peterson Christmas," to my ears, but this is a pleasant, laid-back instrumental rendering of "White Christmas."  The strings add an appealing layer of lushness.)
• White Christmas-Lee Ritenour (I've always liked Ritenour's contemplative guitar take on this.  I was surprised that WSIE played two versions of this in less than 30 minutes.  Nevertheless, if you're going to play two jazz renditions of "White Christmas" close together, you can't go wrong with these two.)

KCLC 89.1 FM

• Thinkin' On You-Courtney Marie Andrews (An endearingly written and sung way of conveying how much you miss someone.  The sentiments Andrews conveys remind me of those in Janet Evra's "I'd Rather Be Lonely With You" and "When You're Gone" by Amanda Shires.)
  

Context? CCXI

Several weeks ago, I heard a radio talk show host say of a co-worker on air, "He means well.  Isn't that what you say when can't think of anything nice to say?"

Perhaps the comment was all in fun, and there's no bad blood between those employees.  Otherwise, however, a cordial but distant interaction might be the best case scenario.

In memory of Irene Cara

Sometimes, an artist's best songs are the hits nearly everyone knows.  In memory of Irene Cara, I offer these reflections on three of her best hits:

• Fame (For its strong hook and Cara's confidence-to-burn pipes, "Fame" deserved its commercial success.  If you don't look past the surface of these lyrics, they might come across as an artist's delusional, entitled wishes.  I see them, however, as a way of expressing how determined and resilient one has to be to succeed as an artist.  When you face repeated rejection as a singer, dancer, or author but know you have the talent and drive to excel, this isn't a bad mindset to have.  Looking back, I'm amused that our eighth grade chorus class never got around to singing the tune's lyrics.  One day, Mr. B. played the opening of the tune on the piano repeatedly while the class sang, "La-la-la, la, la-la-la-la-la," over and over.  That was as far as the class progressed.  Inexplicably, we never got past the intro.  We did, however, sing the entire song in sixth grade chorus with Mrs. B.  Not surprisingly, "Fame"'s omnipresence made it the one pop song we sang in two different grades.)
• Flashdance...What A Feeling (Lyrically, the song's sentiments are somewhat similar to "Fame" but more graceful.  Once you've worked hard and achieved a certain level of success, you should be able to savor what you enjoy most about your profession.  "Flashdance" was custom-made to be a smash adult contemporary hit, so you couldn't escape hearing it on the radio in the Spring and Summer of 1983.)
• Why Me? (Unlike "Fame" and "Flashdance," "Why Me?" wasn't typically played on the radio after it fell off the charts.  Although it was a fairly big hit, I still think it was somewhat underrated.  Its bounce still holds up, in my opinion, and it works for puppet shows.)
  

Online radio sampler highlights CLXXXVI

Seven early morning standouts:

KLPW (Union, MO)

• Witchi-Tai-To-Brewer & Shipley (Thanks to a joyous, glad-to-be-alive approach in the vocals and guitar, the repeated lyrics don't wear out their welcome.  Not just any rhythm can be sustained for nearly seven minutes.)

KOPN (Columbia, MO)

• Honeysuckle Rose-Randy Weston (This is quite a lively version of Fats Waller's tune, with sizzling piano, bass, and drums.) 

KOSI (Denver, CO)

• Do You Hear What I Hear?-Andy Williams (Yet another rendition that strikes the right balance between authoritative and inquisitive vocal delivery.)

WEAA (Baltimore, MD)

• Cruise Control (Live)-George Benson (Great energy and spark in the vocals and guitar, as usual.)

WUMB (Boston, MA)

• Steady-The Staves (Captivating vocal harmonies, as usual, and a hypnotic guitar part that's reminiscent of Michael Hedges.)
• I Want To See The Bright Lights Tonight-Dori Freeman (A strong recasting of the Richard and Linda Thompson tune, with an appealing Americana, country-rock feel in the vocals and instrumentation.)

WXPN-2 (Philadelphia, PA)

• Greensleeves-Les & Larry Elgart (An interesting blend of Spanish guitar and big band styles.)
  

Gratitude for a favorite cat

December 24, 2015: My cat, Sylvia, watching footage of my family's cats on a digital Christmas ornament.

November 24 isn't the easiest day for me.  Three years ago, my cat, Sylvia, passed away.  As much as her absence hurts, I'm so thankful for the time we had.  I was pleased to discover a video of her I'd forgotten I'd recorded.  On Christmas Eve 2015, Sylvia and I listened to Sandler & Young sing "Silver Bells."  Sylvia pawed gently at the album cover, seemingly wanting to read the track listings.  When the lyric, "Soon, it will be Christmas Day," came up, Sylvia looked up in wide-eyed wonder.

It wouldn't have surprised me if she'd started speaking English and asked me, "Is that right?  Will it soon be Christmas Day?"  Christmas, after all, is the season of miracles.  Thanksgiving, meanwhile, is a holiday of gratitude--not only for the present, in my view, but also for those in one's past who made positive, heartwarming impressions.  Sylvia certainly did that during her 11 years with me.  As much as it hurts to be without her, I take comfort in believing that the afterlife gained a tabby with a kind heart, a loud, ready purr, and an appreciation for the idealism of Christmas music.

FM dial scan highlights CCII

Eight of the better songs I've heard today:

KDHX 88.1 FM

• Don't Go Away-The Zombies (There's a definite middle Beatles era influence here.)
• Blue Danube Rock-The Jonah Jones Quartet (Vocally, this is roughly how Lambert, Hendricks & Ross might have sounded with trumpet and drums.)

