Context? CCCLIX

Years ago, a cue sheet for an "American Top 40" program I ordered had been alerted slightly.  Someone had changed "The Devil Went Down To Georgia" by The Charlie Daniels Band to "The Devil Went Down To Plains, Georgia."  Assuming it was a DJ who wrote that in the cue sheet that radio stations received, I wondered why (s)he inserted "Plains" into the title.  These possibilities came to mind:

• Plains was the DJ's hometown, and (s)he wanted to give it some recognition.
• Plains was the city in which (s)he was a DJ, and the town didn't reflect his or her sensibilities.  Thus, the tie-in with the devil visiting.
• The DJ was suggesting incorrectly that President Jimmy Carter was the devil who came from Plains, Georgia and returned there after his presidency.

My guess is that those possibilities are in descending order of likelihood.

Persistent earworm alert CCCLX

In recognition of President Jimmy Carter's passing, I'm glad that "Well May The World Go" in its Pete Seeger and Larry Long & Pete Seeger incarnations is on my mind today.  It's an impressively kindhearted outlook to have, hoping that others will enjoy their lives as much as you've enjoyed yours.  By all accounts, this was President Carter's wish for humanity before, during, and after his presidency.  In fact, it was more than just a wish; throughout his life, he worked tirelessly to make life better for people in and outside America.

Talk about someone who acted nobly and consistently on his convictions.

Persistent earworm alert CCCLIX

Sometimes, I'm thankful for an earworm because it reminds me of a similar song I like more.  For the last two days, Jump 'N The Saddle's "The Curly Shuffle" has run through my mind.  This baffles me, as it's a tribute to The Three Stooges; their style of comedy has never appealed to me, so I don't know why my subconscious mind has latched onto a tune I haven't heard in decades.

I suspect it's because the tune's throwback swing arrangement reminds me of The Guess Who's "Don't You Want Me," which would flow well into it.  Stylistically, it isn't radically different from "The Curly Shuffle," but I'd much rather hear "Don't You Want Me."

Earworms, alas, invade one's mind whenever they see fit--and they don't allow you to choose from a menu of substitutions.

Context? CCCLVIII

Sometimes, the irony of a situation is inevitable.  An NPR host knew this Thursday as he was about to take calls.  

Before putting callers on the air, he admitted, "I hate to ask people to go to the phone during a story on phone addiction, but..."

An overlooked (Christmas) cover tune CLX

During the last hour of K297BI's Christmas programming Wednesday night, Judith Lynn Stillman's "Toccata/Ding! Dong! Merrily On High" got my attention.  Her dexterity in mastering a fast piano arrangement impressed me, as did her weaving in and out of the carol's theme.  I felt like I was listening to a Chopin piano etude with "...Merrily..." interspersed cleverly.

The station played multiple Christmas selections by Stillman in a row, but that one especially made me take notice.

An overlooked (Christmas) cover tune CLIX

Thanks to the "Echoes" program on WXPN last night, I heard an endearing version of "The Holly And The Ivy" that was new to me.  Al Petteway and Amy White sound like folky new age troubadours on the track, with guitar and mandolin being played at a faster clip than many versions.  It was an interesting stylistic decision not to have vocals until the last verse, but it works.  The carol's warmth shines through in their unique arrangement.

Online radio sampler highlights CCLVI (Christmas edition)

Who doesn't have at least one Snoopy ornament on their Christmas tree, as my family did in 2005?  This ornament has the bonus of bringing to mind the excellent Vince Guaraldi tune, "Skating."

Standout Christmas morning selections:

KRCL (Salt Lake City, UT) 

• Winter Wonderland-The Count Basie Orchestra (A swingin' trumpet-led big band rendition.)
• White Christmas-Darlene Love (This version has a bounce in its step that most renditions lack.)

