Context? CCI

Heard on a radio station's pledge drive last night: "It's not just symbolic.  We really do need your support."

It was smart for the DJ to clarify that.  I'm sure listeners appreciated the assurance that the station wasn't just trying to raise funds because that's what it does every year around this time.

Persistent earworm alert CCLXXIX

I haven't heard Jimmy Buffett's "Cheeseburger In Paradise" in years.  I'm not hungry at the moment, and I don't plan to eat a cheeseburger for dinner.  I'm still wondering what sparked my memory of the tune this afternoon, though.  It's possible that I saw an ad for a burger place peripherally without realizing it...

...or maybe, my reading recently that McDonald's will soon sell Happy Meals for adults triggered the song.

Actually, Buffett's lyric about liking lettuce and tomato on a cheeseburger is making me crave a salad.  "Cobb Salad In Paradise" doesn't lend itself as naturally to song lyrics, but with the right ingredients, it can be just as tasty as a cheeseburger.

Context? CC

Earlier today, an out-of-state radio station aired a commercial for an animal hospital that offers "expert ear cropping."

Who does that to an animal?  Ear cropping, "expert" or otherwise, should be outlawed.

I liked what I heard of the station's music, but that ad made me not want to listen again.

Context? CXCIX

One afternoon in the '80s, I announced to my mom and brother that the middle school chorus teacher, Mr. B., kept a pet rabbit in his classroom that was "almost as big as (our cat,) Rusty."  This prompted the following reactions in quick succession:

Brother: Huh?

Mom: What?

Rusty: Meow?

The three humans in the room started laughing.  Leave it to a bunny to prompt such a rhythmic, unrehearsed chain of responses.

FM dial scan highlights CXCIX

Sunday and Monday highlights:

KDHX 88.1 FM

• Rosewood-Bonobo (The intensity of the vocals and electronica backing convince me that the singer means it when she declares she won't leave someone.)
• The Sound-Foals (It's interesting that the vocals are submerged under a prominent beat; admittedly, it works.)

WSIE 88.7 FM

• I Can't Help It-Esperanza Spalding (While many listeners might be most familiar with Michael Jackson's version of this Stevie Wonder-Susaye Greene-penned tune, Spalding's version deserves its due.  Her singing and bass playing give the tune as much conviction as I've heard in any version.)
• Help Me-Joni Mitchell (Some of the most honest, forthright lyrics from the perspective of someone who fears she's smitten.  This hit also contains one of Mitchell's most appealing hooks.  If you like the general feel of the tune, you'll probably also like "Free Man In Paris" and "In France They Kiss On Main Street.")

KWMU 90.7 FM

• Warm Blue Stream-Billy Taylor (Taylor plays piano here with the warmth and depth of Bill Evans.)
• Misty-Wes Montgomery (A standard fit for Montgomery's ringing guitar tone and expanded melody.)

KSHE 94.7 FM

• Alive Again-Chicago (The immediately ear-catching guitar-and-horn opening draws me in every time.  In 1978, the band was grappling with the immense loss of irreplaceable bandmate Terry Kath.  This tune shows the band putting on a brave face, cranking up the energy level, and doing what it does best.)
• Fool's Overture-Supertramp (I reviewed this song, indirectly, yesterday.)

A petty fixation XVI

A long string of commercials set me off this morning.  By the fifth ad, I was muttering, "What is this, an 18-minute commercial break?  Is the station ever getting back to the music?  I know the station has to pay its bills, I'm listening for free, and really have no standing to complain about this, but this is unacceptable!"

Then, when the station finally resumed its music, I considered how impatient I'd just been.  As the song progressed, I started parodying the way I'd reacted to the commercials.

"It's two minutes into this song!" I said, pretending to be exasperated.  "Why isn't anyone singing yet?!  How dare this band play such a clever, creative, ornate instrumental intro!"

I mean, really...What have free music services that the public can access at any time become these days?

