An overlooked cover tune CXXIV

I've raved previously about the Bill Withers tune, "Use Me."  Vocally and instrumentally, everything clicks infectiously, and his original version is the best one.

Fred Wesley And The J.B.s covered it impressively, though.  The occasional vocals on the chorus punctuate the tune appropriately, and Wesley carries the melody compellingly on trombone.  That's no surprise, however, considering his work with James Brown.

Stingray Music highlights CVI

Saturday morning standouts:

Bluegrass 

• Eighth Of January-Rhonda Vincent (Impressively dexterous pickin'.)
  

The Blues 

• Jumpin' In The Morning-Deacon John Moore (Moore's voice and energy level remind me of Louis Jordan.)

Cocktail Lounge

• Happy Flutes-Johnny Scott (Appropriate underscoring for strolling in a park with no worries.)

Cool Jazz

• Reflective Current-Behn Gillece (A friendly reminder that I should listen to more mellow vibraphone tunes.)

Folk Roots

• Restless For Awhile-Annalivia featuring Aoife O'Donovan (Movingly sung and played.  I'm primed to like this type of acoustic tune.  It has a lot going for it--thoughtful lyrics, well-matched vocal harmonies, and appropriately reflective guitar and violin accompaniment.)

Latin Lounge

• Fiesta-Gato Barbieri (This instrumental has a well-maintained carnival vibe, thanks to Barbieri's saxophone playing and his rhythm section.)

Motown

• Keep An Eye-Gladys Knight & The Pips (When I think of Knight's music, her ballads usually come to mind first.  "Keep An Eye" reminded me how appealing her more uptempo work is, as well.  It helps that this tune brought to mind Eddie Floyd's "Knock On Wood.")

Smooth Jazz

• Revival-Brendan Rothwell (This pleasant guitar track could segue with J.S. Floyd's version of America's "Tin Man.")

Persistent earworm alert CCXCIX

Earlier this month, I thought I'd scored a good discount on a Greek salad.  Almost immediately after eating it, though, my stomach started feeling turbulent.  Thoughts of listeria and salmonella loomed large for hours.

The other thing that loomed large, appropriately, was Crowded House's tune, "Everything Is Good For You."

"Everything is good for you if it doesn't kill you," indeed.  Ordinarily, lettuce, tomatoes, olives, onions, and feta cheese are a pretty healthy combination.  On that day, however...

Stingray Music highlights CV

Noteworthy selections heard this morning:

Bluegrass

• Mollie & Julie's Reel-The Special Consensus (This instrumental fuses bluegrass and Celtic styles compellingly.) 

Canadian Indie

• As Much As I Can-girlpuppy (Endearingly sung direct sentiments acknowledging that sometimes, you can still love those with whom you have major differences.  The vocals are partially submerged under the instrumentation, but that's not a detriment when the rhythm is this solid.)

Classic Masters

• Ludwig van Beethoven: Piano Concerto No. 5 in E-flat major, Op. 73, "Emperor" (Cleveland Orchestra/George Szell, conductor; Leon Fleisher, piano) (Fleisher plays deftly executed trills and delicate passages with equal ease.)

Cool Jazz

• Mona's Mood-Blue Mitchell (Mitchell's trumpet tone was consistently warm and resonant.  His discography deserves considerably more air time than it generally gets.)
• Worrisome Heart-Melody Gardot (Gardot's vocals show the depth and understanding of a much older torch singer.) 

Everything '80s 

• Never Gonna Give You Up-Rick Astley (Admittedly, not every song has to be overly cerebral.  Sometimes, it's all about how catchy a song is and how well it stands up to repeated listening.  Several years ago, my brother heard kids on the street who wouldn't have been alive when the song was a hit singing it.  That--and the phenomenon of "Rickrolling"--show how a well-crafted 1988 pop hit has held up.  I'm curious to know who remembers Astley's similar follow-up hit, "Together Forever.")

Jazz Masters

• Willow Weep For Me-Thelonious Monk & Milt Jackson (The piano and vibraphone coalesce compellingly.  I'm close to declaring that there are no bad versions of this song.)
  

New Age

• Music For A Found Harmonium-Penguin Cafe Orchestra (This instrumental is a crafty blend of Classical and new age styles, reminding me of  Runa's "Dance In The Graveyard" melody.)

