It all sounds so simple...

...when I listen to the "Schoolhouse Rock" song, "The Preamble."  The way Lynn Ahrens sings it, the Constitution sounds so noble.  And, it is.  Recent Supreme Court decisions, however, remind us that so much depends on how a majority of justices interpret it.

I don't know how you'd convey that in a song, however.  "Schoolhouse Rock" tunes are supposed to be fun, three-minute educational primers.  Throwing cold water on the subject being covered isn't the agenda.

Online radio sampler highlights CLXXI

Wednesday morning standouts:

KCMP (St. Paul, MN)

• Hospital-Madison Cunningham (Cunningham's new song acknowledges that keeping it together isn't always so easy.  Bridal Party's "Tylenol" would sound smooth before or after this.)

KING (Seattle, WA)

• Enrique Granados: Spanish Dance No. 5, Op. 37, "Andaluza" (Jorge Federico Osorio, piano) (By dance standards, there's an appealing semi-quiet intensity to this piece and performance.)

WDCB (Chicago, IL)

• Groove's Groove-Richard "Groove" Holmes (A steady seven-minute organ groove that's equal parts jazz and R&B; the organ and walking bass line radiate coolness right from the start.)

WDIA (Memphis, TN)

• Mt. Airy Groove-Pieces Of A Dream (This instrumental's light keyboard touch, prominent bass, and infectious percussion hold up 40 years later.  The tune is pure 1982, and that's not to its detriment.)

WRBR (South Bend, IN)

• Shimmer-Fuel (One of the strongest examples of good hard rock from the '90s; it illustrates Robert Frost's observation, "Nothing gold can stay," convincingly through powerful vocals, crashing guitar, and strings.)

WXPN-2 (Philadelphia, PA)

• Timing-Alisa Amador (What do you do if you meet your ideal match at the wrong time?  Considering the lyrics and strong vocals on "Slow Down" and this track, Amador is an artist to watch.)
• Creepin' In-Norah Jones (One of her best-recorded songs and a great example of how Jones conquers an uptempo track.  Vocally and instrumentally, everything clicks from the first note, and the tune chugs along appealingly.  These are also the best guest vocals by Dolly Parton I've heard.)
  

The power of suggestion

I paused yesterday before playing a St. Louis Symphony Orchestra recording of Serenade No. 2 by Johannes Brahms. The CD cover was a painting of trees with red leaves.  For a second, I thought, "Maybe I should wait until Autumn to play this."

Then, however, I reasoned, "This cover painting is a suggestion, not a mandate.  Nothing says I can't play a Christmas carol in Summer or the national anthem in Winter, so why should this be any different?"

The second serenade it was, then.  I was pleased not to wait three months to hear it.

Context? CLXXIX

A few days ago, I found where I'd misplaced the dental floss.  Naturally, such an occasion required a grandiose acknowledgment.  I sang softly to the tune of Neil Diamond's "The Story Of My Life," "The flossing of my teeth..."

I know, I know...What a pedestrian reaction.  Leave it to me to think inside the box, I guess.

Context? CLXXVIII

After hearing a clip today of a celebrity's interview about how it feels to be 30, an AM radio host remarked, "Turning 30 is no big deal."

Obviously, this doesn't apply if you've triumphed over a serious illness in childhood or young adulthood.  It also doesn't apply if you escaped a strife-torn country despite remote odds of survival.

For the most part, however, the host is right.

Perspective with age II

Wasn't it just yesterday that I listened to KEZK's former easy listening format ironically?

Actually, no.  That was 1984, and I remember listening to an instrumental version of ABBA's "Dancing Queen" and thinking, "This is fine for what it is, but are there listeners out there who think the original version is too raucous and needs to be tamped down with orchestral strings?"

Then again, the fact that I sometimes listened to KEZK for extended stretches of time might have made me a young fogey.  It's sobering to realize, at 51, that advertisers on an easy listening station could now target me legitimately.  I'm on the young end of their demographic, but still...

Persistent earworm alert CCLXX

Each year, on or before July 4, I watch the movie, "1776."  I was going to watch it next week, but after today's seismic Supreme Court ruling, I decided to watch it today.  The ironically titled song, "Cool, Cool, Considerate Men," has run through my mind since watching it.  While I can appreciate the performance of the tune, the song's sentiments never fail to anger me.

I'm sure I have plenty of company on that front today.

Context? CLXXVII

Has any spa or resort ever used Julia Fordham's "It's Another You Day" in a commercial?

Out of context, Fordham singing those words would likely make the notion of a getaway sound inviting to potential customers.

I'm nostalgic, but...