KSLC (Portland, OR)

• O Tannenbaum (O Christmas Tree) (Emily Mitchell, harp) (Mitchell's rendition opts for warmth over stateliness, which does the tune justice.)
• Jesu, Joy Of Man's Desiring (David Russell, guitar) (The guitar playing isn't stiff or academic, so this is a successful rendition.)
  

KWMU-2 (St. Louis, MO)

• Sleigh Ride-The John Pizzarelli Trio (This is one of the best instrumental versions of "Sleigh Ride" due to Pizzarelli playing it as a fast piano romp.)

WETA (Washington, D.C.)

• Sussex Carol (Canadian Brass) (Ordinarily, I prefer bouncier, more upbeat versions of this carol, but this slower, sleepier approach serves the carol just as well.)

WKYW (Keyser, WV)

• Wassail Song (Here We Come A-Caroling)-Joel Mabus (A melodic, music box-style guitar interpretation.  Also recommended: "The First Nowell" and "The One Horse Open Sleigh," also known as "Jingle Bells.")

WXPN-2 (Philadelphia, PA)

• Light Of The Stable-Emmylou Harris (The guitar intro draws me in every time.  The lyrics about going to see the Christ child are some of the more compelling ones I've heard.)
• Hark The Herald Angels Sing-11 Acorn Lane (If you're up for a quirky, brassier take on "Hark...," you might enjoy this fit-for-a-variety-show instrumental.)

'Tis the season to be...

...goofy, perhaps, or at least a tad uninhibited.  John Rutter's "Donkey Carol" has a knack for finding me.  I'm pretty certain that it's the carol I've heard most on our former Classical station, KFUO, and our current one, K297BI (Classic 107.3.)  Usually, it's the Clare College Choir And Orchestra version under Rutter's direction that's played.  There's a lighthearted warmth to it that I've always liked, and I have yet to hear it on any other station.  When Classic 107.3 played it this morning, I started singing along--and realized that I don't know the majority of the lyrics.  That didn't stop me, however, from substituting "La, la, la, la, la, la" when necessary.  When my cat bit my hand, I sang, "Don't bite my hand, Collette," in rhythm without missing a beat.

Following "Donkey Carol," the station played Mannheim Steamroller's version of "Bring A Torch, Jeannette, Isabella."  Despite its gentle melody played on the flute at a slower tempo than usual, Collette worked herself into a frenzy.  She attacked her scratching post, kicked her back legs maniacally, and started clutching her Cat Dancer toy for dear life.  It amused me to see such a manic display of incongruous lunacy.

Perhaps Collette wouldn't be the best music therapist.  It's refreshing for me to know, though, that both of us are comfortable embracing our goofy selves on Christmas Eve.

Persistent (Christmas) earworm alert CCCLVIII

Does The Band's "Christmas Must Be Tonight" lodging itself in my mind for the past four days mean I subconsciously want Christmas to hurry up and get here?

Actually, no.  I've always loved the Christmas season, and I'm never in any rush for it to end.  In fact, I'd be perfectly happy to prolong the buildup to it for another month.

This is the first year, however, that "Christmas Must Be Tonight" has been on my mind so often.  Even if you've only heard a smattering of other Christmas music, you've almost certainly heard the story of Christ's birth conveyed in similar terms--but not in precisely this way or set to this type of rhythm.

Although the tune hasn't been on my radar in most previous years, its easy-going folk-rock arrangement and seemingly familiar yet somehow unique sound has caught my ears this season and isn't letting them go.

An overlooked (Christmas) cover tune CLVIII

Today, I'm going back to the London Sound 70 Orchestra and Chorus Christmas compilation for observations on another unusual arrangement.  How do you differentiate your version of "God Rest Ye Merry Gentlemen?"  In this ensemble's case, you add the clopping of horse hooves to the melody, giving the carol a more percussive feel than it usually has.  For good measure, you arrange it so that the orchestra and chorus sound like they're performing a lost number from "Fiddler On The Roof" during the third and fourth verses.