Stingray Music highlights CIV

Tuesday and Wednesday highlights:

Alt Rock Classics 

• If I Could Talk I'd Tell You-The Lemonheads (The immediately accessible A major power pop guitar riff is so tuneful that the lyrics are almost beside the point.  The whistling is a bonus.)
  

Chamber Music

• Frederic Chopin: Piano Sonata No. 3 in B minor, Op. 58 (Charles Richard-Hamelin, piano) (Lyrical and intense, with glissandos approximating a waterfall.)

Cocktail Lounge

• Soft Memories-James Clarke (The trumpeter's tone reminds me of Chet Baker, making this fit for a late night instrumental playlist.)
  

Folk Roots

• American Tune-Shawn Colvin (Colvin's vocal range is ideal for covering one of Paul Simon's best solo efforts.)
• The Middle (Acoustic)-Caroline Spence (A quiet, sincere cover of the Jimmy Eat World song.)
  

Indie Classics

• Weissensee-Neu! (One of the best uses of a wah pedal on guitar that I've heard.)

Jazz Now

• I Miss You-Gretchen Parlato & Lionel Loueke (Recasting this 1985 Klymaxx hit with breathy vocals, guitar, and a calypso flavor made me appreciate the tune more than I did way back when.) 
• Memories-Bireli Lagrene (This warm guitar piece is ideal underscoring for a sunset.)
  

Motown

• Walk In The Night-Jr. Walker & The All-Stars (Strong synchronicity between the backing vocals and saxophone.)

Smooth Jazz

• Keepin' It Real-Joe McBride & The Texas Rhythm Club (If you're up for two back-to-back smooth jazz piano tunes, Freddie Ravel's "Sunny Side Up" would sound good before this.)

In memory of Harry Belafonte

The world lost a distinguished talent today in Harry Belafonte.  His voice made sentimental laments sound all the more poignant, lyrics about societal flaws all the more resonant, and Christmas favorites all the more moving.  These are six of his best songs, in my opinion:

• Don't Ever Love Me (I was pleased that WRTH played this in the early '00s.  Things don't pan out for the couple in this song, but what a song.  I feel for both of them, as their heartbreak is clearly draining.  Despite the sadness of the lyrics, it's difficult to resist singing along with the chorus's compelling vocal harmonies.)
• I Heard The Bells On Christmas Day (Thought-provoking lyrics sung with the necessary gravity; in an increasingly divided society where acts of cruelty and violence are all too common, this carol, unfortunately, is uncomfortably timely.)
• Jamaica Farewell (More trying lyrics about having to leave one's beloved behind.  "Jamaica Farewell"'s feel is similar to "Don't Ever Love Me.")
• Jump In The Line (Belafonte's best songs are largely slow to midtempo, thoughtful ones, but this fun, fast tune is an exception.)
• Mary's Boy Child (Belafonte's rich voice delivers the definitive version of this Christmas standard.)
• Turn The World Around (A standout "Muppet Show" performance, with a positive reminder about how we're all interconnected.)
  

Stingray Music highlights CIII

Monday afternoon standouts heard through U-verse:

Adult Alternative

• Miles And Miles-The Heavy Heavy (Ideal driving vocals and guitar for hitting the open road.) 

Big Band

• I've Got The World On A String-Coleman Hawkins (A classy, fanciful arrangement.  I wish I'd played this on WEW.)

Bluegrass

• Any Stretch Of Blacktop-Nu-Blu (The banjo, fiddle, and vocals maintain an engaging, energetic momentum.  That's appropriate for lyrics about getting back to one's significant other as soon as possible.)

Cool Jazz

• Ao-Larry Carlton & Tak Matsumoto (This is one of the most appealing smooth jazz guitar riffs I've heard in a while.)
  

Easy Listening

• Morning Has Broken-Anthony Ventura Orchestra (Best known to many listeners in its Cat Stevens rendition, the tune translates easily to a strings-and-flute arrangement.) 

Folk Roots

• Odyssey-The Accidentals (A captivating blend of voices.  These aren't the most comforting lyrics, but they're appropriate for situations that require courage.) 

Jazz Latino

• Que Lindas Son-Mongo Santamaria (A fun midtempo stew of trumpet, piano, and percussion fit for novice dancers getting their feet wet.)