...I'm glad YouTube wasn't around when I played in high school and college ensembles.  In case I'd sneezed, flubbed a note, or knocked over a music stand, I wouldn't have wanted it preserved for posterity.

I pity all musicians whose long hours of practice have been overshadowed by such unfortunate miscues.

Context? CLXXVI

A radio weather forecaster misspoke this morning when he said we're headed for a high of 900 degrees today.  Obviously, he meant 100 degrees.

If reality melts into an unrecognizable blob, though, I suppose it'll be a hollow victory for that predictor.

Evergreen sentiments

It's always gratifying when a radio station with an unpredictable playlist airs a great song you never expected to hear.  I was listening to WSIE Saturday night when I thought, "No, it can't be...Is that what I think it is?  Wow...It is...No radio station ever plays this."

The tune was "Back Home" by Gil Scott-Heron and Brian Jackson.  It has great synergy between the vocals and the piano and sounds of its time--1974--in the best way.  Most importantly, however, the lyrics are a great reminder of why it's important to go home and be among the people who know and appreciate you the most.

The first time I heard "Back Home" in the '90s, I thought, "These lyrics are ideal for Thanksgiving."  A few seconds later, I thought, "Actually, they're appropriate for any family-centered holiday or any day one wants to switch to or prolong a feeling of gratitude."

All these years later, my first impression of "Back Home" hasn't changed.  It won't change.  How could it?

Context? CLXXV

The first time I heard a memorable, forceful melody by Horace Silver, I was surprised to learn its title was "Song For My Father."  Out of context, I thought the instrumental would be called something like "Take Charge" or "Dance For The Uninhibited."

Hearing Gregory Porter sing lyrics on a Louis Hayes cover version decades later made the title finally click for me.

Sometimes, instrumentals aren't so different from abstract paintings.  Before you hear a concrete interpretation of an artist's work, it's easy to project your own meaning onto it.

Passing on Brubeck?

In retrospect, I wonder why the student talent committee didn't select the jazz trio splinter group from my high school jazz band to perform decades ago.  I thought the three of us played a strong rendition of Dave Brubeck's "Take Five."  My guess is that plenty of musical acts auditioned, and it was simply a matter of making sure as many genres as possible were represented.

Besides, if our group had made the cut and displaced another band, the audience might have been deprived of this humorous moment.

FM dial scan highlights CXCIII

Five Friday morning highlights:

KDHX 88.1 FM

• Funky Thing (Pt. 1)-Larry Ellis & The Black Hammer (A cool organ and guitar-propelled groove.)

WSIE 88.7 FM

• That's It-Phylicia Rae featuring Stantawn Kendrick (This January release is a steady, driving, goes-down-easy smooth jazz guitar and saxophone melody.)
• King's Riff-Maynard Ferguson (A 1951 recording from early in Ferguson's career with confident, progressive-for-its-time trumpet playing.)

KCLC 89.1 FM

• Sidelines-Phoebe Bridgers (This April release features perceptive lyrics.  Who is in your life and how much they mean to you often looms large in how much of a risk-taker one is.)
• Peace Train-Cat Stevens (These lyrics about wishing for a more civil society are every bit as relevant today as they were decades ago.  I'm glad that a station with a largely contemporary playlist has room for these '70s sentiments.)
  

Context? CLXXIV

Heard on an AM radio program last night: "The Salem witch trials aren't something we should excuse."

True.  Not the most timely observation--but true.

Context? CLXXIII

I can't be the only one who sees no connection between Chris Isaak's "Wicked Game" and the yogurt commercial in which it appears.

Now, if the lyrics were simply about the passage of time, however...

Only in college XCVII

As jazz director at KCOU, I sometimes got to answer the office phone.  Once, the general manager called, asking if someone was in, and I didn't recognize his voice.  Unintentionally, I started speaking as if I were on the air, lowering the pitch of my voice and answering questions in the style I'd use for back announcing a Duke Ellington tune.

After a few sentences, the g.m. said, "Drew, it's me."

"Oh," I replied.  "I guess I can start speaking in my normal voice, then."

At least I didn't fall into the radio-speak trap of saying, "(The person you asked about) isn't here this hour, but he'll be here next hour, and he'll be giving away a Pavement CD to the eighth caller..."

A ponderable for the Almighty

Semi-recently, I noticed that CatholicTV changed its opening Daily Mass theme.  The new opening hymn has a flourish of trumpets.  The previous opening hymn was a bit subtler.

I wonder which one God prefers--the mighty hymn that sounds like a proclamation or the previously sung exultation that's also tasteful and a little less forthright.