Those aren't the most obvious stylistic choices for "God Rest Ye...," but I don't deny that they work.

An overlooked (Christmas) cover tune CLVII

Although I've played Chris De Burgh's "A Spaceman Came Travelling" off and on for the last 30 years, thanks to a British various artists Christmas compilation CD, I've almost never heard it on American radio. (Frankly, I wish I'd heard it more often instead of the far too frequent radio spins of "The Lady In Red" when it was a hit.)

It stands to reason, then, that Kate Rusby's cover of it from last year wouldn't get its due in the states, either.  Vocally and instrumentally, Rusby's version effectively conveys the desolation and uncertainty one might feel as an outsider in such circumstances.  Her vocal anguish is more controlled than De Burgh's, resulting in a somewhat toned down rendition without De Burgh's melodramatic flourishes during the chorus.

Credit to her for covering a tune that most artists wouldn't tackle.

SiriusXM highlights CXLV (Christmas edition)

Was there a better vantage point from which to hear Christmas music?  Rosie the cat didn't think so in December 2003.

Some of the strongest Christmas selections I've heard today:

'70s/'80s Holidays 

• Driving Home For Christmas-Chris Rea (Rea's vocal rasp suits his own tune well.  I'm glad this song has held up over the decades because it captures the warmth of the season and the desire to see one's family.  The High Kings and Michael Ball also recorded strong versions of it.)
  

Acoustic Christmas

• White Christmas-Norah Jones (Jones is in fine form vocally, as usual, leading a solid jazz combo.  There's a nice tribute to The Drifters during her "May your days, may your days, may your days..." section of the chorus.)

Cool Jazz Christmas

• Jesu, Joy Of Man's Desiring-Russ Freeman (Freeman's modest, acoustic guitar renditions of carols are among his best work.  Also recommended: Freeman's relatively quick takes on "O Come, All Ye Faithful" and "Angels We Have Heard On High.")
• The Little Drummer Boy-Ragan Whiteside (Making this tune sound jazzy, hip, and contemporary is no mean feat.  Whiteside's flute rendition of it from last year pulls it off impressively.)

Holiday Instrumentals 

• We Wish You A Merry Christmas-Booker T. & The MGs (If you like the rhythm and general vibe of "The 'In' Crowd," you'll likely enjoy the organ and guitar playing here.)
• White Christmas-Raymond Lefevre (Lush, easy listening strings and backing vocals, not unlike those on Paul Mauriat's Christmas selections.)

Holiday Pops

• Jesu, Joy Of Man's Desiring-Westminster Concert Bell Orchestra (An ideal number on which to give handbells center stage.  This particular version got my attention as it's played at the same tempo I remember "Jesu..." being played on the organ during Communion during Mass in the '80s.)

Holiday Traditions

• Silver Bells-Al Hirt (This is how Henry Mancini's orchestra and chorus might have sounded with a solo trumpeter.)
• Mary's Boy Child-The Brothers Four (Harry Belafonte's version is the definitive one, in my opinion, but this version has strong folk vocals.)

Real Jazz Holiday 

• Winter Wonderland-B3 Kings (Cool organ underpinning of a slick ensemble.)

Sleep Christmas

• It's The Most Wonderful Time Of The Year-Beegie Adair (One of the most pleasant versions I've heard.  Beegie shines on piano, as usual, and the strings add warmth and gravity.)
• In The Bleak Midwinter-Doug Hammer (Appropriately modest, solemn piano playing.)

An overlooked (Christmas) cover tune CLVI

To my knowledge, no other ensemble has approached "I Heard The Bells On Christmas Day" quite like The London Sound 70 Orchestra.  In addition to being faster than most renditions, their version sounds like a brassy theme for a coronation and, at times, like a prelude to Elton John's "Levon."  While that approach is incongruous with the tune's lyrics of despair, it somehow works musically and might leave some listeners feeling weirdly triumphant and inclined to shout, "Charge!"