Jazz Masters

• Bewitched, Bothered And Bewildered-Paul Desmond (Desmond's warm saxophone tone suits this standard well.  The Charlie Watts Quintet also recorded an excellent version of this standard with Bernard Fowler.)

Jukebox Oldies

• It Doesn't Matter Anymore-Buddy Holly (This deceptively cheery-sounding hit about a breakup says all it needs to say in just two minutes.  Holly pulls off singing in two registers, and I hear his influence on Marshall Crenshaw in a way I haven't before.)
  

New Age

• Bradley's Dream-Liz Story (Story's piano playing in the key of G is among the most melodic material this genre offers.  In fact, Story's entire "Solid Colors" album is one of the best, most consistent new age albums.)

Retro R&B

• Leaving Here-Eddie Holland (Considering the song's energy, horn backing, and solid vocals, it appeared that all the ingredients were there for a Motown hit in 1963.  It's puzzling that this tune didn't have more commercial success.)
  

World Carnival

• Chimuguri Utasha-Miyazawa (The steady, hypnotic beat and vocals drew me in.  Conceivably, on a multi-format station, Fleetwood Mac's "World Turning" could segue with this.)

Context? CCXXXV

Decades ago, I heard a radio commercial in which someone claiming to have clogged nasal passages said, "I happen to have a cold. My nose is incapacitated."

Perhaps the advertised cough drops would have offered him relief.  His snooty tone and emphasis on the words "I" and "My," however, made me hope he had to wait at least a day before finding them at any store.

Persistent earworm alert CCXCVIII

The intro of Alan Parsons Project's "Games People Play" has prefaced a lot of my turbulent thoughts in recent weeks.  I'm sure I'm not the only one who hears that pensive intro before the vocals during stressful times.

Online radio sampler highlights CC

Six Friday morning highlights:

KBYU (Provo, UT)

• John Dowland: Almande (Paul O'Dette, lute) (Lutes are frequently associated with festive, lighthearted music, but this is a serious, downcast piece, played with appropriate subtlety.)

KILR (Estherville, IA)

• Smoky Mountain Rain-Ronnie Milsap (As I've aged, I've started to appreciate some country crossover tracks such as this.  It helps that there's a bit of a Glen Campbell quality in Milsap's music that ages well.  Also recommended: "Any Day Now.")

KUVO (Denver, CO)

• Tea For Two-Erroll Garner (In the wrong hands, this melody runs the risk of sounding too precious.  Luckily, this version is in the right hands; Garner and his combo give this tune more of a kick on piano, guitar, and percussion than I'm used to hearing.)

WCBY (Cheboygan, MI)

• Daydream Believer-Anne Murray (Murray's voice suits this cover of the much-played Monkees hit well, striking the right balance between confidence and starry-eyed idealism.)

WJCU (University Heights, OH)

• Feeling Like Myself Again-Lowland Hum (Cautiously encouraging lyrics for someone snapping out of a deep blue funk.)

WLXR (La Crosse, WI)

• Walk Away Renee-The Left Banke (One of the best-written, best-sung, and best-structured songs about a relationship falling apart.  For many listeners, however, it eclipses the group's other quality tunes, such as "She May Call You Up Tonight," "I've Got Something On My Mind," and "Barterers And Their Wives.")

"Track #1? Again?"

I'm not sure what to make of this.  One recent day, the CD player skipped past the first track on three CDs.  It works fine now, but I wonder if it was the machine's way of saying, "Starting with track one, which is usually the most accessible track, is so pedestrian  Delve deeper."

No one told me that CD players sometimes become hipster record store clerks for a day.

Context? CCXXXIV

During a fund raising drive today, a DJ appealed to the consciences of those who listen but don't pledge any money.  She said doing that is like being the person who doesn't contribute to a group project.

I thought, "That's a valid comparison.  However, not everyone can afford to contribute, and your station is broadcasting its programming for free, so..."

What if you're a former contributor who hasn't been able to spare money for the station in recent years?  Would the DJ say you shouldn't listen or should listen only sparingly?

A not so joyful noise

Yesterday, I received an email from The Bach Society Of St. Louis about upcoming chorus auditions.  I'm flattered to be asked, but I can't sing.  Actually, I can sing, but only partially on-key in a very narrow range.  As much as I'd like to join the chorus in belting out "Jesu, Joy Of Man's Desiring" or "Sussex Carol," I can't do them justice--unless the choral director and chorus are willing to settle for really imperfect pitch.