WSIE 88.7 FM

• Paradigm Shift-Carol Albert (Albert anchors this slinky melody on piano.  The guitarist and rhythm section play key roles in setting the mood here.)
• Bim Bom-Sergio Mendes & Brasil '66 (It was a pleasant surprise to hear this fun, brisk tune on WSIE.  I've thought for years that it could segue easily with Antonio Carlos Jobim's version of "Fascinatin' Rhythm.")

KCLC 89.1 FM

• Alison-Elvis Costello (A caring, tactful way for a friend to broach a sensitive subject.  Also, as I discovered during my KCOU DJ days, it segues well after "Waltzing Back" by The Cranberries.)
• Should've Been Me-Mitski (An honest way to acknowledge that a romantic match should have been more successful, at least theoretically.)

KEZK 102.5 FM

• Have Yourself A Merry Little Christmas-The Carpenters (Has any other vocalist nailed the warmth this carol requires this precisely?)
• Do You Hear What I Hear?-Vanessa Williams (This version splits the difference between wonder and gravitas appropriately.)
  

Context? CCX

This morning, two radio talk show hosts discussed how St. Louisans usually crave familiarity in their broadcasters.  They aren't wrong.  In this city, many radio and TV personalities tend to stay at the same stations longer than they would in bigger cities.  Even when they move to other stations, they're often stations in the same market.

I was surprised in the mid '90s when a TV station here started a newscast with two anchors, a sportscaster, and a meteorologist from other cities.  "That'll be a challenge for them," I thought.  "Even if all four of them are perfectly capable and engaging, St. Louis isn't a city where you spring four new faces on the audience at once."

I was right.  That station's experiment with all unfamiliar personalities was short-lived.

As one talk show host said today, generally, St. Louis isn't that crazy about change.

Persistent (Christmas) earworm alert CCLXXXVI

Lately, when I think of a Christmas memory from years ago, the organ intro from Aimee Mann's version of "Winter Wonderland" comes to mind.  That intro, like a lot of my memories, is decadent, so I think it's appropriate.

An overlooked (Christmas) cover tune CXVIII

If you like the way Mel Torme makes the rhythm of "Good King Wenceslas" swing, you might also enjoy a big band instrumental equivalent.  Check out Michael B. Nelson's "Ding, Dong Merrily On High" for a swingin', brassy, hip take on the carol.  The piano provides solid rhythmic support throughout.

In short, all bases are covered for enjoying a throwback spin on this carol.

A less murky verdict II

When your cat kneads her paws on you for the entirety of Empire Brass's "The First Noel," consider it a compliment.  It means she's content with the music and with you.  I learned this yesterday when my cat, Collette, gave me a thorough kneading.

It's nice to be kneaded--and needed.

A murky verdict II

Once again, my brother's cat, Lily, and I had a dilemma.  We couldn't dismiss the way Jim Nabors was singing "Jingle Bells" on SiriusXM yesterday.  He belted it out with conviction and couldn't be accused of just going through the motions.  Still, we were both ambivalent.  Lily's expression captured her uncertainty about what to think:

I second her reaction.

Online radio sampler highlights CLXXXV

As if I needed any more proof that time has flown, this is my 3,000th post for this blog.  One of the most gratifying aspects of posting something new each day has been spotlighting an ever-increasing palette of artists, songs, and radio stations.  In that spirit of continued discovery, here are seven of the better songs I've heard today from four radio stations I haven't featured before:

KHUH (Seattle, WA)

• Melody Inside Of The Madness-Luke Wallace (A solid hook about having hope in spite of the compromised aspects of our ecology.)
• Hidden Valley-Alexis Normand (Normand's pleasant voice blends well with the instrumentation in this thoughtful new single.  Lyrically, this shows an appreciation for nature and the world's vastness.)

KRWV (Phoenix, AZ)

• Adonai-Charles Moorer & The Faithful Few (Sunny bass, guitar, flute, and vocal punctuation.)
• A Coastal Breeze-A. Ray Fuller (An aptly titled smooth jazz guitar number with a bounce.)

WKUF (Flint, MI)

• Call Me Home-Sasami (A vocally and lyrically impressive release from February.  Lyrically, it's a good reminder that no matter how strong and constant one's desire for wanderlust is, it's reassuring to have a home base and a support system.  The production gloss serves the tune well.)

WKYW (Keyser, WV)

• Buck Creek Gal-The Earls Of Leicester (Brisk, jaunty fiddling and banjo playing.)
• Over The Falls-Colleen Anderson & George Castelle (Endearing vocals and acoustic guitar.  Lyrically, this reminds me somewhat of Nanci Griffith.  This tune would have fit in well on KDHX's former folk music show, "Blue Highways.")
  

Persistent earworm alert CCLXXXV

Despite not hearing this album rock tune anywhere for years, it's on my mind now.  Presumably, looking ahead to Thanksgiving triggered it.  Barclay James Harvest must have known in 1972 that when you have a great guitar riff, you build a song around it.  That formula worked wonders in "Thank You."  The propulsive synergy between the guitar and jazz/rock-style piano would have been enough to sustain the song as an instrumental, but the band added vocals for good measure.

Fifty years later, the tune holds up--and deserves more airplay.

FM dial scan highlights CCI

Tuesday morning highlights:

KDHX 88.1 FM

• Baby, Won't You Please Come Home?-Bill Coleman and his orchestra (A fun, brassy, swingin' tune from the '30s.)
• On The Sunny Side Of The Street-Eddie South (This is another standout '30s tune, featuring sunny violin and just enough vocals.)