Persistent earworm alert CCLXIX

During a heat wave, it's easy for sluggishness to set in.  Even the quickest, simplest task feels like drudgery.  During those times, "Heigh Ho" sometimes runs through my mind--the grim Tom Waits rendition, though, not the happier "Snow White And The Seven Dwarfs" version.  When just getting from a building to one's car feels like a joyless, mine-digging ordeal, I appreciate what Waits did with "Heigh Ho" all the more.

Context? CLXXII

Decades ago, after reading about supposed hidden messages in Beatles songs played backwards, I thought, "Who plays records backwards?  Even if there are hidden messages, what can you do with that information?  Besides, considering how popular and frequently played Beatles music is, is it really that satisfying to be the 1,000,000th person to hear a secret message?"

I got curious, though.  I wondered if I'd hear a hidden message in any of John Lennon's solo work.  While playing part of "Watching The Wheels" backwards, I heard what sounded like, "If you see where you're going, this is not," followed by, "We have no ties."

"Well," I thought, "What am I supposed to do with that?  'This is not' what?  This is not it?  This is not right?  'We have no ties?'  That probably doesn't refer to sports scores or neckwear, so what else could it mean?"

I'm still not sure what that cryptic backwards message means.  It's reassuring, however, to know that I've still been able to lead a fulfilling life nevertheless.

An atypical standout XIII

For casual listeners, the name George Benson might bring to mind his vocals on such pop hits as "Give Me The Night," "This Masquerade," or "On Broadway" or his guitar playing on "Breezin'."

Delve deeper into Benson's vast career, however, and you'll discover "Bossa Rocka," a 1967 instrumental with bossa nova-style guitar and pleasant organ accompaniment.  It doesn't get a lot of airplay today, so wide-ranging jazz stations are well-advised to give it its due.

Persistent earworm alert CCLXVIII

If you're going to compose a song with just one lyric, it ought to be a captivating one.  Spunkshine carried this off in "Virtue Is (Mostly) Boring," a track released last month.  Before it playing it today, the WBER DJ mentioned there was an interesting lyric about two-thirds of the way through the song.  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?  Next time I have to complete a mundane task, that lyric will undoubtedly play on a mental loop.

A restrained compliment II

I appreciated the honesty of the person who wrote, "You're a great bass (?) player," in my high school yearbook.

The parenthetical question mark impressed me.  It was a forthright way of saying, "I'm not 100% sure what instrument you play, but I think it's probably that one."  It was also a nice way of saying, "Whatever it is you play, you play it well."

Justifiable paranoia?

I think this says a lot about the temperamental nature of many conductors.  In multiple high school and college orchestras, I sometimes thought, "The conductor wouldn't really kill us, would he, if we're slightly out of tune or time?  Nah...Then again, he might maim us, though.  I'd better play this piece to the best of my ability.  Hopefully, everyone else will do the same, so there's no collateral damage."

Time to switch to decaf?

Occasionally, when I lean back too far at my computer desk, one of the speakers will cut out.  After plugging its connection back in or jiggling it for a second or two, I'll have stereo sound again.  

This scenario happened again a few days ago--with one extra step.  When the speaker cut out, I exclaimed, "No disobedience!"

I'm not sure what response I expected from the speaker.  I know, however, that much like "Pearls Before Swine" character Rat, it's possible to be too tightly wound.

Stingray Music highlights XCIII

Sunday morning highlights:

Alt Country-Americana 

• No Expectations-Cowboy Junkies (Tasteful, subtle vocals and guitar, as expected.)

East Africa Gospel

• Utukumbuke-Angel Benard (Even without an English translation of the lyrics, the strong, uplifting feel of the vocals shines through.)

Folk Roots

• 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.)
  

Indie Classics

• Ten Feet Tall-XTC (This is the version from the "Drums And Wires" album.  This rendition, in which the lyrics aren't enunciated as clearly as the version on "Rag And Bone Buffet" is the catchier one, interestingly.)
  

Jazz Masters

• Namely You-Shelly Manne (Melancholy piano, bass, and percussion.)
• Imagination-Jimmy Raney (Elegant guitar, saxophone, and piano.  This has a last-dance-of-the-evening feel.)

Popular Classical

• J.S. Bach: Brandenburg Concerto No. 4 in G, BWV1049 (i): I. Allegro (Gewandhausorchester/Riccardo Chailly, conductor) (I've always been partial to the first and third movements of Bach's third Brandenburg Concerto.  There's enough common ground between the tempo and feel of those movements and this opening movement that I warmed up to it quickly.  I especially enjoyed how the strings complement the recorder.)
  

Smooth Jazz

• Ramon's Revenge-Peter White (More aggressive playing than one usually hears from a smooth jazz guitarist; there's an appealing Spanish influence here.)

