Context? CCXXIV

Someone once told me that she "played the violin, or I guess it was actually the viola" in school but didn't stay with it.

If you're not sure what instrument you're playing, it's probably best to pursue another hobby.

The foot-biting default option XXIII

Preston "Red" Foster's song, "Got My Mojo Working," is generally best known to blues listeners in its Muddy Waters incarnation.  As acclaimed as it is, I got concerned when my cat, Collette, sang her own lyrics to it Saturday morning.  She bit my feet with each step I took across the living room.  All the while, she belted out, "Got my sharp teeth bitin', and your feet will feel them, too!"

I'll admit that I admired Collette's timing and coordination, but my feet and I will only tolerate so much biting...

...Or, so I kid myself.

Context? CCXXIII

If you work at any radio station with a music format long enough, you'll get these types of calls at least occasionally:

DJ: (Name of station.)

Caller: Yes, would you know the title and artist of a song I heard?

DJ: You heard it on this station?

Caller: Yes, about a week ago--or maybe more like two weeks ago.

DJ: Are you able to narrow it down?  Was it a vocal or instrumental?

Caller: It had words.

DJ: Do you remember any lyrics from it?

Caller: No, not offhand.  I just know I liked it.  I also think there was a guitar in it...a saxophone, too--or maybe a trumpet.

DJ: Um, well...

I'm sure this happens less frequently than it used to, thanks to posted playlists, but I don't doubt that it still happens.

A petty fixation XXIII

Nothing says I have to put one of my favorite 45s in its sleeve a certain way, but I've stuck to this routine for over 40 years: Whenever I put Herb Alpert's "Route 101" back in its sleeve, I always tilt the record to the left so the title and artist align with the sleeve's A&M Records logo.  That's the way I received it decades ago, and it just looks wrong any other way.

On a completely unrelated note, I was originally going to title this post, "Obsessive compulsive much?"

A petty fixation XXII

Virtually anyone listening to the ring tone I heard from someone's phone today probably wouldn't have thought anything of it.

I, however, immediately thought, "Interesting.  That's the same chord sequence used in Hellcat Bloom's 'Valley Eyes' but played on guitar.  That's a bit of trivia I can't really share with anyone..."

...except my blog readers.

The allure of shuffle mode XXVII

One tastefully played easy listening piano performance deserves another.  This morning, iTunes shuffle mode paired Beegie Adair's version of "Begin The Beguine" with "On Eagle's Wings" by Thomas Jones.  In both cases, the artists embellish their respective pieces without compromising their melodies and rushing their tempos.  It's also a smooth segue from a secular piece to a sacred one.

The non-foot-biting default option

My cat, Collette, has been unusually reluctant to bite my feet this morning.  That's probably because she senses the thunderstorm we're likely to get today.  Her kinder, gentler behavior has rubbed off on me.  A little while ago, she started scratching the back door.  Ordinarily, I'd admonish her or pick her up and put her by the scratching post.  Today, however, I sang to the tune of "Jimmy Mack" by Martha & The Vandellas, "Kitty!  Kitty!  Oh, kitty cat, why are you doing that?"

I'd like to think my unorthodox reaction worked.  Collette stopped scratching the back door--eventually.

Context? CCXXII

Today, I awoke from a dream in which I'd attended a KNJZ staff meeting in the mid '90s.  However, in the dream, everyone at the meeting was from my current company, which isn't a radio station.

I'm still not sure what to make of that.  Subconsciously, I suspect I wanted that smooth jazz format to last longer than it did in this market.

Persistent earworm alert CCXCIII

In 1964, a vocal duo pulled off an interesting feat.  If I'd only read the lyrics of "A World Without Love" without ever hearing the music, I'd expect a tune that's decidedly melancholy.  I'd be wrong to assume that, though, because Peter And Gordon sing it with matter-of-fact confidence that makes the tune unexpectedly palatable and even pleasant.  

I'm glad that oldie is on my mind today.  A breezy tune trumps an overwrought one, in my opinion, regardless of my mood.