Persistent earworm alert CCLXXVIII

I thought I had purged this version of the tune from my mind.  I expected I'd probably be able to avoid hearing it on the radio again, and there was just a small chance a streaming service would play it.

I hadn't counted on an in-store music system blasting it over its speakers, however.  

Sigh...Sorry to do this, readers.  I wrote recently about a particular earworm that drives me up the wall.  I'd argue, however, that today's earworm is even worse.  I finished my shopping in record time this morning because I couldn't stand hearing another note of... 

...David Lee Roth's version of "Just A Gigolo."

If someone paid me to defend that rendition, I suppose I'd say that artists generally deserve at least nominal credit when they try to stretch out of their regular genre(s.)  After all, it takes courage to tackle a musical style that isn't your forte.

In this case, however, Roth would have been better advised to stick to the more solid ground of Van Halen's "Dance The Night Away."

Free medical advice?

An actor in my high school's production of "Fiddler On The Roof" injured his leg and was hobbling around on stage during dress rehearsal.  Before dismissing everyone, the director told him, "Pump that leg full of vitamins!"

The director wasn't a doctor, and I don't know if the student followed his decree.  I guess, however, when people look to you as an authority figure, you have to have commanding advice ready to dispense. 

I wonder, though.  If an actor started developing dysphonia and was barely able to speak or sing, would the director have said, "Pump that throat full of vitamins!?" 

Context? CXCVIII

Heard recently on a radio talk show: A host told a caller when putting him on the air, "Turn your radio down," and gently chided the caller, saying, "That's a rookie mistake.  You should know better."

Luckily, the caller accepted the admonishment with good humor.  Considering how often talk show hosts tell callers they're on the air and just hear silence, I'm surprised I haven't heard this mildly exasperated instruction more often.

Persistent earworm alert CCLXXVII

Before heading out for my fifth Covid vaccine shot today,  I announced to myself, "Vaccine number five!"  

Immediately, I regretted that.  I thought, "Oh, no...No...No!  Here comes the inevitable earworm..."

Alas, it remains firmly in mind after my latest shot.  As in 1999, Lou Bega's "Mambo No. 5" has cemented itself in my mental jukebox and is refusing to leave.  Even if I developed the loudest possible case of tinnitus in both ears, "Mambo No. 5" would likely drown it out. 

I have nothing against the song's protagonist.  I hope he settles down with the right woman of the ones he sings about.  His vocals, however, do nothing for me. 

I also have nothing against mambos.  Some of my best friends are mambos.  OK, strike that last sentence, as it's nonsensical.  Seriously, though, I've recommended multiple mambos on this blog.  "Mambo No. 5," however, is pop mambo lite.

I understand why many listeners liked the tune when it was a hit and might still like it.  The melody is fit for a party, after all, and if you like a firm, persistent hook, "Mambo No. 5" has it.

A former co-worker who knew my general taste in music told me when "Mambo No. 5" was on the radio years ago, "This sounds like a song you would hate."

Hate is a strong word.  Dislike, though?  Yes--then and now.

Context? CXCVII

About five years ago, I heard a radio DJ say, "...If you're not here, you should be, because tonight is ska night!" before introducing a band's live performance.

Her enthusiasm was momentarily contagious.  I thought jokingly, "Let's see, if I left now, it would take only...

(Here, I paused to look up the driving distance between my city and the concert city.)

...28 hours to get there."

I settled for hearing the good roots reggae band she introduced online instead.

A petty fixation XV

While listening to an AM station today, I reached over quickly, poised to turn the volume down.  For a moment, I thought the bumper music was Toni Basil's "Mickey."  It wasn't; it was a song with a similar beat.

I breathed a sigh of relief and listened to the station for a few more minutes.  Then, I thought, "Would it have been the end of the world if it had been 'Mickey?'  Just because it's a song I wouldn't seek out, couldn't I have toughed it out for 15 or 20 seconds?  Besides, no one except my cat, Collette, can hear what I'm listening to--and she's going to bite my feet, regardless of what song is playing."