I heard the ice cream was tempting...

...I just wish I could have tasted it.  There was an ice cream store I wanted to try in the '80s.  It was fairly short-lived, as it had limited hours, and sometimes, it was closed during its posted business hours.

The radio jingle, "Go to Ice Blast* for a sundae.  Go to Ice Blast* for a shake," made it sound appealing.  However, after never being able to actually set foot in the store, I thought the jingle should have been, "Go to Ice Blast* just in theory.  Who knows why the doors are locked?"

*To clarify, Ice Blast wasn't the store's real name.

SiriusXM highlights CXXXIII

Sunday morning standouts:

Acoustic Guitar Instrumentals

• Homecoming-Andrew Gialanella (Largely welcoming guitar with a dash of pensiveness.) 

The Bridge

• Wake Up Sunshine-Chicago (A fun pick-me-up and one of many highlights from the "Chicago II" album.  The concluding horn part is a smart way to greet the day and leave the listener wanting more.  I'd segue James Taylor's "Sunny Skies" with this.)

Chill

• Dreamcatcher-Vanilla (Techno fit for wandering through the woods while playing a flute.)

Chucho Valdes' Cuba & Beyond

• Moane-Chucho Valdes (Elegant, contemplative piano.)
• Pianolo-Perez Prado (What percolating ingredients make this tune simmer?  The piano, the horns, the percussion--everything, really.)

H.U.R. Voices

• Love's In Need Of Love Today-Stevie Wonder (One of about 5,000--or so it seems--standout tracks from the "Songs In The Key Of Life" album.  If you welcome these idealistic lyrics, you might also like Wonder's "Saturn."  Speaking of Stevie Wonder...)

Luna

• Don't You Worry 'Bout A Thing-Tito Puente (...Rhythmically, the original version is one of Stevie Wonder's best efforts.  It translates naturally into a strong vibraphone-and-horns arrangement.)

No Shoes Radio

• Toes-Norah Jones (This is one of the best-sung tunes about hesitation I've ever heard.)

Siriusly Sinatra

• There Will Never Be Another You-Eliane Elias (Elias's vocals and piano playing on this standard are inviting, as usual.  The trumpet and guitar add to the assured atmosphere.)
  

SiriusXMU

• Don't Fade Away-Beach Fossils (This March release has an '80s throwback feel in its vocals and instrumentation.  The Cure came to mind as I listened.)

SiriusXMU Discovery

• Outer Banks-Tanlines (An appealing new track with '80s elements and honest lyrics about not knowing why a connection didn't pan out.)
• Angeles-Shannon Lay (A strong vocals-and-acoustic-guitar cover of an Elliott Smith song.  As independent-minded as we might like to think we are, these lyrics remind us that our locale and the people around us influence our decisions more than we might admit.)
  

Priorities in the right place VIII

How most people likely react to a heavy thunderstorm: "Quick!  Move away from the windows!  Find a flashlight in case the power goes out!"

How I reacted this morning to a heavy thunderstorm: "Quick!  Put on Fleetwood Mac's 'Hypnotized,' to match the eerie atmosphere outside!"

I'm nothing if not practical.

No misunderstanding here

When conducting music surveys in high school, there was always one song no one disliked.  No matter who I asked or how often I asked, no one ever gave "Misunderstanding" by Genesis lower than a B grade.  Typically, most respondents gave it an A or A-.

I suspect that's partially due to its accessible rhythm, which brings to mind Sly & The Family Stone's "Hot Fun In The Summertime."

I also suspect it's because people sympathize and empathize with the protagonist being stood up.

In any case, it was good to see quality lyrics, vocals, and instrumentation receive their due consistently.

FM dial scan highlights CCXIII

Five of the better songs I've heard in recent days:

KDHX 88.1 FM

• Borrow Trouble-Feist ("One Evening" is still my favorite Feist song, but the lyrics of this new single should resonate for most listeners, at least occasionally.)
• Tower Of Babel-Natalie Merchant ("Confused" is perhaps a too genteel way of putting it, but this new track accurately calls out how polarized our country is.)