FM dial scan highlights CCIX

 Five Sunday standouts:

KDHX 88.1 FM

• Under The Chestnut Tree-Seamus Egan (This is yet another contemplative gem of an acoustic tune from multi-instrumentalist Egan.  Also recommended: Everything on Egan's "When Juniper Sleeps" CD, especially "Masons Apron/My Love Is In America" and "Along The Way.")

WSIE 88.7 FM

• New Bossa-Les Sabler (A steady breeze of smooth jazz guitar.)
• Love Won't Let You Down-Swing Out Sister (Appealing vocals, as usual, that fall somewhere between Basia and '60s R&B.  I'm pleased that WSIE plays tracks from the group's "Where Our Love Grows" CD.  Also recommended: "Let The Stars Shine.")

KWMU 90.7 FM

• Alone Together-Christian McBride with Hank Jones (A strong melody that pops for bass and piano.)

KSHE 94.7 FM

• Let's Live For Today-The Grass Roots (For your daily dose of 1967 hedonism...)
  

Context? CCXXI

Earlier this week, a radio talk show host said she knew someone who said, "At my age, I've earned the right to be uninformed.  I don't watch the news..."

I wish I'd heard what came before and after that statement.  Out of context, my gut reaction was, "That ill-informed person certainly isn't required to keep up with the news, but deliberately tuning it out to that degree is generally ill-advised--and best left unsaid."

Staying on point for 30 years

It's unusual for most commercial radio stations to have the same format and call letters for 30 years.  As of today, however, St. Louis's modern rock station, KPNT 105.7 FM, has stayed the course all that time.

When 105-7 The Point debuted 30 years ago today, I didn't expect it to last three decades.  Given the ever-changing nature of the format and its audience, I thought that the station would have changed formats by now.  To its credit, it didn't.  In honor of The Point's longevity, here are five of the best songs I've heard on KPNT and its Pointessential CDs:

• How Do You Feel About That?-Ken Kase (This is one of the most tuneful ways I've heard to tell someone, "I used to love you, but now, you drive me crazy."  Tempered exasperation is tricky to pull off in a song, but Kase does it successfully here.)
• Philosophy Machine-The Groupers (This is more acoustic and folk rock-ish than much of what I've heard on The Point.  It's unusual to hear a strong introspective tune that's played and sung this fast, but this St. Louis band pulls it off.  "Philosophy Machine" contains one of my favorite choruses, "I've been walkin' by myself.  I've been talkin' to myself--to an audience of one, who would rather be at home."  Kudos to KPNT for playing this back in the day.)
• Shine-Liberty Horses (I first heard this during Les Aaron's "New Music Sunday" show in early 1994.  I've listened to it as a pick-me-up many times since then.  For days when you're loving life, "Shine" reflects that mood.  On days when your mood is more downcast, the band's "King Of A Rainy Country" might match your outlook; it might also remind you of XTC's more accessible songs.)
• The Symmetry-Erik Voeks (After playing "Throw Me Out A Line" on KCOU a year or so before hearing this, I figured Voeks had a promising future.  This is a highlight of a strong power pop CD, "Sandbox."  With vocals and jangling guitar playing like this, Voeks should have had more national acclaim.)
• This Is Why-Paramore (After highlighting four songs from the '90s, it feels right to praise a more recent standout.  This title track from Paramore's February 10 release establishes a commanding groove from the first note.  In addition to a tight, catchy chorus, the lyrics make a convincing case for being a recluse who mostly abstains from social media.)

Congratulations to The Point for surviving 30 years.  In a fickle media landscape of constantly shifting trends and attention spans, three decades of success is quite an achievement.

Online radio sampler highlights CXCV

Eight standout songs heard today:

KFSL (Fossil, OR)

• Find My Way Back To My Heart-Alison Krauss & Union Station (Krauss consistently conveys just the right amount of sadness when singing about heartbreak.)

KMMS (Bozeman, MT)

• When The World Is Running Down, You Make The Best Of What's Still Around-The Police (I still think this is one of the band's best driving rhythms.  Lyrically, its chorus conveys one of life's accurate truisms.  This is arguably the group's best track, in my opinion.)