WSIE 88.7 FM

• Out Of Tune-Sarah McLachlan (I'm not sure how I'd overlooked this well-sung, well-produced tune from 2010.  I'd be curious to hear a lower-pitched vocalist such as Julia Fordham cover it.)
• Theme From "Bullitt"-Wilton Felder (Keyboardist Joe Sample and saxophonist Felder were two key components of what made The Crusaders such a great, enduring jazz ensemble.  Felder sounds appropriately sinister on this cover of a soundtrack instrumental.)

KEZK 102.5 FM

• Do You Hear What I Hear?-Martina McBride (When vocalists miss the mark on this carol, it's usually because they sound too high and mighty or too monotonous.  McBride wisely conveys just the right amount of emotion here.)
• Frosty The Snowman-Willie Nelson (When vocalists miss the mark on this tune, it's usually because they sound too precious.  Nelson wisely sounds casual and unassuming here, as do the instrumentalists.  Now that KEZK is playing all Christmas music, I'll undoubtedly hear this version several more times.)
  

Persistent earworm alert CCLXXXIV

I've never seen an "Inspector Gadget" cartoon, but I've heard the theme song.  Sometimes, it comes to mind in a grocery store I visit.  The store changes the location of its inventory frequently, making me wonder, "Do they still sell these items, or are they in another part of the store?"  While the employees are friendly, and the store's vibe is welcoming, I wish the powers that be would stop moving things around so often.  Let shoppers get into a routine of knowing where everything is.  Otherwise, expect customers to be mildly irked about having to be super sleuths.

A less murky verdict

Over 30 years ago, I watched the season premiere of "Saturday Night Live" with some friends.  I was particularly curious how one friend would react.  Public Enemy was the musical guest, and I suspected that a violist and Stevie Ray Vaughan fan like her probably wasn't enjoying the rap group's first song.  

She didn't say anything until the song ended.  When it did, she said to no one in particular, "That was dreadful."

Except for P.M. Dawn, Digable Planets, and a few other sporadic tracks by other artists, rap and hip hop music doesn't appeal to me all that much.  Do I second my friend's reaction?  Let's just say I understand it.

To their credit, however, the band respectfully prefaced its first song with three seconds of silence for Miles Davis, who had passed away earlier that day.  I've listened--and will listen--to far more Miles Davis music than Public Enemy tunes.  Knowing how much respect the band had for such an important, influential trumpeter, though, made me want to play Public Enemy songs on KCOU--occasionally.

A murky verdict

I was torn while hearing Jim Nabors sing "The Little Drummer Boy" on SiriusXM Thursday.  As I've written before, "...Drummer..." has never been one of my favorite carols.  I'll admit that the Jars Of Clay version is sung well, Daryl Stuermer's laid-back approach to it on guitar suits it well, and The Gothard Sisters recorded a great energetic instrumental rendition, titled "Little Drummer Girl."

I'm still not sure how to review the Nabors rendition.  I don't hate it.  I'd certainly rather listen to it than any version of "Blue Christmas."  And yet...I don't know.  Based on her expression, my brother's cat, Lily, is similarly ambivalent:

SiriusXM highlights CXXXII

Appealing Christmas and non-Christmas highlights from this afternoon:

The Coffee House Discovery

• The Way I Love You-Michal Leah (This October release deserves its due for Leah's self-assured vocals and lyrics that find yet another way to say, "We drive each other crazy sometimes, but we're still soulmates."  This could be used for slow dances at weddings.)

Cool Jazz Christmas

• The First Noel-George Howard (Sunny saxophone, in keeping with Howard's style.)
  

Deep Tracks

• Sunny-The Electric Flag (For the majority of listeners, "Sunny" is best known as an oldie by Bobby Hebb.  The Electric Flag deserves its due for transforming the tune into a much slower blues-rock number with forthright guitar, organ, and vocals.  To some extent, this reminds me of Vanilla Fudge's approach to "You Keep Me Hangin' On.")

Hallmark Channel Radio

• Sleigh Ride-Ella Fitzgerald (Using a big band-style arrangement that one might expect from Frank Sinatra or Tony Bennett suits Fitzgerald's vocals well.)
  

Holiday Instrumentals

• Deck The Halls-Billy Andrusco (A tasteful, stately piano rendition.)

Holiday Pops

• In The Bleak Midwinter-The Philadelphia Orchestra (The strings, flute, and piano play this carol with appropriate sensitivity.)

Holiday Soul

• White Christmas-The Whispers (A catchy fit for the dance floor of 1979.)
  

Real Jazz Holiday

• Jingle Bells-Don Patterson (Due to the tune's simplicity, most versions of "Jingle Bells" sound mediocre to me.  Paul Mauriat and his orchestra recorded an excellent version, in my opinion.  Joel Mabus's version, under the title "The One Horse Open Sleigh," is a fun, brisk romp for acoustic guitar.  Jimmy Smith's approach to it on the organ is also appealing.  Thanks to Don Patterson, I can recommend one more version.  Patterson's expansive rendition has cool Booker T.-style organ and smooth guitar.)
  

SiriusXMU

• Talking Backwards-Real Estate (An honest account of how difficult it is for the protagonist to tell his girlfriend how deeply he feels about her.  Tuneful guitar accompaniment, as usual.  Also recommended: "Crime" and "Darling.")

Spa

• The Moon's Lament-Shoshana Michel (Downcast piano fit for a melancholy night or absorbing bad news during a soap opera.)

A smart life lesson

During sixth grade orchestra class, I saw a student walk up to the piano and ask our teacher, "So, who's teaching the class today--you or him (the student teacher?)"

The teacher asked her, "Do you have a problem?"

Decades later, I saw another version of this.

As we took our seats for a meeting, a co-worker asked our boss, "So, what's this meeting about?"

Our irritated boss asked him, "Does it matter?"