Reconsidered (Christmas) merit XI

A few days ago, I almost posted my thoughts on this song as one of my "A petty fixation" screeds.  In the spirit of Christmas, however, I decided to reconfigure the post under the kinder "Reconsidered merit" banner:  That said, I've never been a fan of Elton John's "Step Into Christmas."  Admittedly, it's not essential or even advisable for all lyrics to be cerebral.  In "Step Into Christmas"'s case, however, there just isn't a lot there.  When KEZK played it a few days ago, I reacted only slightly less negatively than I did to Wham's "Last Christmas."

It isn't reasonable to expect a lighthearted Christmas song to sound like John's most poignant album tracks, such as "Funeral For A Friend," "Come Down In Time," or "Where To Now, St. Peter?"  Still, I grit my teeth whenever I hear the opening verse, "Welcome to my Christmas song..."  To me, that's a hallmark of a song that sounds like it was written in five minutes.

I imagine that most listeners who like the tune are drawn in by its energy and its rhythm, which doesn't leave one's mind easily.  In that light, I can understand the tune's popularity a little more easily--but I still won't seek it out.

An overlooked (Christmas) cover tune CLV

Regardless of whether it's sung or played, a successful version of "Ding Dong Merrily On High" needs to be lighthearted and spirited.  It's appropriate for "Coventry Carol" to be somewhat leaden, but it's the antithesis of "Ding..."'s spirit.

Maddy Prior & The Carnival Band understood this, as their live version has Prior nailing vocals that aren't the easiest to master over an appropriate accompaniment of bells.  Prior's asides to the audience and the crowd's enthusiastic reception also help make this the most engaging rendition I've heard.

The allure of shuffle mode LXVI

How do you transition from a stately Christmas instrumental to a more free-spirited one?  iTunes shuffle mode accomplished this with two tracks from my library this morning.  By pairing Philadelphia Brass Ensemble's version of "O Little Town Of Bethlehem" with Two Times True's rendition of "Away In A Manger," the transition flows gracefully.  An authoritative version of one carol segues into Carolbeth True's piano-led carol, with modest embellishments at first but putting its own stamp on things when the bossa nova beat kicks in.

A Classical brass piece to a jazz/bossa nova transition doesn't have to be a train wreck.  In this instance, it's plausible to mix and match genres.

An overlooked (Christmas) cover tune CLIV

Because of its overly simple lyrics, I usually prefer hearing "Jingle Bells" as an instrumental.  Tommy Emmanuel recorded one of the stronger versions I've heard lately.  His approach to it on the guitar is fit for ambling or even skipping down a country lane.  

In fact, there's a general consistency in all 12 tracks on Emmanuel's "All I Want For Christmas" CD that's worth experiencing straight through.

Context? CCCLVII

I only heard a radio show host say two sentences this morning, but I suspect I know what he was implying.  He said he admires train people and wants to be like them.

Assuming that he was talking about people who are into model railroads, I get the appeal.  When you put together a model railroad, you're setting all the terms of your ideal city.  You get to decide how many trains go through the city, what they transport, what types of trains they are, and how often they run.  Furthermore, you get to decide what types of homes and/or businesses they'll pass along the way and how far apart they are from each other.  You also get to determine if there will be a lush forest in your landscape or a more modest selection of trees.

There's something gratifying about creating a world that reflects your priorities.  After all, that's one of the biggest incentives of blogging to me.

A petty fixation XXXVI

I was in a good mood last night.  As I looked around at the Christmas lights and decorations in my neighborhood and nearby streets, I was suffused with holiday spirit.  Turning on the car radio compromised it. I shouted, "Arrrrrrrrrggggggghhhhhhh!  Blech!  No! No! No!  They're playing Wham's 'Last Christmas,' and I hate that song!  Yuck!"

Alas, only one station was playing Christmas music at the time, so I settled for listening to non-Christmas content during my admittedly short drive to my destination.

