A petty fixation XIV

Another bass camp memory from approximately 35 years ago: While the rest of us stood on stage noodling around on our basses, one student walked over to the piano and began playing Survivor's "The Search Is Over."

I'd never disliked the song, but hearing someone else play a tune I couldn't play made me see it in a new light; suddenly, I saw it as a sensitively written ballad I just had to learn.  I also thought but didn't say, "I know we're all just practicing whatever we want before the session begins, and no one said we couldn't play the piano, but isn't playing the piano against the spirit of what we should be doing?  After all, this is bass camp."

I never did learn "The Search Is Over."  Once I stepped off stage, my desire to play it waned.  Decades later, I still think it's a decent ballad, though.  I also think that momentary jealousy, even when it's not expressed out loud, isn't especially becoming.

Context? CXCIII

Yesterday, I heard a radio talk show host ask her co-host, "Have I told you how ridiculously happy and entertained we are by the hummingbird feeder?"

I liked hearing that.  In a radio landscape that's too frequently dominated by automation and syndicated programming, it's refreshing to hear local hosts exchanging neighborly, over-the-fence-style banter--especially with the possibility of more animals being fed as a result.

FM dial scan highlights CXCVII

Sunday and Monday highlights:

KDHX 88.1 FM

• You=Goosebumps-Erik Buschmann (This July release is one of 2022's stronger electronica tracks.  The simulated waterfall glissando and propulsive driving groove hold up for the song's duration.)
• Sit Back-Riarosa (This January release conjures up the feeling of falling through space against a dreamy backdrop of vocals and shredding guitar.)

WSIE 88.7 FM

• High Up On The Hook-Alice Russell (A hypnotic rhythm section sustains a compelling beat for a long while as Russell sings.  I'd be curious to hear Madeleine Peyroux or Nellie McKay cover it.  It's not the most obvious suggestion, but Van Morrison's "Blue Money" would flow well into this.)
• 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 much J.S. Floyd's rendition of "Tin Man" segues with Bobby Broom's "Summer Breeze" cover.)

KWMU 90.7 FM

• Gypsy In My Soul (Live)-Mary Stallings (There's a bounce to this much-covered tune I've liked since first playing Melissa Manchester's version on WEW.  The vocals here honor the tune, as well, and have strong piano underscoring.)
  

Context? CXCII

One night, at a previous job, the radio was tuned to a news/talk station.  The talk show's substitute host started discussing general commute times, construction zones to avoid, and roads in need of upgrades.

A co-worker asked the rest of us, "Does anyone mind if I switch stations?  This guy's talking about traffic."

I couldn't fault his reaction.  Sometimes, there's such a thing as being too local--even for the locals.

In memory of Joey DeFrancesco

I first heard Joey DeFrancesco's organ playing in 1992.  Upon listening to the "Reboppin'" CD, I thought, "Wow.  This is someone my age who plays the Hammond organ with the confidence of a much older musician."  Frequently, his organ playing reminded me of jazz organ giant Jimmy Smith.  As you might have gleaned from the playlists I've posted, I played a good helping of his music on KCOU and WEW.  Sadly, DeFrancesco passed away Thursday.  In his honor, here are four of my favorite tracks of his:

• Fly Me To The Moon (Smooth organ pyrotechnics and a cool walking bass line make this a strong cover version.)
• How Little We Know (Instrumentally and vocally, DeFrancesco conjured up bygone eras deftly.  Vocally, his approach here reminds me somewhat of John Pizzarelli.)
• Moanin' (Prior to hearing DeFrancesco's version, I was most familiar with the Lambert, Hendricks & Ross rendition.  I've always thought that if you're going to write lyrics or sing about being a put upon sad sack, this is the way to do it.  As expected, DeFrancesco transferred the melody to the organ effortlessly.)
• Sister Sadie (This cover of a Horace Silver tune was the first song I ever heard by DeFrancesco.  His handling of a swingin' melody that demands attention made quite an impression on me, so I played it on KCOU's "Jazz Odyssey" multiple times.)
  

SiriusXM highlights CXXXI

Friday morning highlights:

Acoustic Guitar Instrumentals

• Kyoto-Aleko Nunez (This Phoebe Bridgers tune with such a strong hook translates gracefully into a more placid, new age-style arrangement.)