In sixth grade, I thought, "I'm glad I didn't ask that.  Besides, class is about to start, so we'll find out soon enough who's teaching it."  

Decades later, I thought, "I'm glad I didn't ask that.  Besides, the meeting's about to start, so we'll find out soon enough what it's about."

It's wise not to be too impatient.

Context? CCIX

Recently, I heard someone who couldn't find a phone number she needed exclaim, "Oh, Judas Priest!"  It made me smile that she was mindful enough not to curse within any nearby person's vicinity and that she chose a heavy metal band's name as a substitute for profanity.

An incongruous expression of gratitude

Last night, I listened to one of my favorite Thanksgiving-appropriate tunes, Fairport Convention's "Now Be Thankful."  While the CD played, my cat, Collette, got in through the back of the stereo and jumped on the record player.  The stereo cabinet's front door was closed, so she did her frenzied impression of a cat trapped behind glass.  

It was a convincing impression, so I opened the cabinet door quickly and congratulated her.  Not every cat has such expressive miming capabilities, so I guess a sung verse of, "Now be thankful for my tabby," is appropriate.

A petty fixation XIX

While waiting on hold recently, my ears noticed something.  Whoever edited the music bed for one of the business's promos jumped the gun slightly.  

"Well, almost," I said aloud to no one.  "That was almost right, but the music came up too soon and obscured the last word of the promo."

The promo's meaning was still clear.  Still, I wonder if they'll rerecord it.

Once an editor, always an editor, apparently.

An overlooked cover tune CXVII

I've never disliked the song, "Ease On Down The Road," from "The Wiz," but I don't ordinarily seek it out.  For many listeners, the Diana Ross & Michael Jackson rendition is most familiar.  After listening to a Carolbeth True Trio CD today, however, I realized how well the song also works as an instrumental.  True keeps the rhythm chugging strongly on the piano for five minutes, with ample room for a bass solo and solid support from the bass and drums.

Regardless of which version you hear, there's considerable funk in the melody.  I'm not surprised, then, that such a capable rhythm section pulled off a tune originally meant for singers.

The allure of shuffle mode XVIII

Looking for a pair of classy vocals and elegant tunes?  This shuffle mode pairing that iTunes made today from my collection works:

• Not Like This-Al Jarreau
• So Many Stars-Jane Monheit

It's an odd form of praise, but it's still a compliment that I didn't realize I needed to hear those songs back to back until chance segued them for me.

Online radio sampler highlights CLXXXIV

Let's shine a light on some noteworthy low power FM stations.  Here are some of the better songs I've heard this morning:

KCUG (Omaha, NE)

• Finished-Tamela Mann (With faith and perseverance, you can achieve a lot.  Mann's powerful vocals sock this point home.)
• The City (Live)-Commissioned (These strong vocal harmonies paint an appealing picture of an afterlife in which one's pain is lifted.)

KPOV (Bend, OR)

• Children Of The Night-Cassandra Wilson (An honest accounting of loneliness, set to an invigorating percussive backbeat.)
• Can't Find My Way-Phil Collins (This is one Collins song I haven't played enough.  These are good, somber lyrics for dark nights of the soul.  The song's feel is similar to "Can't Turn Back The Years.")

WMNH (Manchester, NH)

• Two Lane Highway-Pure Prairie League (Heading home for Thanksgiving?  This is a good driving song.  This deserves more airplay, as does "Can't Hold Back.")

WQSV (Staunton, VA)

• Solitude-Coleman Hawkins (Pure class.  Warm saxophone tone with violin and piano accompaniment to complete the atmosphere.)
• Soul Lament-Kenny Burrell (Captivating downcast guitar.)

WXNA (Nashville, TN)

• No More Pennies-Starcrawler (These vocals and guitar are meant to be turned up.  I like that there's enough variety in this station to include indie rock like this...)
• Take 'Em To The Moon-Rebirth Brass Band (...and this powerhouse, fit-for-Mardi-Gras instrumental in the same show.)
  

Context? CCVIII

It's not a major offense, but it irks me slightly when an adult refers to a child, teenager, or a person in his or her twenties as "Young man" or "Young lady."  Recently, on an AM station, a sports show host asked a standout high school football player, "How are you tonight, young man?"

That's too stodgy.  Call him by his name.

Persistent earworm alert CCLXXXIII

I've cited Adam Ant's "Goody Two Shoes" as an earworm before, but tonight, I'm hearing it in a different light.  Medicine I took this morning went down the wrong way, and it's driving me bonkers.  Thus, I'm revising the lyrics in the second verse to, "If a pill you swallow gets stuck in your throat, drink a little soda, soda; that's what bloggers promote, promote."

Now, let's see if the soda dissolves the pill to the extent I need.

Considerate customizing

It impressed me yesterday when one of the surgeon's assistants asked me what type of music I'd like to listen to while waiting to have a tooth pulled.  I asked to hear a jazz stream and got to hear a pleasant selection of piano-based jazz combo tunes, as a result.

My preferred music soothed me in a way that the tune playing as I walked in--"Sweet Child O' Mine" by Guns N' Roses--didn't.  It's a considerate office that keeps the patient in mind that way.

Context? CCVII

Last Friday, it impressed me that a radio talk show host chose to take the high road.  He was about to refute a caller's point but thought better of it and said, "I'm not going down that road.  I'm in a good mood.  It's Halloween.  We're going to talk about pumpkins."

Unless a caller says something truly despicable, I hope other talk show hosts follow that example today.  There's something to be said for keeping the mood light on a holiday.