There's such a thing as being too elitist.

Coincidental dramatic underscoring

My cat, Collette, was determined to scratch some of my album covers Friday.  Just yelling at her to stop wasn't doing the trick.  By coincidence, however, I was listening to the first movement of Prokofiev's fifth symphony.  Although I hadn't planned it, the St. Louis Symphony Orchestra's recording was just forceful enough to get Collette's attention and give weight to my commands.  

Sometimes, when your accompaniment is assertive enough, your cat will get the message.

Thanks to Leonard Slatkin and the orchestra for sparing my album covers--for a few minutes, at least.

Online radio sampler highlights CLXXXI

Friday and Saturday highlights:

KAFM (Grand Junction, CO)

• I Can't Hold On-Karla Bonoff (Solidly written and sung lyrics about an inevitable breakup.  I've listened to Bonoff's self-titled LP several times and have wondered why, given its consistency, it isn't more acclaimed.  Also recommended: "Home" and "Someone To Lay Down Beside Me.")
• Beach Ball-Lemongrass (This is one of the catchier piano and guitar-anchored grooves I've heard.  "Acapulco (Sunrise)" by The Explorers Club could be a prelude to this.)

KVMR (Nevada City, CA)

• Photographs And Memories-Jim Croce (Croce's sensitively written lyrics illustrate how important it is to preserve memories of those close to you.  I thought of Simon & Garfunkel's "Bookends" as I listened to this.)
• Blessing-Maura O'Connell (A commanding vocals-and-guitar arrangement.  I like how O'Connell sings this with the attitude, "Good luck...Really...You're going to need it.")

KVSF (Santa Fe, NM)

• Cookie-James Moody (The peppy big band feel of this reminds me somewhat of various Miles Davis tracks on the "Birth Of The Cool" album.)
• Swing 42-Cafe Accordion Orchestra (The guitar augments the accordion melody compellingly.  Various versions of "C Jam Blues" could flow into this.)

WJCU (University Heights, OH) 

• Paraiso-Los Reverb (A steady, midtempo surf guitar instrumental.)

WJRH (Easton, PA)

• A Groovy Intro-Flamingosis (This short, dramatic, R&B throwback-sounding track could be a prelude to "Break Up To Make Up" by The Stylistics.)

WQKI (Orangeburg, SC)

• As-Stevie Wonder (A "Songs In The Key Of Life" standout.  Powerful lead and backing vocals, and a groove that holds up for a good, long while.  I'm surprised it wasn't a bigger hit.)

In memory of Ramsey Lewis

One of the most consistent piano jazz greats, Ramsey Lewis, passed away Monday.  Given the strength of his work, narrowing down the list of my favorite Lewis tracks was challenging.  However, these, in my opinion, are 10 of his strongest recordings:

• Close Your Eyes And Remember (Laid-back elegance from the piano, bass, and drums.)
• The "In" Crowd (Most listeners who don't know much of Lewis's music have at least heard this fun, uptempo rendition, which was Lewis's biggest hit.  Lewis shows how cool the melody is instrumentally.  Versions by Gregory Porter and Marshall Crenshaw show how cool it is vocally.)
• Les Fleur (Perfect synergy between the piano and vocals; the melody builds and builds and pays off in an exuberant chorus.)
• Love Song (If you like the feel of Love Unlimited Orchestra's "Love's Theme," you might like this track, as well.  It's one of the highlights, along with the title track, from the "Sun Goddess" album.) 
• Quiet Storm (Decades later, this is still one of the best steady, warm, self-assured late night piano jazz melodies.  When I heard this on the radio while driving home, I always felt like any complaints I had about life would somehow sort themselves out.  This received deserved adult contemporary crossover radio play, and I always thought it should have been a hit.)
  