The Coffee House 

• For All You Give-The Paper Kites featuring Lucy Rose (Sensitive, tasteful vocals and acoustic guitar convey thoughtful lyrics that say, in essence, "We make a great couple, and I'm thankful for you.")

Escape

• Something's Gotta Give-Beegie Adair (Although I didn't dislike the vocal renditions of this that I played on WEW, I think the tune works even better in this context--as a steady, midtempo piano melody.)

Radio Margaritaville

• No More Darkness, No More Light-Amos Lee (A ray of hope when resilience is needed.)

Real Jazz

• Pannonica-McCoy Tyner (Thelonious Monk's original version has a monsters-dancing-at-a-costume-ball feel that I've always liked.  In Tyner's rendition, Bobby Hutcherson transfers the saxophone-driven melody of the original incarnation to the vibraphone, smoothing it out in a way that's just as compelling.)

Spa

• The Happy Couple-Michael Hedges (The title of this guitar piece surprised me.  I suppose it could apply to a particularly serious, intense couple, though.  This melody strikes me as appropriate for an interesting science documentary.)

Watercolors

• Ready Or Not-Paula Atherton (A fast, easy-on-the-ears smooth jazz, saxophone-propelled instrumental that's ideal for a drive or a brisk walk.)
• This Masquerade-George Benson (It speaks well of the record-buying public that in 1976, these melancholy lyrics, guitar, and piano struck such a chord and resulted in a deservedly big hit for Benson.)
  

Yacht Rock Deep Cuts

• Hydra-Toto (I hear a Peter Gabriel, "The Lamb Lies Down On Broadway" influence here.  It's interesting hearing the more grandiose, album rock side of this band.)
• "Cannonball Run" Theme-Chuck Mangione (A sunny, accessible flugelhorn melody; most listeners who like Mangione's smash hit, "Feels So Good," would enjoy this.)
  

The foot-biting default option XX

My cat, Collette, has gotten increasingly aggressive about trying to prevent me from leaving home, even to run a short errand.  I became slightly unnerved recently when she sang to the tune of Downy Mildew's "Left Foot Down," "I'm gonna gnaw on your left foot so you won't go away.  You won't leave the house, my friend.  I'll swat your shoe away."  Collette imitated "Left Foot Down"'s chirpy, matter-of-fact vocals to such an eerie degree that I forgot briefly why I was trying to put on shoes.

She hasn't crafted lyrics yet for her backup plan of crouching down on my shoes and putting her paws over them, but I don't doubt that she will.

Maybe I don't need to run any errands, after all.  I've got enough food for the time being.  At least, that's what my foot-biting tabby overlord tells me.

Online radio sampler highlights CLXXIX

Five recommended tunes heard tonight:

KMUN (Astoria, OR)

• Kelly's Blues-Oscar Peterson (An appealingly steady, walking rhythm.  Peterson's piano playing is impressively dexterous.)
• Un Son-Michel Camilo (An appealing stride piano melody; Holly Bowling's version of "Cassidy" would sound good before this.)

KUCI (Irvine, CA)

• The Balcony-The Rumour Said Fire (A poetic way of saying, "Let's be together.  In fact, let's not just be together; let's make the most of our time together."  The vocals crescendo effectively, and the guitar and harmonica underscore them compellingly.  Rhythmically, "Minnesota" by The Push Stars sounds right to me before this.)

WLOU (Louisville, KY)

• Let The Music Play-Shannon (This 1984 dance groove still commands the listener's attention.  I never doubted that the pursuer in this tune would snag who she wanted...)
• I Wanna Get Next To You-Rose Royce (...unlike the pursuer in this smooth 1977 R&B ballad.  Vocally and instrumentally, I'm reminded of The Temptations.)

The allure of shuffle mode XVI

Thanks, iTunes shuffle mode, for helping me ease into the day a couple of days ago.  The first two songs from my library that came up were "As Rain" by The Real Group and "Black Coffee" by Ray Charles.  That's a good way to ease into a Sunday--a tasteful a cappella tune followed by a smooth, classy piano instrumental.

Persistent earworm alert CCLXXV

I've only ever heard one radio station, St. Louis's former KWK 106.5 FM, play "Takin' It Back" by Breathless.  Despite not hearing it on the radio in about 40 years, it's on my mind this morning.  The forthright, arena rock-style guitar and vocals seem crafted for an audience of adoring fans ready to rock out.