"...Great Pumpkin..." twists and turns

After all these years, it's fun to hear "It's The Great Pumpkin, Charlie Brown"'s soundtrack in a new light.  This year's expanded edition includes some enjoyable alternate versions of familiar favorites.  In my opinion, these are three of the more interesting ones:

• Charlie Brown Theme (Alternate Reprise Take 2) (This excerpt is an amusing glimpse into the trial and error aspects of playing a new tune.  I was surprised to hear composer Vince Guaraldi say, "That's not my key, John...")
• The Great Pumpkin Waltz (Alternate Take 2) (An unexpected use of celeste adds colorful chimes to the melody, making the flute-dominated tune sound even more innocent.)
• Linus And Lucy (Alternate Take 2) (This is the most frequently heard "Peanuts" theme music for many listeners.  It might take your ears a little time to adjust to hearing woodwinds and guitar repeat the theme in places you wouldn't expect.)
  

A petty fixation XVIII

Before my high school's opening night of a musical, a student crew member covered the lights above each music stand with blue cellophane.  Presumably, this was intended to prevent attracting undue attention to the pit orchestra instead of the stage.  Unfortunately, this made it difficult to see the music.  The choir instructor, Ms. F., who played piano in the show, untaped the cellophane so we could see our music.  When she left the room briefly, the crew member walked over and asked me what had happened.  I told her that Ms. F. took the tape off so we could all see what we were playing. The student muttered, "Sure is wrong," and taped the cellophane covers over the stand lights again.

Ms. F. returned shortly after this and asked what had happened.  When I told her that the student insisted on having every stand light covered, Ms. F. replied, "Bull," and removed the tape once again.

I sided--and would still side with--Ms. F on that.  Being able to see the music one is playing trumps the need to shroud the pit orchestra in unnecessary darkness.  As for that crew member, her reaction showed that you're never too young to be officious.

Stingray Music highlights CII

Noteworthy selections heard yesterday:

Alt Rock Classics 

• Seether-Veruca Salt (Blistering guitar and vocals about being filled with rage that hold up nearly three decades later.)
  

Chamber Music

• Franz Schubert: Impromptu in G-flat major, D.899, No. 3 (David Barela, piano) (Lyrical, as usual for Schubert, with forceful crescendos.)

Classic R&B And Soul

• Many Rivers To Cross-Jimmy Cliff (I've always liked how optimistically Cliff sings this.  When you approach a challenge this way, you're probably more likely to conquer it.)
  

Cocktail Lounge

• Riviera Bossa Nova-Burnell Leonard Whibley (Pleasant, peppy, decadent easy listening brass and strings for days when everything is going right.)

Folk Roots

• Long Lost Friend-Monica Rizzio (Thoughtful, sensitive lyrics with an instrumental backdrop that reminds me of Shawn Colvin.)
  

Holiday Hits

• Halloween Theme-John Carpenter, Cody Carpenter & Daniel Davies (This instrumental conveys an appropriate, Alan Parsons-like feeling of doom and urgency.) 
  

Jazz Masters

• I Can't Give You Anything But Love-Red Garland (A bouncy piano take on a standard.)

Motown

• Summer Soft-Stevie Wonder (Great vocals and piano through which to acknowledge and ease the pain of a breakup.) 

The Spa

• All That Could Be Said-Headlund (Compelling melancholy guitar.)

World Carnival

• Otro Muerde El Polvo (Another One Bites The Dust)-Los Miticos del Ritmo (I wouldn't have sought out an accordion-based cover of Queen's hit, but I can't deny that it's an imaginative way to carry the melody.)

A linguistic irritant XXXII

I know that the dialogue in radio dramas isn't supposed to mirror real life exactly.  Still, it irritates me when a character sounds excessively stilted.  Perhaps, for some people, it's common to say, "I shall wait in the kitchen."  However, whenever a character uses the word shall unnecessarily, I think, "You're not an aristocrat.  Say, 'I will wait in the kitchen,' or better yet, 'I'll wait in the kitchen."

Why be pretentious when conveying such mundane information?

Stingray Music highlights CI

Wednesday standouts:

The Asian Flavour 

• Ma-Eum Heart-IU (Endearingly modest vocals and guitar.  Keren Ann's "Not Going Anywhere" could segue with this.)

Big Band

• I've Got You Under My Skin-Woody Herman (A stately, classy rendering of the Cole Porter standard on clarinet and saxophone.)

Chamber Music

• Frederic Chopin: Nocturne No. 1 in B major, Op. 62 (Pascal Amoyel, piano) (Amoyel conveys the piece's warmth and romanticism with appropriate delicacy.)
  

Cocktail Lounge

• Melodie en Sous-Sol-Michel Magne (Excellent instrumental fusion of blues, jazz, and easy listening, with the saxophone radiating confidence.)
  

Folk Roots

• By Way Of Sorrow-Cry Cry Cry (This is a beautifully sung and played cover of a Julie Miller tune.  Lyrics about finally being rewarded after being treated poorly require sensitivity, which Dar Williams, Lucy Kaplansky, and Richard Shindell deliver.  The Wailin' Jennys also sing this with similar sensitivity.)

Holiday Hits

• Theme From "Friday The 13th"-101 Strings (Never underestimate the ability of a violin section to sound convincingly psychotic in unison.)
• Theme From "Hellraiser"-Matt Fink (With its brassy undercurrent of bass, this sounds like underscoring for a nightmare set on a ship during a raging storm.)

Jukebox Oldies

• Everybody Loves To Cha Cha Cha-Sam Cooke (The more I hear this, the more I'm convinced that it would segue with Jimmy Cliff's "You Can Get It If You Really Want.")
  

New Age

• Elegy-Philip Aaberg (Appropriately solemn piano.)
  