If you've read this blog for any length of time, you've probably gleaned that I like Christmas music--most of it, that is.  Even a Christmas crazy's Christmas spirit has its limits, though.

Annual Christmas cheer revisited III

The student from the Dial-A-Carol service didn't have the lyrics of "Here We Come A-Wassailing" at hand this morning, so I requested "Silent Night" as an alternate.  I'll credit the caroler with perseverance and staying the course through two verses.  When you're not a professional singer, reaching the higher notes is challenging, so I commend her for doing her best.

When I was in college, I would never have volunteered to sing solo on a caroling hotline.  I would have been OK with being part of a group of carolers, provided they didn't overshadow me too much, but I wouldn't have sung carols by myself.  With my limited singing range, it wouldn't have been advisable.  Bravo. then, to all the solo carolers who have the courage to put themselves out there.

SiriusXM highlights CXLIV

Standout selections heard today:

Bakersfield Beat 

• Old Paint-Linda Ronstadt (If you've only heard scattered hits by Ronstadt, it might surprise you to hear Ronstadt pull off Carl Sandburg lyrics in a country-tinged arrangement.)

The Coffee House

• Time After Time-Iron & Wine (Given the sensitive acoustic nature of Iron & Wine's music, this Cyndi Lauper hit fits easily into the group's repertoire.)
• Heatstroke-Khalid (This happens almost every year.  I post my countdown of favorite songs for the year, and then, within a week or so, I hear at least one tune I wish I'd known about earlier.  This is one such track; the laid-back, upbeat vibe in its vocals and instrumentation would have qualified it for my Favorite music of 2024 rankings if I'd heard it earlier this year.)
  

Escape

• I'll Be Home For Christmas-Lisa Addeo (Once you get past the offbeat intro, this is a pleasant, melodic piano rendition.)

Hallmark Radio

• Angels We Have Heard On High-for KING & COUNTRY (If you like the way Jars Of Clay modernized the arrangement of "The Little Drummer Boy" in the '90s, you'll probably enjoy this similar approach to "Angels...")
  

Holiday Pops

• We Three Kings Of Orient Are-Philadelphia Brass Ensemble (An ideal configuration of instruments to convey a journey upon which royalty embarks.)
• Medley: O Come, All Ye Faithful, Angels We Have Heard On High, Hark The Herald Angels Sing-John Bayless (A tasteful piano medley with graceful interweaving of themes.)
  

SiriusXMU

• Lights Are Changing-Mary Lou Lord (I'm primed to like just about any tune whose intro reminds me of "There She Goes" by The Las.  Vocally and lyrically, "Lights Are Changing" lives up to the promise of its intro.)

Spa

• One Quiet Night-Pat Metheny (An aptly titled contemplative guitar instrumental.  This is the title track from, in my opinion, one of Metheny's best CDs.  Also recommended: "Over On 4th Street" and Metheny's understated version of the Norah Jones hit, "Don't Know Why.")
  

Watercolors

• Murky Moon-Kayla Waters (The appealing rhythm of this keyboard-centered instrumental could segue with Paul Hardcastle's "Rain Forest.")

Carol appreciation etiquette?

I don't think I've ever lived in a neighborhood where carolers sang at the door or in the common ground.  I'm not sure how I'd react if that happened today.  Most likely, if the vocalists sang tasteful carols at least passably well, I'd probably smile, applaud, or say, "Well done.  Thank you."

I'm not sure I'd acknowledge even a stellar rendition of "Blue Christmas," though.  We all have our limits, and that's one of mine.  Try as I might, I just can't get past such overly fretful lyrics.

An overlooked (Christmas) cover tune CLIII

Once again, Dave Brubeck's "Take Five" is the gift that keeps on giving.  I wrote about that type of rhythm underscoring David Grisman's "God Rest Ye Merry Gentlemen" in yesterday's post.