• Since I Fell For You (The forthright, pleading nature of this tune makes it ideal for this piano arrangement.  Also recommended: Just about any version, really, but especially those by Lenny Welch, Bonnie Raitt, and Bob James, David Sanborn & Al Jarreau.)
• Sleigh Ride (One of the hippest-sounding versions of this tune, thanks in part to the descending orchestral notes early on.  Also recommended: "Here Comes Santa Claus.")
  
• Sun Goddess (This album title track is an excellent seize-the-day anthem.  Instrumentally, it hooks you from the first note, and Earth, Wind & Fire's recurring vocal punctuation should make anyone want to get out of bed and take on the world.  This was one of my favorite songs to play on KNJZ.) 
• Upendo Ni Pamoja (A piano-led ensemble that sizzles.  Even after seven-plus minutes, I don't want this song to end.)
• Wade In The Water (If you like the way Lewis plays "The 'In' Crowd" on the piano, you'll probably enjoy this, as well.  The rhythm is similar, and in my view, it's the best version of the tune.)

The allure of shuffle mode XVII

When I think of contemplative piano music, I usually think of tunes with slower tempos.  A random triple play that iTunes crafted from my library yesterday made me reconsider that.  Shuffle mode played these three piano renditions in this order:

• The Way You Look Tonight-Beegie Adair
• I'll Remember April-Bill Charlap Trio
• What Kind Of Fool Am I?-Vince Guaraldi 

During the next rainy day, I think I'll play those songs in that order deliberately.  Nothing says contemplative instrumentals have to be slow, after all.

FM dial scan highlights CXCVIII

Wednesday morning highlights:

KDHX 88.1 FM

• Summer Dream-Bonny Light Horseman (Vocally and instrumentally, this is one of 2022's more pleasant indie rock releases.  The harmonica enhances the laid-back vocals and refreshingly honest lyrics about missing someone.)
• Fire On The Mountain-The Bucking Mules (This peppy fiddle and banjo number makes a convincing case for the return of square dancing.)

WSIE 88.7 FM

• Happy Times-Freddie Hubbard (This trumpet-dominated melody doesn't skimp on the joy and has an appealingly definite ending.  "Lust For Life" by Sonny Rollins sounds right to me before this.)
• Crazy For You-Earl Klugh (For over four decades, Klugh has excelled in this type of breezy guitar hook; it's no wonder this was the title track from his 1981 album.  If you seek more gripping intensity, check out "The Rainmaker," another "Crazy For You" standout.) 

KCLC 89.1 FM

• I Was Neon-Julia Jacklin (A catchy reminder not to compromise who you are, set to a beat that reminds me of the Genesis tune, "Abacab.")

Backstage psychology

Often, before playing the bass in a concert, I'd feel half nervous and half excited.  To shift the balance in favor of excitement, I'd reason, "I've played this music many times, so it's unlikely that I'll suddenly forget how to play it during the concert.  Also, this isn't a solo recital.  I'm just one of many people who'll be onstage.  The bass is a supporting instrument, and I won't be carrying the melody of a piece, typically, so the pressure's largely off there.  Also, most people in the audience won't know this piece as well as I've come to know it."

Getting into that mindset paid off for me and resulted in my feeling at least reasonably satisfied after each concert.

The foot-biting default option XXI

I'm concerned that my cat, Collette, has gotten too carefree before biting my feet.  This morning, by way of warning, she sang to the tune of George Benson's "Give Me The Night," "'Cause your feet are just right there, and my teeth can't resist a dare, I'll give you a bite."

Although my feet are aching as a result of Collette's brazen biting, I appreciate that she shared her reasoning with me.

All too resonant words

Sometimes, it's easier to recall the gist of someone's words than the specifics.  I remember longtime Cardinal baseball play-by-play announcer Jack Buck reading a poem he wrote in 2001, after the September 11 atrocities.  I don't remember the specifics of what he said except for two words, "cowardly foe."