In short, this is prototypical album rock for its time, i.e. 1980.  It still puzzles me that the song barely grazed the charts.

Context? CXCI

Over the past month, I've wondered why my cat, Collette, ignores a perfectly good scratching post.  Instead, her claws favor The Manhattan Transfer's "Mecca For Moderns" LP cover.  It doesn't matter if it's on top of a pile of albums, somewhere in the middle, or in a completely different part of the room.  She has an uncanny knack for finding it and sharpening her claws on it.  I don't know if it's her way of feeling close to the album that contains one of the group's best songs, "On The Boulevard."  Maybe the masks on the cover alienate her, and she needs to vent her frustration.  Or, most likely, the cover has just the right texture for claw sharpening. 

Today, I'm going to pry the album out of Collette's paws and listen to "On The Boulevard."  I'm going to put the cover out of her reach.  I fear, however, that she might use me as her scratching post instead.

Context? CXC

I wonder if any radio talk show host who takes calls about wild conspiracy theories has ever accidentally said on-air, "Our next lunatic--I mean, caller--is..."

The pitfalls of shuffle mode III

Setting my iTunes library on shuffle mode produced this interesting pairing yesterday:

• Between You And Me-dc Talk
• That's On Me-Wavves

It was amusing to see those titles come up back to back.  Musically, though, it was a tad perplexing.  "Between You And Me" can be interpreted as doing right by God but also as mending a rift with someone. To some extent, its structure and vocal phrasing remind me of Seal.

"That's On Me"'s lyrics have a bit of common ground with "Between You And Me," but "That's On Me" suggests that life's slings and arrows make it permissible to be hedonistic.  

In both songs, people admit that their decisions aren't always the right ones.  "Between You And Me" suggests a willingness to improve.  "That's On Me," however, suggests that as long as people are willing to take the blame for questionable decisions, they don't necessarily have to change their ways.  That's fitting, I suppose, for a song that's more sinister and rocks harder than almost any other song in my library.

Online radio sampler highlights CLXXVIII

Six recommended selections heard today:

KCOU (Columbia, MO)

• 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.")

KDFC (San Francisco, CA)

• George Gershwin: Rhapsody in Blue (MDR Leipzig Radio Symphony Orchestra/Kristjan Jaervi, conductor; Simone Dinnerstein, piano) (Dinnerstein's brisk, deft interpretation of the piece highlights its strong jazz influences.)
  

KDRU (Springfield, MO)

• El Invento (Sofia Kourtesis Remix)-Jose Gonzalez (This enjoyable remix, released in March, is an inviting blend of international, techno, and new age influences.  It's a compelling stew of vocals, guitar, and percussion.)

KRNB (Decatur, TX)

• Anytime-Brian McKnight (Vocally and instrumentally, this is a heart-rending way to process rejection.)

WMNF (Tampa, FL)

• 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.)

WNCU (Durham, NC)

• United-The Dena DeRose Trio (An invigorating workout for trumpet, piano, bass, and drums, with sporadic, as-needed vocal punctuation from DeRose.)
  

FM dial scan highlights CXCVI

Five noteworthy tunes heard today:

KDHX 88.1 FM

• The Windows Of The World-Dionne Warwick (This overlooked 1967 hit is all too fitting for today's world.  Lyrically, it's appropriate for melancholy days when you wish for better times.)
• Mercy, Mercy, Mercy-The Buckinghams (In its Cannonball Adderley instrumental form, this has one of the best builds to a chorus of any jazz tune.  It's also fun to hear the tune transformed into this pop context with lyrics.)

WSIE 88.7 FM

• Talk To Me-Kandace Springs (A pleasant midtempo ballad with engaging vocals and tasteful piano.  Also recommended: "Novocaine Heart.")
• Is It You?-Lee Ritenour & Eric Tagg (Four decades later, I'm still not tired of hearing this.  I'm glad that WSIE gives vocalist Tagg his due, as he conveys sunny, hopeful lyrics about a potential significant other possibly being right around the corner.  I always looked forward to playing this 1981 smooth jazz/adult contemporary staple on KNJZ.)

KCLC 89.1 FM

• I Got This-Sarah Shook & The Disarmers ("Talkin' To Myself" still makes the band's strongest impression on me, but "I Got This" also has a solid vocal hook and strong rhythmic backing.)
  