Trombones Under The Tree also underscores its version of "We Three Kings" with a "Take Five"-ish rhythm.  It's amusing to imagine the three wise men's camels--or Arabian horses, depending on whose account is correct--stepping in time to a 5/4 beat on their way to Bethlehem.  And, why not?  After all, if the ox and lamb can keep time in "The Little Drummer Boy..."

An overlooked (Christmas) cover tune CLII

The first time I saw the CD track listings, I thought there must be a mistake.  I thought, "Surely, David Grisman's version of 'God Rest Ye Merry Gentlemen' doesn't really last six minutes and 51 seconds.  I've never heard a version of that carol that's that long."

Grisman's version is nearly seven minutes, however, and justifies its expansive length.  By upping the carol's tempo, jazzing it up with a Dave Brubeck, "Take Five"-ish feel, and indulging in some fast runs on mandolin with underscoring from a game rhythm section, his fellow musicians and he make his version feel only half as long as it is.  

It's such a fun romp that even after nearly seven minutes, I still wanted to hear more.

Context? CCCLVI

This morning, a radio personality marveled at someone who hadn't taken her Christmas tree out of the box yet.  He found this puzzling, as waiting would mean that "the tree is only up for two weeks."

I thought about how much the world has changed over the last 40 years, and how, outside of stores, most people didn't used to put up their Christmas trees as early as they often do now.  It amuses me now that one columnist wrote back then that it wasn't proper to put up the tree until Christmas Eve.

That's a degree of willpower that most people, including me, don't have these days.

An overlooked (Christmas) cover tune CLI

Ordinarily, I wouldn't expect to hear "Silent Night" played as a calypso.  David Grisman plays it in that style on the mandolin, however, giving the carol an unusual, carefree feel.  Bob Gurland adds to the arrangement's easy-going vibe by joining in on voice trumpet.  If I'd never heard "Silent Night" before this rendition, I might have thought it originated on a tropical island.

Persistent earworm alert CCCLVII

For over a week, "Colors Of The Wind," as sung by Vanessa Williams, has been on my mind frequently.  I think I've only heard it once in its entirety on the radio in 1995, but its lyrics have always struck me as a perfectly reasonable request for civility and understanding.

Considering the further erosion of those qualities that may happen after the presidential transition in January, it's no wonder that my subconscious mind has craved that song lately.

Favorite music of 2024

Overall, the quality of new releases I heard in 2024 was about the same as last year.  As usual, I gravitated mostly toward singer-songwriter material, indie rock, and jazz.  As you'll discover, there are quite a few jazz instrumentals in this year's countdown.  Before I hear any other new songs that could derail my rankings, here are of 25 of 2024's best tunes, in my view:

25.  Sunrise-Mildlife (This slow jam, released in March, has an appealing '70s jazz feel with just enough vocals.)

24.  Cardinal-Kacey Musgraves (When someone you admire passes away, it's sometimes difficult to discern if something is a sign from beyond the grave or just a coincidence.  Musgraves sings the chorus with appropriate gravity.  Also recommended: "Too Good To Be True.")

23.  Azalea-Nora Van Elken (The haunting beat of this house instrumental, released in April, makes me envision someone pedaling a bike rapidly to a grim or uncertain destination.)

22.  Down  Swinging-Holly Humberstone (I like the not-giving-up-without-a-fight determination of these lyrics and the tune's driving energy.)

21.  Can't Take My Eyes Off You-Rebecca Poole (The Lettermen and Frankie Valli recorded strong versions of this song, and I'd add Poole's take to that list.  Her low-pitched, breathy vocals suit the tune well, while the bass and guitar give them added gravity.  She also deserves bonus points for singing the "Da-da, da-da..." refrain instead of just relying on the instrumentalists to handle it.)

20.  Bewitched, Bothered, And Bewildered-Christian McBride & Edgar Meyer (Proof that double bassists can carry the melody of a standard.)