Retro R&B

• Tell Me It's Just A Rumor, Baby-The Funk Brothers (A cool uptempo, piano-anchored instrumental; I kept expecting it to segue into Maxine Nightingale's "Right Back Where We Started From.")

Stingray Music highlights C

Standout songs heard Monday and Tuesday:

Adult Alternative

• Hollywood Forever Cemetery-Allison Ponthier (This is a worthy contender for a Halloween soundtrack.  These are dark--and good--lyrics about a celebrity's insatiable need for attention, even after passing away.)

Bluegrass

• Pikes Peak Breakdown-Andy Leftwich (I have to respect these players' breakneck fiddling and banjo pickin' mastery.)

The Chill Lounge

• We Meet At Last-Liquid Stranger (Here's another contender for a Halloween playlist.  The eerie keyboard and percussion are suitable underscoring for pursuing someone in a dark alley.)

Classic R&B And Soul

• Sweets For My Sweet-The Drifters (Catchy piano backing, great vocal harmonies, and one of the best vocal fade-outs I've ever heard; this would segue well with multiple versions of "It Takes Two To Tango.")
  

Cool Jazz

• Darlin' Darlin' Baby (Sweet Tender Love)-Steve Khan (Of its time, 1977, in the best way; strong, pleasant guitar with wah-wah effects when appropriate, wailing saxophone, and a breezy, upbeat vibe.)
  

Folk Roots

• Hejira-Joni Mitchell (Perceptive lyrics about the need to break away from a relationship and enjoy your own company.)

Jazz Masters

• Under A Blanket Of Blue-Ben Webster (Warm, resonant saxophone.)
  

Jazz Now

• As-Deep Blue Organ Trio (It's interesting hearing this Stevie Wonder hit reconfigured as an instrumental shuffle.)
• Autumn In Our Town-Dave Brubeck (Quiet, contemplative, seasonally appropriate piano.)

Smooth Jazz

• The Nearness Of You-Chris Botti (An excellent version of this standard, with ringing trumpet, lush strings, and tasteful piano shading.)
  

Context? CCVI

Heard in a radio station's newscast last week: "Cases of flesh-eating bacteria are on the rise..."

I didn't stay tuned to hear the rest.  That intro was disturbing enough to contemplate.

A function of age V

While listening to an episode of CBS Radio Mystery Theater recently, I seconded a police detective's irritation.  She pushed back against her police captain's repeated descriptions of a murder victim as "an old woman" and "a poor old woman."  Twice, the detective exclaimed, "She wasn't old!"

The victim in the episode was 52.  That's my age, so I thought, "That's right.  She's not old.  Stand your ground, detective!"

Even in a work of fiction, people ought to avoid using the word old pejoratively.

Stingray Music highlights XCIX

Saturday morning recommendations:

Bluegrass

• Where The Streets Have No Name-The Goodfellers (I've written previously about how my reaction to most U2 songs isn't as enthusiastic as those of most listeners.  Bono's emoting works well, however, on "Where The Streets Have No Name."  It's interesting to hear it recast here in a faster tempo with banjo, fiddle, and vocals.)

Canadian Indie

• Lovesick Utopia-Charlotte Day Wilson (The airy alto vocals serve the lyrics effectively.  I'd be curious to hear Kerri Anderson cover this.)
  

Chamber Music

• J.S. Bach: Partita For Keyboard No. 4 in D major, BWV.828: I. Overture (Glenn Gould, piano) (This movement requires a dexterity comparable to that of string players who perform the first and last movements of Bach's third Brandenburg Concerto.)
• Reynaldo Hahn: Premieres Valses--I.  Avec elegance (Cristina Ariagno, piano) (An endearing waltz, played with excellent resonance.)
  

Cool Jazz

• Quiet Moments-Lonnie Liston Smith (Tasteful, pleasant, overtly 1978 piano and strings with a bossa nova feel.  This is ideal for a traditional jazz station's after sunset playlist.)

Everything '80s

• The Warrior-Scandal featuring Patty Smyth (The empowering vocals and sing-along chorus hold up 38 years later.)

Folk Roots

• Oh Very Young-Cat Stevens (Over time, this has become one of my favorite songs.  How could I not respect the thoughtfulness that Stevens conveys regarding the fleeting passage of time?  The forceful backing vocals late in the tune add appropriate gravity to the lyrics.  I'm always curious to hear how radio stations handle this when it comes up.  If you're locked into a rigid commercial format, "Oh Very Young" presents a challenge; even in its time, it didn't sound like a conventional pop hit.  Thus, it doesn't segue easily with other hits from or outside its era.  Wise program directors are best advised to program it at the end of a set.)
• Dandelion-Carolina Story (I hear influences of mid to late '70s Fleetwood Mac and "Angel Mine" by Cowboy Junkies in this tune.)
  

 Jazz Masters

• It Never Entered My Mind-Miles Davis (This is some of Davis's most lyrical trumpet playing with gentle piano underpinning from Red Garland.)

New Age

• Living In The Country-George Winston (Winston's "Autumn" album is the gold standard, to me, for new age piano.  This track from his "Summer" album, however, also deserves its due.  When the tempo accelerates, the ragtime-influenced hook carries the melody.)

Stingray Music highlights XCVIII

Friday morning highlights:

Alt Country-Americana 

• Lay My Burden Down-Aoife O'Donovan (As much as I like how Alison Krauss sings O'Donovan's song, O'Donovan's breathier vocals and faster tempo make this my favorite version.)
  

Brazilian Pop

• Retrato Em Branco & Preto-Silvana Malta featuring Toninho Horta (Tasteful, laid-back guitar and vocals fit for an evening playlist.)