I've never forgotten that description of the despicable attackers.  Looking back, it's a shame that Buck didn't spout a profane tirade against those who sought to destroy us.  That would have been out of character for him, of course, and not suitable for a mass audience that included young kids.  Nevertheless, I don't see how anyone could have held it against him if he'd launched into a fiery, expletive-filled rant.  After all, no admonishment could be harsh enough for vermin who extinguish others' lives for no good reason.

Context? CXCVI

Sound life advice, heard out of context on an AM radio station this week: "Never try to sand your wooden floor yourself."

My handyman skills don't extend much past using a screwdriver to tighten screws when a door handle is loose, so that's advice I'll follow.  It wasn't part of a commercial, either, so that made me respect that advice even more.

Stingray Music highlights XCVI

Friday morning standout songs:

Bluegrass

• Turtle In The Creek-The Wooks (There's appealing synergy between the banjo, guitar, and fiddle in this uptempo instrumental.)

Brazilian Pop

• Canto Di Paraiso-Kay Lyra (Guitar, flute, and strings add lush warmth to the vocals.)
  

Cocktail Lounge

• Metropolis Suite, Part 1-Brian Bennett (Hurry!  The suspect's getting away--by boarding a spacecraft, apparently; at least, that's what this instrumental underscoring suggests.)

Easy Listening

• Till There Was You-Tony Mottola (A guitar based version of a well-known melody.  The tune's warmth shines through in a slower than usual tempo; I kept expecting Mottola to launch into "I Can't Get Started."  Hot Club Of Detroit's "Patio Swing" would sound rhythmically compatible after this.)
  

Jazz Masters 

• Days Of Wine And Roses-Dizzy Gillespie (Evidence that a jazz ensemble can be freewheeling--and precise, as well.)

Latin Lounge

• A Volta-Eliane Elias (Since first hearing Elias's piano playing and vocals in the early '90s, I thought she'd be a consistently dependable artist from album to album.  The decades have shown this.  There's a smooth, welcoming, professional sheen over all of her albums.  This track, like many others of hers, would be equally at home in an international, smooth jazz, or traditional jazz playlist.)
  

Retro R&B

• The Flick (Part 1)-Earl Van Dyke & The Soul Brothers (When it's appropriate, why shouldn't an organist be able to do the equivalent of a guitar player shredding?)

Smooth Jazz

• Fly Away With Me-Pamela Williams (This 2005 track features smooth saxophone and keyboard underscoring that wouldn't have been out of place in the '90s.)

South Africa Gospel

• Busa-Hendrick Monyeki (Uplifting choral singing with a skipping instrumental backdrop.  The backing vocalists' increased volume and power as the song progresses adds to its appeal.)

Swinging Standards

• Bye Bye Blackbird-Emilie-Claire Barlow (Fitting, just-breathy-enough vocals, solid trumpet, and assuredly cool rhythm section accompaniment make this a good cover of a standard.)

Stingray Music highlights XCV

Standout tunes heard this morning:

The Blues 

• Five Long Years-Bernard Allison (Appealing blues-rock guitar and vocals, with a seeming John Mellencamp influence in its recurring hook.)
  

Canadian Indie

• Beat The Heart-Tallies (The echo enhances the vocals compellingly.  I hear a Cocteau Twins influence in this track.  Film School's "Sunny Day" would sound good after this.)
• 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.)

Cool Jazz

• Walk Between The Raindrops-Mel Torme (Torme's voice gives the tune its requisite swing.  I also recommend Donald Fagen's version strongly.)
  

Folk Roots

• I'm Alright-Kim Richey (A lyrically honest way of acknowledging that a breakup was justified.  Also recommended: "I Know.")
• Losing Track Of Time-The Bombadils (Endearingly sensitive vocals and acoustic instrumentation.  I'd be curious to hear Shawn Colvin, Sierra Hull, or Maura Kennedy sing this.)

Jazz Now

• Wading Through-Terence Blanchard (Gripping intensity in the piano and strings.  This is a deservedly acclaimed tribute to victims of Hurricane Katrina.)