KRUI (Iowa City, IA) 

• Evergreen-Renata Zeiguer (The production gloss serves these high-pitched vocals well.  This indie rock tune captures the feeling of wandering through the woods and appreciating nature effectively.)

WAJH (Birmingham, AL)

• He's Gone Away-Five Plus Six (A first-rate contemplative, trumpet-driven instrumental rendering of this folk tune.  It's a tasteful elegy for bassist Charlie Haden, who recorded the tune with Pat Metheny.)

WDCB (Chicago, IL)

• Keep On Keeping On (Live)-Ahmad Jamal (A kickin' piano groove.)

WTUL (New Orleans, LA)

• Comfortably Numb-The Bad Plus joined by Wendy Lewis (This is a creative way to cover this much-played Pink Floyd tune.  Lewis's voice reminds me somewhat of Suzanne Vega.  It's interesting hearing such vocals juxtaposed against piano glissandos that, in a new age piece, might be used to conjure up images of waterfalls.  I'm not surprised that The Bad Plus pulls off this unlikely blend, given the group's strong cover of Rush's "Tom Sawyer.")

WZRD (Chicago, IL)

• Ain't No Stoppin' Us Now (Live)-Poi Dog Pondering (I'm still trying to wrap my mind around this unexpected cover.  Poi Dog Pondering?  The rock band I enjoyed playing on KCOU in the early '90s, thanks to "Postcard From A Dream (Toast And Jelly)," "U Li La Lu," and "Be The One?"  That band covered the McFadden & Whitehead R&B dance anthem?  Yes--with impressive zest.)
• Change The World-Lettuce (This strong funk groove reminds me of Tower Of Power's peak in the '70s.  T.O.P.'s "Only So Much Oil In The Ground" could segue with this.)

The allure of shuffle mode XXVI

Bravo to iTunes for pairing two uplifting songs in my music library yesterday.  Shuffle mode had me listening to a live version of "Happy Feelings" by Maze featuring Frankie Beverly.  Once the applause faded, the happy feelings continued with The Nineteenth Whole's version of "You Caught Me Smilin' Again."

Talk about back to back mood lifters...

An overlooked cover tune CXXII

Generally, when I hear any vocal or instrumental version of "The Way You Look Tonight," I expect it to be on the slower side.  It just makes sense to let the ambience of the tune linger, especially when the lyrics are sung.

Carolbeth True, however, proves how well the tune works at breakneck speed.  I've never heard any other ensemble play the tune so fast, but I was sold after just one listen.  Admittedly, it's a little amusing to hear piano, bass, and drums make "...Tonight" sound like Sammy Nestico's "Pressure Cooker."  It works, though, if you're trying to convey to your girlfriend or wife, "You know you look great, and I know it, too, so let's get on with the rest of Valentine's Day.  I have a full day of activities planned, so let's go, go, go..."

Three cheers for "Raindrops..."

Among the many laudable songs Burt Bacharach composed with Hal David, "Raindrops Keep Fallin' On My Head" is at the top of that list for me.  B.J. Thomas sells it convincingly, and lyrically, it's a smart philosophy to have when times are less than stellar.

When I compiled a music survey in high school, a friend was amused when I asked him to grade "Raindrops..."  "I don't know what grade to give that," he said, laughing slightly.  "I'll give it a C, I guess."

While I still respect my friend's opinions on music, we differ on this song.  Considering how happy-go-lucky and life-affirming the tune is, I wouldn't give it lower than an A-, even when it's at odds with my mood.

Looking for the upsets

When you shine in a way you ordinarily don't, you tend to remember it.  I still recall how satisfying it was to lead my high school chemistry class once with the top test score of 95%.  During my last few years of writing and broadcasting prep sports radio reports, I did my best to look for upsets.  I thought it would be morale-boosting for players and fans to hear about their team's better-than-usual accomplishments.  It must be so satisfying for an unranked football team to defeat a top 10 team, a quarterback who doesn't play often to throw a season-high number of touchdown passes, or an overlooked player to rack up considerable rushing yardage.