Canadian Indie

• Changed My Ways-Murray A. Lightburn (This 2019 track pulls off a convincing late '60s/early '70s throwback lounge sound in the guitar, piano, flute, and vocals.)

Folk Roots

• Everyone But Me-Rosanne Cash (Forthright lyrics, sensitively played and sung.  This sounds somewhat like a Jackson Browne tune to me.)

Gospel

• Residue-Jason Nelson (Strong vocals with a pop/gospel/R&B crossover sensibility.)

Jazz Masters

•  I Cover The Waterfront-Dizzy Gillespie (This is an appropriate day to hear Gillespie's elegant trumpet playing, as today would have been his 105th birthday.)
  

Latin Lounge

• Esperanza-Clelia Felix (An interesting downcast, midtempo groove with compelling vocal punctuation and harmonica against an electronica backdrop.)
  

Retro R&B

• Soul Stomp-Earl Van Dyke (Fun organ wizardry and clapping make this an infectious party instrumental.  This could work as a playoff of "What'd I Say" by Ray Charles.)

Smooth Jazz

• Shake You Up-Chris Standring (The bounce of this instrumental reminds me of Basia's "Miles Away" and the Doobie Brothers hit, "Minute By Minute.")

World Carnival

• Nar-I-Ask-Mercan Dede (The flute and percussion could underscore a scene of someone trying to find the way out of a forest.  Initially, this brought to mind Snoopy as a World War I flying ace making his way through the French countryside in "It's The Great Pumpkin, Charlie Brown.")

Stingray Music highlights XCVII

Thursday afternoon U-verse standouts:

Adult Alternative

• Hypotheticals-Lake Street Dive (When the tempo picks up, the vocals and instrumentation have an appealing '70s pop/R&B feel.  This could segue with Lenny Kravitz's "It Ain't Over 'Til It's Over.")

The Chill Lounge

• Goodness-Emancipator (This jazzy instrumental uses flute punctuation effectively.)

Cool Jazz

• To Each His Dulcinea-Eliane Elias (This is some of Elias's most impressive uptempo piano playing.)

East Africa Gospel 

• Mwamba-Jessica Honore (Even if the listener doesn't understand this language, it's impossible to miss the uplifting, rejoicing feel of Honore's vocals.)

Easy Listening

• Send In The Clowns-Ferrante & Teicher (A tasteful two-piano rendition of the Judy Collins hit that wisely doesn't go overboard on embellishments.)
  

Folk Roots

• Big Mover-Sarah Eide (Sincere vocal harmonies and tasteful guitar.)
• Mother Song-T with The Maggies (This reminds me somewhat of how Loreena McKennitt might sound with piano and tin whistle accompaniment.)

Hungarian Pop & Rock

• Papirsarkany-Ruzsa Magdolna (Rock backing fit for an Alanis Morissette song.)

Jazz Masters 

• Cool And Easy-Toots Thielemans (This appropriately titled track features impeccable harmonica playing from Thielemans, as usual.  The walking bass line and piano accompaniment are also crucial to the tune's mood.)

New Age

• Un Bel Di-Aria (The ethereal-sounding vocals make this track a potential candidate for a Halloween soundtrack.  The instrumentation sounds to me like an unusual blend of Tangerine Dream and Dave Koz.)

Context? CCV

Last night, a DJ said on-air, "(Someone suggested,) Why don't you get a couple of extra pumpkins for the squirrels to eat?  Then, they won't mess with your jack o'lantern."

That listener showed considerate concern for the DJ's plight.  The logic that squirrels will fall for the decoy pumpkins and not bother with the carved one amuses me, though.

An overlooked cover tune CXVI

When it comes to "Grazing (or Grazin') In The Grass," you're most likely to hear Hugh Masekela's trumpet-centered rendition or The Friends Of Distinction's hit vocal version on American radio.  Thanks to KDHX for reminding me this afternoon that another version deserves its due--Stevie Wonder's 1968 cover.  Wonder shows that the melody sounds just as spirited on the harmonica.

Persistent earworm alert CCLXXXII

The jingle from a short, recurring nostalgic feature has stayed with me since the '80s.  Our former hit parade station, KCFM, used to run the segment, "Backspin."  When I'm recalling an event from decades ago, I often think of jingle singers warbling, "Backspin!"  The event doesn't even have to be music or radio-related.

It's no longer odd to me that my memories often include a superimposed jingle prelude.  Nearly 40 years after first hearing "Backspin," it's just how my mind processes nostalgia.

Not a huge dilemma, but...

While talking about playing in our respective school orchestras, a grocery store clerk asked me recently, "If you had to choose between being able to sing well or play an instrument well, which would you choose?"

I hesitated only slightly before answering, "I'd want to play an instrument well."  That's how life panned out for me anyway.  I had 10 years of reasonably satisfying, successful bass playing.  Still, just for a moment, I contemplated what it might have been like to sing well.  I've never thought about it seriously, as I've always had a limited singing range.  Being able to sing your favorite songs, especially ones you've composed, while playing the guitar or keyboard must be especially gratifying for those who welcome the limelight.

Overall, though, I think I'll stick with my answer of preferring to play an instrument well.  Generally, I think one's ability to play an instrument lasts longer than one's ability to sing.

Context? CCIV

By its nature, the radio business demands punctuality.  That explains a radio show host's closing remarks today.  He said he won't be hosting next week because he'll be on vacation, but "we'll do our best to find a suitable substitute host.  It probably won't be (another station staffer) because he couldn't show up on time."

Persistent earworm alert CCLXXXI

For a time in grade school, it was considered the height of hilarity to mock the "Milk likes you" commercial jingle.  One student would say to another, "I know someone who likes you."  The other student would ask, "Who?"  The first student would then respond, "Milk."