The Spa

• I'm Gonna Be There-Bireli Snow (This tastefully played guitar piece could be a postscript to a waltz.)
• Hidden Beneath-Rikard From (Movingly played solemn piano.  This could be a prelude to "Longing/Love" by George Winston.)
  

World Carnival

• Pide Piso-Bajofondo (This upbeat instrumental is part tango, part Aragorn Ballroom Orchestra, and part Talking Heads.  Not just any ensemble can blend those ingredients this successfully.)

Stingray Music highlights XCIV

Choice U-verse selections heard this afternoon:

Alt Rock Classics

• Close (To The Edit)-Art Of Noise (Fit for a sitcom scene in which robots produce widgets in a factory.)

Bluegrass

• Merriam Special-Andy Falco (Guitar playing suitable for a reasonably paced steeplechase.)

Classic Masters

• Charles-Camille Saint-Saens: Romance For Violin And Orchestra, Op. 48 (Ensemble Orchestral de Paris/Jean-Jacques Kantorow) (Kantorow's ringing, resonant tone on the violin illuminates this composition's lyricism.)

Folk Roots

• Mississippi Moon-Melody Walker & Jacob Groopman (This track has several key ingredients that attract me to all-acoustic tunes--sincere vocals, prominent guitar, and well-played mandolin.)
• La Serenissima-Loreena McKennitt (Tasteful, ornate strings.  This could segue with "One Winter's Night" by Strength In Numbers.)

Jazz Masters

• Bewitched, Bothered, And Bewildered-Artie Shaw (My default version of this is by Charlie Watts & Bernard Fowler, but this is an excellent rendition.  Shaw carries the melody gracefully, letting it flutter naturally on the clarinet, and the piano underscoring is top-notch.)

Latin Lounge

• Nora Se Va-Bronx River Parkway (The piano establishes a slinky cha-cha-cha groove, which the horns and vocals augment.) 
  

Motown

• Hungry For Love-The San Remo Golden Strings (This instrumental makes the listener appreciate how much the right string arrangement matters in setting a mood.)

Retro R&B

• I Can Feel Your Love-Felice Taylor (The vocals and horn punctuation hold up a danceable groove.)

Soul Storm

• Make A Move-Yuna (This 2022 track has an endearing, laid-back, throbbing chill/trance vibe in the vocals and instrumentation.)

Persistent earworm alert CCLXXVI

Over the past week, the Jools Holland & George Harrison tune, "Horse To The Water," has run through my mind frequently.  Whenever I see or hear of anyone reasoning in vain with supporters of a political figure I detest, these lyrics take root.

As frustrating as it is for that to be the song's catalyst, I take consolation in realizing how well it segues with Crowded House's "Chocolate Cake."

An atypical standout XIV

It's appropriate that I'm thinking of Billy Joel's song, "Allentown," on Labor Day.  It isn't usually played on the radio these days, but I think it's one of Joel's strongest hits.  Shining a light on the closing of factories forces the listener to think about the labor that goes into products we all use--and how automation compromises and sometimes ends workers' livelihoods.  That's not conventional subject matter for most pop songs, but it netted a respectable hit for Joel in late 1982 and early '83.

On another labor-related note, my father made sure that the record pressing plant didn't get away with slipshod work.  When I played the 45 at home and found that it skipped, Dad drove me back to the record store and explained the situation to a clerk.  The clerk put another copy of "Allentown" on the store's turntable, played it all the way through, and exchanged my defective copy for it.

As I listened to the new skip-free record, another thought occurred to me: You don't usually hear pop singers admit in their lyrics that a lot of education's benefits are delayed or indirect.  When you learn a trade, you typically learn one or more skills that make you employable right away.  The benefits of interpreting poems, reading about the Renaissance, and learning that hydrogen and helium are core components of stars, however, don't usually translate as directly into gainful employment.  Nevertheless, you become more well-rounded as a result--and can shape that realization into a blog post nearly 40 years later.