It makes for an attention-getting broadcast, as well, so that was all the more reason for me to highlight unusual achievers.  There's just something satisfying about rooting for and spotlighting the underdog.

On a related note, while it has no bearing on my life, I guess I'm rooting for the Kansas City Chiefs today.

An overlooked cover tune CXXI

Most listeners who know the song "More" probably think of a vocal rendition first--Bobby Darin's, most likely.

Earlier this week, however, while listening to a Pete Fountain LP, I heard another solid rendition.  Who says a classy pop tune can't be recast as a jazz instrumental for clarinet with a walking bass line?  It's catchy enough that I'm puzzled not to have heard it at least once on any radio station.

Nailing a pastiche

I wasn't surprised when KDHX played Dionne Warwick's version of "Promises, Promises" yesterday.  That was an appropriate tribute to recently departed Burt Bacharach.  I was surprised later that afternoon, however, when I heard a tune that sounded Bacharach-inspired, especially in its trumpet line.  I would have sworn it was from the '60s, but it's actually a new release from Jonny Benavidez featuring Cold Diamond & Mink.  "Slow Down Girl" sounds so convincingly of another era--and would sound great after "The One Who Really Loves You" by Rosie & The Originals.

Talk about nailing a retro sound completely...

Context? CCXX

Yesterday, a DJ who played a rare record on the air asked if anyone in his audience had a better copy.

"If any of you have a copy of this you don't want, send it to me," he said.  "How about that?"

I'd never heard a DJ do that before.  While the record he played on-air was listenable, it was a bit scratchy.  I wonder if that direct appeal tactic will work.

Online radio sampler highlights CXCIV

Six Wednesday morning highlights:

KRSM (Minneapolis, MN)

• Out There-Willie Hutch (Appealing of-their-time vocals and strings from 1974.  The echo on the vocals helps the lyrical request for understanding and justice resonate.)

KRTU (San Antonio, TX)

• Old Time Religion-Cyrus Chestnut (Chestnut plays this rendition with an ear-catching bounce on the piano.)

WCHC (Worcester, MA)

• Get Me Away From Here, I'm Dying-Belle and Sebastian (If Nick Drake had been around in the '90s, he might have penned lyrics similar to these.  This is for idealists who don't fit in easily.)

WCRI (Block Island, RI)

• Antonin Dvorak: Carnival Overture, Op. 92 (Boston Symphony Orchestra/Seiji Ozawa, conductor) (An appropriately festive, get-up-and-go overture for listeners seeking an alternative to Rossini's "William Tell Overture.")

WUMB (Boston, MA)

• Happiness-Alison Krauss & Union Station (Sensitively sung and played lyrics about a once harmonious relationship going south.)
• Fuel The Fire-Sarah Jarosz (Lyrically, this dovetails with "Happiness" well, in a way.  WUMB didn't play these songs back to back, but after hearing "Happiness," it's good to hear Jarosz singing about finding the strength to carry on.  This is one of her more overtly bluegrass-influenced tunes.)
  

A function of age VIII

Last month, I listened to a 40-year-old edition of "American Top 40."  I enjoyed being reminded of January 1983's better hits but was humbled to realize that multiple artists were well into their hit-making years then--at much younger ages than my current age.

I felt young again, though, hearing a commercial for the new raspberry flavor of Bubblicious gum.  That was of considerable interest to me 40 years ago.  Remembering that I haven't chewed gum regularly in decades, however, made me feel old again.

It reassures me, though, that I can still enjoy the hits of Billy Joel, Kenny Loggins, Juice Newton, Dionne Warwick, and Kool & The Gang--as well as multiple raspberry-flavored foods--at any age.

Knowing one's limitations

A broadcasting school memory: The oldest, most experienced radio veteran instructor learned that all of us during his tape critique session had done rock radio shifts and that none of us had newscasts on our tapes.  He then asked another instructor, who did afternoon drive at a rock station, to trade shifts with him.  He reasoned that the younger instructor was more up on how DJs sounded in rock formats then.