A petty fixation XIII

When I started recording radio shows for my own fictitious station on tape, I used commercials I'd taped off the radio.  Even though no one could hear the station I'd created, I took the commercial scheduling seriously.

"It's not fair to the advertisers to have two restaurant commercials back to back, so I'll run the McDonald's spot in this next break and the Ruma's Deli commercial in the break after that," I'd reason.  "I haven't run an air conditioning ad in a while, and that's something listeners are thinking about at this time of year, so that should go in the next break.  Several shows have passed since I last ran a shoe store commercial, so there should be one of those, as well."

Again, no one could hear this station I'd created.  The advertisers weren't paying anything to have their commercials on my make-believe station.  That didn't stop me, however.  If you're going to be in radio, you might schedule commercials.  The mindset of giving advertisers what they pay for and not scheduling their spots right next to those of their competitors is a considerate, profitable one to have.

Persistent earworm alert CCLXXIV

I haven't gone panning for gold, nor have I nearly perished in the desert.  I'm not sure, then, why competing versions of "The Shifting, Whispering Sands" are stuck in my mind today.  Sometimes, it's Rusty Draper's version.  Other times, it's the Billy Vaughn and Ken Nordine rendition.

I remember playing at least one version of the tune on WEW in 1996 and thinking, "There's a level of literacy in the lyrics that you don't typically hear in today's pop music.  That deserves respect."

I'm still puzzled about what triggered this earworm, though.

Persistent earworm alert CCLXXIII

To many listeners my age or older, Chicago's "25 Or 6 To 4" contains one of rock's most memorable opening riffs.  Peter Cetera's vocals, the guitar, and horns all convey dramatic urgency about debating whether to call it a day in the middle of the night and just go to sleep.

Hearing the song in a store last week made me want to pick up the pace, select the items I wanted without hesitating, pay for them quickly, and rush home--so I could put them away and go to sleep.

"25 Or 6 To 4" pulls off the clever trick of sparking a hurried frenzy to do nothing.  Decades after first hearing it, I still applaud Chicago for it.

Curbed enthusiasm from an early age II

A radio station request line memory from the '90s:

Listener: Hey, you want to hear a joke?

Me: Oh, no, thanks.  Not particularly.

Yes, radio is for the people--but that doesn't mean a DJ can't keep the people at a distance.

The allure of shuffle mode XV

Among the songs in my iTunes library, I wouldn't have thought to pair the Eliane Elias track, "Samba De Orly," with the Vince Guaraldi Trio's "Skating."  Shuffle mode segued them for me on Wednesday, however, which impressed me.  The piano part in both tunes suggests the feeling of being free and alive, so why not prolong that sensation musically?

Online radio sampler highlights CLXXVII

Ten intriguing tunes heard today:

KAFM (Grand Junction, CO)

• Honey Trippin'-Mystic Moods (An infectious, jazzy R&B instrumental that's 1975 to the core.  "Put It Where You Want It" by The Crusaders, Rare Earth's "Get Ready," or "Back Stabbers" by The O'Jays would flow well into it.)
• Wheels-Les Baxter (Three minutes of hip organ, guitar, bass, harmonica, and drums.  This 1969 cool, jazzy soundtrack instrumental holds up strongly today.)

KCMP (St. Paul, MN)

• Anything But Me-Muna (A direct, honest way of saying, "We're not getting back together, but I wish you well."  I could imagine Haim singing this.)
• Monday-The Regrettes (A cathartic way of venting about the long slog of a week that's in store for you.)

KDKI (Twin Falls, ID)

• Pick Up Sticks-Dave Brubeck Quartet (A strong, steady rhythm for saxophone, piano, bass, and drums.  I was about to write, "One of many choice cuts on the landmark 'Time Out' album," but, really, every track is stellar on that album--and on its successor, "Time Further Out.")
• Sleepwalker's Serenade-Count Basie (This brassy big band-style melody could segue with Henry Mancini's "Pink Panther" theme.)

KUPS (Tacoma, WA)

• Moonshining (Improvviso Op. #7)-Marco V. Pogliaghi (Downcast, thoughtful, new age-style piano.)
• Inspiring Chill-Sergey Gulevich (An aptly titled spacey new age/electronica instrumental.  Also recommended: "Soft Lounge," which could segue with certain Hiroshima tracks from the '80s.)