Thankfully, we didn't stay neanderthals forever.

Online radio sampler highlights CLXXXIII

Seven noteworthy tunes heard today:

KOJH (Kansas City, MO)

• Good Bait-John Coltrane (Coltrane carries the melody on tenor sax with customary aplomb while allowing the rhythm players ample space to show their chops.  The first few notes of the melody keep making me think the tune is about to go into the Loesser/Carmichael standard, "Heart And Soul.")

KOPN (Columbia, MO)

• Uncle Dave's Beloved Solo-Uncle Dave Macon (A fun, welcoming waltz for banjo.  I thought it was appropriate to hear the surface noise of the record as this played.)

WCBN (Ann Arbor, MI)

• Autumn Almanac-The Kinks (Rhythmically, The Lovin' Spoonful's "Daydream" could segue into this.)
  

WFDU HD-1 (Teaneck, NJ)

• Head Over Heels-JD McPherson (This track takes a melody similar to "Wooly Bully" by Sam The Sham & The Pharaohs and improves it with infectious vocals, guitar, bass, keyboard, and handclaps.  This sounds like an updated version of a mid '60s hit.)

WRUV (Burlington, VT)

• Valley Eyes-Hellcat Bloom (Sultry vocals in an indie tune fit for a Quiet Storm format.) 

WTUL (New Orleans, LA)

• Look B4u Leap-Charles Stepney (One of the cooler, catchier synthesizer jams I've heard.)

WUMB (Boston, MA)

• Change Of Heart-Margo Price (These direct lyrics remind me of Aimee Mann.)

FM dial scan highlights CC

Five of the better songs I've heard today:

KDHX 88.1 FM

• Oh To See Two Eyes-Two Pin Din (This tribute to a music venue with respectable ideals sports a concise, well-sustained guitar riff.)
• Fortune Teller-Say She She (This new midtempo release offers an appealing blend of indie rock and R&B vocal stylings.)

WSIE 88.7 FM

• Broken Record-Alexa Givens (A well-sung-from-the-heart ballad.  It was released in May but could pass for a '70s R&B throwback.)
• La Fiesta-Stanley Turrentine (Brassy, infectious, and fit for a carnival.)

KCLC 89.1 FM

• Lonely Nights-Cecilia Castleman (This June release has honest, endearingly sung lyrics about common mistakes that lead people to be without partners, at least temporarily.)
  

Persistent earworm alert CCLXXX

I'm not sure what to infer from a recent dream.  I imagined my cat, Collette, staring at me without blinking as soon as I woke up.  For good measure, she meowed the first verse of The Who's "I Can See For Miles."

It's unnerving to imagine Collette having more powers of mind control and behavior modification than the considerable amount I already know she has.  I know this was just a dream, but...

Keeping the talk in talk shows

Inspired by some recent listening: Bumper music is a fine way to set the mood of a radio talk show.  However, unless the bumper music is your opening theme, closing theme, or a prelude to an interview with a musician, the length of the music shouldn't make listeners wonder, "Is the host ever getting back to the show, or is this song going to play in its entirety?"

At the risk of sounding obvious, a talk show is called a talk show for a reason.

Nagging guilt

All these years later, I still haven't gotten a bid from Busenbark.

I don't actually need a bid from Busenbark, but the company's radio commercial slogan has stayed with me for at least a decade.

A former co-worker once emailed me that slogan, asking me, "Did you get a bid from Busenbark?  You ought to."

I replied that I had other responsibilities to take care of before getting such a bid.  He replied, "I understand that you have other priorities, but you really should get a bid from Busenbark."

I don't remember anything about what Busenbark does.  Somehow, I doubt it has any relevance to my life.  Still, that slogan makes me wonder if I missed out by not getting a bid from Busenbark.

In the blink of an eye...

While listening to tonight's National League wild card playoff game between the Cardinals and Phillies, I thought back to the game in which Lou Brock got his 3,000th career hit.  I remember exclaiming, "Lou Brock hit 3,000!" when that happened.  That was just a mere...

...43 years ago and change.  I'm thankful for my life and the importance that radio has played in it.  I'm also aware that it's passing quickly.  It seems like the broadcast of Brock's 3,000th hit happened at least slightly more recently.

Soundcheck: Prelude to a concert

Yesterday, a DJ mused on-air about how she enjoys soundchecks at concerts.  I second that.  It's fun to hear artists give the audience a hint of what they'll hear during the concert while sounding off-the-cuff about it.

During one soundcheck, I saw Erin Bode sing an excerpt from Bob Dylan's "Ring Them Bells" and then say, "I'll take a little more in the monitor."  At another soundcheck, I saw Ralph Butler gently chide a band member by saying good-naturedly, "You call that a drum solo?"

Obviously, soundchecks are a necessary way to make sure the sound levels are set properly before a concert starts.  However, they're also a fun glimpse into the performers' personalities.

Context? CCIII

Before playing Mozart's 28th symphony this morning, a Classical station announcer said, "Yes, (Mozart composed) 28 symphonies by age 17, in case you need some extra motivation this morning."

I felt like calling in and telling the announcer, "Way to make me feel like a slacker on my 52nd birthday!"

I didn't call, though.  By 52, it's wise to make peace with the fact that you haven't been as prolific and your life accomplishments aren't as showy as Mozart's.  It's comforting to know that's true for the vast majority of us, actually.

Context? CCII

A radio media critic admitted on-air yesterday that he's not sure he could name 10 current network TV shows.

A few late-night show titles, a couple of reality shows, and a news program come to my mind.  Prime time shows, though?  Hmmm...Without looking them up, I don't think I can name 10 network shows, either.

That's probably true of most viewers today.