Stingray Music highlights XCII

Saturday morning standouts:

The Chill Lounge

• Lounge Night-Brass (Fitting accompaniment for running down a dark alley in a suspenseful caper movie.)

Cocktail Lounge

• Just A Melody-Young-Holt Unlimited (A pleasant piano-anchored instrumental, somewhat similar to "Soulful Strut.")

Country Classics

• Beneath Still Waters-Emmylou Harris (Lyrically, this reminds me of "(Hey, Won't You Play) Another Somebody Done Somebody Wrong Song" by B.J. Thomas.)

Folk Roots

• All Is Quiet-Susan Cattaneo (This February release features captivating lyrics and vocals that show how much a voice and an acoustic guitar can convey.) 
  

Jazz Masters

• Time After Time-Milt Hinton (Welcoming piano and bass.  Eddie Heywood's "Soft Summer Breeze" could segue with this.)

New Age

• Penguin Cafe Single-Penguin Cafe Orchestra (This instrumental has more of a rock feel than other PCO tracks.  "Air a Danser" is still my favorite tune of theirs, but this is an intriguing blend of keyboard, guitar, and strings.  At various times, this tune reminds me of Mike Oldfield's "Tubular Bells," Joni Mitchell, and Foo Fighters.  Not just any ensemble can pull that off.)
• Nightsong-Sidsel Endresen (I'd be curious to hear Melissa Manchester sing this ballad.)

World Carnival

• Bamba-The Toure-Raichel Collective (A well-sustained, fun, skipping melody for guitar, piano, and bass; I can imagine Paul Simon singing along with this.)

Stingray Music highlights XCI

U-verse served up a compelling, eclectic array of tunes this afternoon.  Among the highlights:

Big Band 

• Blues For Daddy-O-Count Basie (Fine call-and-response exchanges from the brass players, along with Basie's always tasteful piano stylings.  It's impressive to sustain this sort of a groove for nearly nine minutes, as this ensemble does.)
  

Bluegrass

• Keep The River On Your Right-Kristen Grainger & True North (Pleasant, endearing vocals, good lyrics about not letting your blues overwhelm you, and pickin' not unlike that of Nickel Creek.)

Cocktail Lounge

• Sportsday-Brian Bennett (There's a Herb Alpert vibe here.)

Cool Jazz

• Lazy Afternoon-Hank Jones (Various versions of "My Funny Valentine" would segue well into this piano instrumental.)
  

Folk Roots

• Meet Me On The Corner-Lindisfarne (Lyrical proof that late '60s idealism was still alive and well in 1971.)
• Take The Journey-Molly Tuttle (Embarking on a turbulent quest with an uncertain outcome?  Let these vocals and instruments be your accompaniment.)

Indie Classics

• Unfinished Sympathy-Massive Attack (The symphonic accompaniment complements the intensity of the vocals.)

Jazz Now

• Shake It-Omer Klein (An infectious minor key piano rhythm propels this instrumental.)

Soul Storm

• Softly-Arlo Parks (Appealing piano and vocals that build effectively.)

FM dial scan highlights CXCII

Five Thursday highlights:

KDHX 88.1 FM 

• Birds-Linda Ronstadt (Sensitively written. Sensitively--and powerfully--sung.  It was good to hear this underplayed 1971 track this morning.)
• Why Not?-Kiefer (A cool new 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.)

WSIE 88.7 FM

• Heart To Heart-Kenny Loggins (I've rarely heard this tune on the radio outside of the time it was a hit.  It sounds very of its time--late 1982, early '83--but in a good way.  Lyrically and vocally, it was one of the stronger adult contemporary gems of its time.  I'm glad that there's a place for it on WSIE.)
• Hypnotized-Fleetwood Mac (I'm also glad that this eerie melody fits into WSIE's playlist, as well.  This was the spookiest tune Fleetwood Mac ever recorded, and it was one of Bob Welch's lasting contributions to the band.)

WFUN 96.3 FM

• Our Love-Natalie Cole (An endearing ballad for any era.)

The foot-biting default option XIX

I had to admire the latest foot-biting parody lyrics my cat, Collette, and her kittens crafted.  To the tune of "Grazing In The Grass" by The Friends Of Distinction, they sang, "Both of your feet are right here; we can bite them.  And nothing but feet taste so real; we can chew them..."

Then, during the chorus, they pulled off masterfully precise vocals, warbling, "I can bite them. He can bite them.  She can bite them. We can bite them.  They can bite them.  You can bite them.  Oh, let's bite them.  Can we bite them, maybe?"

I'm perplexed but impressed that the cats asked if I wanted to bite my own feet and asked if I minded being bitten. I declined their foot-biting requests, of course.  I praised them, though, for honoring the spirit of the original lyrics.