WBER (Rochester, NY)

• Don't Give Up-Peter Gabriel (Reassuring lyrics to cling to when you lose a job or your life spirals out of control.)
• Don't Talk-10,000 Maniacs (Kudos to the DJ or program director who segued "Don't Give Up" with this track, as it's the kind of pairing I would have made on KCOU.  "Don't Talk"'s instrumental intro and Natalie Merchant's vocals inspired me to play this track on the air multiple times.  Lyrically, it's a good way to tell someone, "Sober up and come to your senses."  This is from the band's gem of an album, "In My Tribe."  Other highlights include "Verdi Cries," a cover of the Cat Stevens tune, "Peace Train," "What's The Matter Here?" and the infectious "Like The Weather.")
  

An overlooked cover tune CXV

Until yesterday, I hadn't known that Olivia Newton-John released a cover of "Greensleeves" in 1976.  And, I mean "Greensleeves"--not "What Child Is This?" set to the melody of "Greensleeves."  She sings the original folk lyrics reverently and solemnly.  If you've just heard her uptempo pop hits, listen to "Greensleeves," and hear how she handles a more downcast melody deftly.

In memory of Olivia Newton-John

Based on all the tributes I've read and seen so far, it sinks in how much admirable character Olivia Newton-John had.  By all accounts, she maintained it in the face of serious illness and in everyday life.  I was sorry to learn that she passed away yesterday.  One memory keeps coming to mind.  During a college showing of "Grease," nearly every woman in the auditorium sang along with "Hopelessly Devoted To You."  Their collective precision on the "But now..." section of the chorus was especially impressive.  That's an obvious favorite of many listeners, along with "Summer Nights" and "You're The One That I Want."  That doesn't surprise me, as all three songs stay with you long after you've heard them.  These, however, are seven of my favorite Olivia Newton-John songs:

• Have You Never Been Mellow (I like that in 1975, this was a chart-topper.  In today's increasingly callous world, we could use more lyrics and sensitive vocals like this.  When you want to be let into someone's life, this is a great way to suggest it.  The song also contains my favorite vocal moment of Newton-John's--her elongation of and belting of the word "hand" just before the final chorus.  To my ears, Erin Bode's "Sydney Come Down" conveys similar sentiments.)
• If Not For You (This cover of a Bob Dylan tune was Newton-John's first American hit and, in my opinion, one of her best recordings.  The steel guitar complements her earnest vocals especially well.  This is my favorite version of this tune and one of my most-played 45s.  Outside of "American Top 40" and KXOK's early '80s "Time Machine" oldies show, however, I've never heard it on any St. Louis radio station.  That's unfortunate.)
• Let Me Be There (Stylistically atypical for Newton-John, as it straddles the line between soft rock and country music.  The chorus is direct, memorable, and invites the listener to sing along.)
  
• A Little More Love (This always struck me as unusually structured, in a good way, for a pop song.  These are some of Newton-John's most confident, forthright vocals.  It puzzles me that this song didn't get radio airplay here after it left the charts.  I was pleased to hear Juliana Hatfield cover it so well.)
• Magic (Lyrically, "Magic" encapsulates why people seek significant others and risk having their hearts broken.)
  
• Make A Move On Me (This 1982 hit is largely overlooked today.  It sports one of Newton-John's catchiest, bounciest hooks and deserves airplay on oldies stations.)
• Suddenly (with Cliff Richard) (Richard and Newton-John give endearing life to lyrics about knowing you've chosen the right spouse and being excited to face the future together.  If I were a wedding DJ, this tune would be in heavy rotation.)

Here's hoping radio stations give Newton-John her due today--and start adding more of her music to their playlists.

Always more to learn

A Summer 1987 memory: During down time at bass camp, several of us were noodling around on stage, playing whatever came to mind on the bass.  I felt confidently at home, knowing that I could hold my own with all the other players.

Then, one of the players picked up an electric bass and started playing Mark King's excellent bass line from Level 42's "Something About You."

"Damn," I thought.  "There's a riff I'd like to be able to play but haven't thought to learn.  I don't know why I haven't learned it, given that it captured my attention immediately upon hearing it last year."

I still felt confident and at home on stage--but slightly chagrined that there was at least one song I wanted to play but couldn't.