I respected the older instructor's decision.  He was adept at improving newscasts and commercials, but with rock radio shifts, his suggestions were largely limited to, "It needs--something...a little more energy," or "It needs a little more, 'Hey, baby, get in the t-bird, and let's go.'"

He made the right call.  Even the most experienced broadcaster can't know the ins and outs of every format.

The allure of shuffle mode XXV

Kudos to iTunes for pairing a warm saxophone-driven instrumental with some smooth R&B vocals recently.  I hadn't thought of segueing Stanley Turrentine's "Smile" with "Stop, Look, Listen (To Your Heart)" by The Stylistics, but iTunes did--and it's a twosome suitable for Valentine's Day.

The allure of shuffle mode XXIV

What do you segue with slow, haunting vocals?  iTunes paired two songs in my music library to answer that recently.  Ever since I first heard it in the early '90s, I've thought Kerri Anderson's "Labyrinth" would be a great theme song for a murder mystery TV series or a drama about the occult.  When "Labyrinth" ended, "Strangers" by The Urge began.  The song's tempo picks up after its intro, but its gripping, scene-setting saxophone brings to mind a desolate street.  Lyrically, it would be a strong theme for a socially conscious program about resources for disadvantaged citizens.

I always like it when iTunes crafts a through line between two songs I've enjoyed separately for years.

Online radio sampler highlights CXCIII

Friday morning highlights:

KBAQ (Phoenix, AZ)

• George Frideric Handel: Water Music Suite No. 3 in G major, HWV 350 (Chamber Soloists Of Washington/Edward Carroll, conductor) (Even during the most lighthearted movements, the stately strings and winds made me sit up straight.  It felt disrespectful to the music for me to slouch.)

WKZE (Salisbury, CT)

• Louisiana Wedding Bells-Jay Ungar & Molly Mason (Endearing vocals, guitar, fiddle, and accordion.  Mason's vocals remind me of Maura Kennedy's singing with The Kennedys.)
• Woodstock-George Winston (A good rendition of the Vince Guaraldi tune, seemingly arranged for a saloon piano.)

WMCB (Greenfield, MA)

• Martha-Jefferson Airplane (I can imagine a group of friends gathering on a college quad in 1967 to sing this and strum along on their guitars.)

WMOT (Nashville, TN)

• Healing Time-Ruthie Foster (I like how resolved Foster's vocals sound.  Lyrically, this is a sound reminder that to feel better, you have to decide to feel that way first.)
• You Finally Said Something Good (When You Said Goodbye)-Teddy Thompson (It's interesting hearing Thompson sing in an old school country style.  Lyrically, the song's attitude reminds me of Nickel Creek's "Set Me Up With One Of Your Friends.")

WUCF (Orlando, FL)

• A Child Is Born-Jay Hoggard (Mellow, mellifluous vibraphone.)
• Don't Think Twice, It's All Right-Adam Moezinia (This Bob Dylan tune works well as a throbbing guitar instrumental.)
  

The allure of shuffle mode XXIII

I can't prove it, but I suspect that the iTunes shuffle mode was providing a counterpoint to Punxsutawney Phil's prediction today.  Of all the songs that come have come up on Groundhog Day, it was appropriate that Ben Watt's "Spring" was one of them.  The groundhog predicted six more weeks of Winter, but I'm clinging to Watt's lyric, "You must believe in Spring..."

Persistent earworm alert CCXCII

I know it was the title track from a film soundtrack, but I don't remember Oingo Boingo's "Weird Science" getting any radio airplay here when it was released.  Surprisingly, it was the song I heard most frequently on our former '80s station, WMLL.  To some extent, I understand it.  It sounds so overtly '80s and makes sense as a signature song for that format.  On the other hand, "Weird Science" wasn't a top 40 hit, and a lot of listeners probably reacted the way a former co-worker did.  He said, "There's so much stuff (WMLL) could be playing that's not obscure."  I had that same thought.  I didn't dislike the station, but it sounded like someone outside the St. Louis radio market programmed it.  To some degree, it was a missed opportunity--and yet, decades later, "Weird Science" has been on my mind for the past hour.