WSIE 88.7 FM

• Searching-Roy Ayers Ubiquity (A laid-back vocal groove with 1976-style trumpet punctuation.)
• Brazilian Love Affair-George Duke (Well done vocals with a strong undercurrent of bass.)

KCLC 89.1 FM

• After Midnight-Phoenix featuring Clairo (An appealingly energetic rhythm.  It's good to hear Clairo soften the vocals on this alternate version.)
  

"So, are you nonchalant or about to combust?"

A '90s memory: I didn't know I was going to be running the board for a weekly live radio program until about an hour before it started.  I'd never heard the show before, so I was a tad apprehensive.  It puzzled me when the host of the show, upon meeting me, asked, "Are you a nervous type?  You don't seem like a nervous type."

I let the host's question hang in the air.  I figured the answer would be apparent once the show started.

"Why this artist warrants your ears..."

Recently, I heard a DJ tout the musical impressiveness of a Donald Byrd track and of Byrd's music in general.  She went into more detail than announcers usually do, citing other standout tracks on an album and noting the top chart positions reached.

While it's impractical to elaborate on-air for every artist that way, it's worth doing when it's feasible.  When an artist's musicianship warrants accolades, why not trumpet them?

Context? CCXXXIII

Radio back announcing heard recently: "After that one record, the band broke up and was never heard from again." 

As the DJ's outro indicated, it's not easy to make a living as a musician.  In a way, it must be even tougher if you have fleeting success and don't recapture the magic that led to it.

Persistent (Easter) earworm alert CCXCVII

I always look forward to seeing the movie, "Godspell," annually.  However, I side with those who think the song, "We Beseech Thee," from the stage production should have been in the film.  The opening piano melody, echoed on guitar, draws me in every time, and there's so much spirit and carefree joy in the vocals.  It would have been a welcome inclusion, even if shoehorned in, for a film already full of great music.

Happy Easter to everyone who celebrates it.

A percussive declaration

I've heard multiple takes on the gospel song, "Amen," including excellent renditions by The Neville Brothers and Otis Redding.  After hearing The Impressions sing it recently, one particular aspect of it intrigues me.  Their version owes a lot to the drum pattern, which sounds nearly militaristic but spirited throughout.  

That's a sound way of closing a prayer with conviction.

An overlooked cover tune CXXIII

As much as I like Sting's version of "It's Probably Me," Gregory Porter also sings it with appropriate gravity and rumination.  When he sings that he would lay down his life, I don't doubt him for a second.  Thanks to WSIE for reminding me Sunday how strong Porter's rendition is.

Context? CCXXXII

Wednesday afternoon, as a radio talk show's bumper music, "Changes" by Yes, played, one of the co-hosts offered his spouse's candid assessment.

"My wife would call this hobbit music," he said.

To each, her own.  Fit for hobbits or not, I still think "Changes" has one of the more ear-catching opening melodies that I'd like to learn on the xylophone.

Context? CCXXXI

Sunday, I heard a DJ give his audience an incentive you'd never hear on commercial radio. 

"More banjo classics in a minute," he promised.

Underscoring for tidying up

I had put on The Mills Brothers, intending to hear them as a fitting prelude to Easter.  The first track on their "Hymns We Love" CD, however, served an added purpose during a recent Spring cleaning binge.  When you're sorting items into recycle and toss categories, how could you not appreciate the appropriateness of the hymn, "Brighten The Corner Where You Are?"

Context? CCXXX

Heard during a radio station pledge drive Sunday: "...Or go online (to pledge your support.)  That way, you won't have to talk to anyone."

That's a considerate nod to recluses in the station's audience.  I wonder how many people don't pledge their support because they don't like talking on the phone.

Stormy weather music

I hadn't put on Claude Debussy's "Nocturnes" to underscore Friday's storm while I slept, but that's how it worked out.  By chance, the movements coincided with the gathering of storm clouds, the storm's gathering intensity, and its eventual departure.

I've always liked that piece, especially its second movement, but since Friday night, I've had an even greater appreciation for its soundtrack qualities.

Opening Day grandiosity

There was nothing wrong with the heroic music itself.  When played under the reading of the starting lineups during Thursday's baseball home opener, though, it was a little much.  I kept thinking, "I don't question that the Cardinals or Blue Jays are professional caliber teams.  This music, however, suggests that the players will take up swords and duel each other to the death."

Fortunately, there were no casualties.