FM dial scan highlights CXCV

Six of the better tunes I've heard today:

KDHX 88.1 FM

• J'arrive A Toi-Carla Bruni (Downcast and reflective; a tasteful vocals-and-guitar number acknowledging that life will attempt to break you sometimes.)
• Hey Hey What D'ya Say-Mike Plume Band (This is a different version of Plume's than the one I'm used to.  The instrumental backing is more sparse in this rendition, giving the vocals more prominence and making the tune sound more like a sing-along jig fit for a pub.)

WSIE 88.7 FM

• The Vibe-Roy Hargrove (A cookin' trumpet groove, as expected; multiple versions of "When The Saints Go Marchin' In" would flow well into it.)
• One Note Samba-Stan Getz & Charlie Byrd (The best, hippest version of this tune, thanks to Getz's airy, expansive tenor sax playing and Byrd's pleasant guitar work.)
• Yes-Kait Dunton (Joe Sample's "Sermonized" would sound smooth before this piano-centered instrumental.)

KSHE 94.7 FM

• Carolina In The Pines-Michael Martin Murphey (A thoughtful way of saying you know you're with the right person in the right place; the guitar, banjo, and piano enhance the vocals effectively.  I'm glad to know there was a time, i.e. 1975, when there was a place for this on the pop charts.)
  

Only in college XCIX

I'm not sure how our collective mindset failed us.  During the first rehearsal of a piece, the bassists and I came roaring in confidently after several bars of rests--only to realize that we were all playing twice as fast as we should have.

After bringing the piece to a halt, the conductor asked us to start again.

"Nice jazz," he remarked to the bassists.

It was nice jazz, actually.  Our speedy entrance would have served certain Duke Ellington numbers, especially "C Jam Blues," well.  Alas, we were playing Beethoven at the time.

Online radio sampler highlights CLXXVI

Six Friday highlights:

KBAQ (Phoenix, AZ)

• Maurice Ravel: Le Tombeau de Couperin (French National Orchestra/Eliahu Inbal, conductor) (Since playing this piece on the bass in 1988, I've always gravitated toward the fun recurring theme in the fourth movement.  Listening to this recording, however, reminded me that I haven't been giving the third movement enough credit for its lyricism.)

KOPN (Columbia, MO)

• I Mean To Shine-Linda Hoover (It's a shame this 1970 recording is only being released now.  Hoover's voice fit in well with the singer-songwriter vibe of its time and deserved its due long ago.  It's intriguing having members of Steely Dan backing up a singer whose voice brings Carole King to mind.)

KSDS (San Diego, CA)

• Samba Cat-Bill Heid (This May release chugs along with an appealing synergy between the organ and guitar.)
• I'll Be Seeing You-Cassandra Wilson (This bordering-on-new-age arrangement probably wouldn't appeal to everyone, but I like the effective, dramatic buildup to the vocals.  There's an appealing quiet intensity in the vocals and instrumentation.)

WUMB (Boston, MA)

• Dark Road-Sarah Jarosz (A realistic yet encouraging way to say, "Don't despair.  Things will work themselves out eventually.")

WXPN (Philadelphia, PA)

• Special-Shuggie Otis (A strong groove with a prominent undercurrent of bass.)
  

The allure of shuffle mode XIV

Determined to have things go your way, through witchcraft or forceful persuasion?  One of my iTunes shuffle mode sessions today paired "Need All The Help I Can Get" by The Cleopatras with Alice Merton's "Lash Out."

Actually, it's a suitable segue for simply fuming about a situation, as well.

A function of age IV

A week ago, I recommended the song, "I Learn," by Missy Raines & The New Hip.  Although I immediately interpreted New Hip as being with it, I then thought, "Then again, maybe that's the band's way of steering into the skid of one or more hip replacements.  If so, good for them."

That's not a very likely scenario, but it's one that wouldn't have crossed my mind just a few years ago.

The allure of shuffle mode XIII

Thanks to a random pairing from my iTunes music library Saturday, I realized how well the somewhat pensive guitar ending of William Tyler's "Alpine Star" flows into the beginning of Don McLean's "Castles In The Air."

Sometimes, a faster guitar-and-vocals tune benefits from a somewhat slower guitar lead-in.

The allure of shuffle mode XII

When you've reached the end of an invigorating fiddle workout but still want to press on, try this segue that iTunes created from my library today: Play Capercaillie's "Rose Cottage Reels," and follow it up with Regina Carter's "Kanou."

In both cases, the violin playing is energetic, to say the least.