Rhythmic synchronicity

Hearing Cheryl Dilcher's song, "Together," on the "KSHE Klassics" stream today got me thinking.  Kool & The Gang isn't an album rock group, but rhythmically, "Jungle Boogie" would flow into "Together" better than any other non-album rock song I can think of. 

Among album rock tracks, Dennis Coffey & His Detroit Guitar Band's "Taurus" would be a compatible lead-in, as well.

I'm guessing that the cross-categorical vocals and instrumental backing of "Together" sounded--or, at least, should have sounded--fresh to listeners in 1974.  They still deserve their due today.

Context? CXCV

I'm sure that returning to the airwaves after having a serious bout of Covid is no easy adjustment.  As one such DJ joked on-air Thursday, "I wasn't even facin' the microphone.  That's how out of practice I am."

I could still hear her clearly, however, and she picked out some fun, eclectic music for her station.  If a threatening virus doesn't entitle you to some slack, what does?

Context? CXCIV

This morning, I heard a radio talk show host say a reporter was "doing yeoman's work" by filling in for a regular employee.

"There's a phrase you don't hear every day," I thought.  "That's an interesting way to tell people on-air that their work is valuable--and underappreciated."

Online radio sampler highlights CLXXX

Ten Thursday morning highlights:

KKBB (Bakersfield, CA)

• Upside Down-Diana Ross (Of Ross's uptempo hits, this strikes me as her most enduring and endearing.  It's hard to believe 42 years have passed since it topped the charts.)

KMMS (Bozeman, MT)

• Waiting For The Sun-The Jayhawks (Eight years into this blog, it surprises me that I haven't reviewed this tune previously.  Back when our former AAA station, WVRV, played this, I always used to let it play in its entirety.  No matter how many times I heard it, the vocal harmony on the "waiting for" part of the chorus always got my attention.  Even if singer-songwriter music isn't your genre, how could anyone not respect how well-structured and sung this tune is?)

KNCJ (Reno, NV)

• Ren Guang: Silver Clouds Chasing The Moon (Jie Chen, piano) (Chen conveys the hint of the chase and the chase itself effectively.  Moments of trilling delicacy are interspersed with more assertive, energetic passages.)

WGMC (Rochester, NY)

• September Morn-Freddy Cole (Cole's voice, which resonates with life experience, shows how well this Neil Diamond hit works in a jazz combo arrangement.  Kudos to WGMC for welcoming September this way.)
• September-Philippe Saisse Trio (I honored the dawn of September with my requisite playing of Earth, Wind & Fire's infectious hit a while ago.  I'm impressed that Saisse and company honor the song's spirit so faithfully in their piano-centered instrumental cover.)
• Funky Girl-Akiko Tsuruga (Until this morning, I'd never heard this artist.  Now that I've heard how much she sounds like Jimmy Smith playing the organ, I'm inclined to seek out more of her music.)
  

WRIR (Richmond, VA)

• Running Back-Cheekface (For indie rock singers, perfect intonation isn't always necessary.  If you've got a strong enough rhythm section maintaining a strong enough groove, that sometimes suffices.  I'd be curious to hear Field Music cover this.)
• Fortress-Thee Oh Sees (If the manic propulsion of the guitar and drums doesn't make you want to get on a bike and pedal furiously until at least one pedal falls off, maybe you're just indifferent to this tune.)
• Ghost Dance-Truett and George (How Santo & Johnny might have sounded doing some freewheeling guitar improv.)

WSUM (Madison, WI)

• Falling-Here We Go Magic (Sometimes, it pays to listen to just one more song.  I was originally going to cap this review at nine selections but then thought, "Nah...Let's go for an even 10 and see what else is out there."  I'm glad I did because I would have missed out on this life-affirming, jangly guitar-and-vocals track otherwise.  Rhythmically, this reminds me of Cake's "Short Skirt/Long Jacket" and "Rotten World Blues" by Eels.)