19.  The Art Of Getting Through-Imogen Clark (Clark's alto vocals captured my attention here.  Lyrically, this is almost a companion piece to "Running" by Norah Jones, as it could be a victory song for conquering one's demons.  This confidently sung tune sports a solid chorus and strong band backing.  While the studio version is perfectly fine, the Live @ Golden Retriever version draws me in even more.)

18.  Happiness-The Heavy Heavy (My internal monologue upon hearing this track: "Whenever the drums set the stage like this, it's promising.  Solid power pop-style guitar...That's another plus.  Solid vocal harmonies, as well, sell this tune.  A lyrical acknowledgment that things could be better?  When done the right way, as it is here, it's a pick-me-up.  All the bases are covered.")

17.  Older-Lizzy McAlpine (This tune has the subtlest vocals of all the singer-songwriter tracks in this countdown.  By a certain age, who can't relate to wanting to go back to an earlier, happier time in one's life?) 

16.  Gild The Lily-Billy Strings (Lyrically, this September release is an effective, unassuming way of saying, "Don't be too picky.")

15.  Wake Up-Robert Glasper (Trumpet underscoring for a matador vs. bull showdown in space?  I'm recommending the instrumental take instead of the vocal version.)

14.  Whispering-Doug MacDonald (MacDonald steers this engaging, uptempo instrumental on guitar.  I listened to Paul Whiteman's earlier, statelier version of this, and it made me appreciate MacDonald's modern, Brazilian-style take on the tune all the more.)

13.  Twice Shy-Hot Club Of St. Louis (Although this track is from this year, the fiddle playing is seemingly from a much earlier decade.  Doc & Merle Watson's "Carroll County Blues" could segue with this.)

12.  River Of Peace-Monty Alexander (A river is an apt metaphor for this piano instrumental that flows gracefully and takes its time.  Also recommended: "Restoration.")

11.  Passion-Lynne Arriale Trio (Arriale deserves more acclaim for her piano playing.  "Passion" is one of the energetic highlights of her March release, "Being Human."  Part of its melody would work as a newscast theme or special bulletin alert music.  Also recommended: "Joy.")

10.  Rain-mxmtoon (This endearing tune, released in November, is a lyrically honest way of admitting that home isn't where it used to be and that even if you visit a previous home, it will have evolved during your time away.  It's a vulnerable admission that one's life is in flux.)

  9.  La Costa-Vanessa Williams (Williams sings some of the most immediately appealing vocals of 2024 in this strong cover of a Natalie Cole tune.  This August release could easily paint an inviting picture of a vacation destination in tourism commercials.  The "Ah, yi, yi, yi, yi, yi, yi" hook is just as captivating in both versions.)

  8.  Missing Out-Maya Hawke (A courageous acknowledgment that sometimes, we don't feel comfortable in our own skin and aren't sure what contributions we have to offer the world.  This tune has one of the year's best vocal hooks, in my opinion.)

  7.  Poeira-Sam Gendel & Fabiano do Nascimento (To me, this sounds like a pleasant Sandy Owen piano instrumental transposed for saxophone and guitar.) 

  6.  Thirty One-Butcher Brown & Bruce Hornsby (Leave it to a top-notch rhythm section to craft an immediately ear-catching, confident instrumental fit for soaring through the cosmos.)

  5.  Best Foot Forward-Dan Siegel (This July release is one of 2024's most enjoyable smooth jazz grooves.  Siegel carries this midtempo melody, which sounds like a Steely Dan backing track, on piano.  It's no wonder that I've heard it multiple times on WSIE.)

  4.  Light Of The Moon-Celeigh Cardinal (In this June release, Cardinal sings thoughtful, sensitive lyrics about the hole in our lives that a person's passing creates.  Her delivery is appropriately sentimental without being overwrought.)

  3.  Danzon para la abuela-Danae Olano (An appealing melody for nimble piano players and dancers with precise coordination.  Thanks to NPR's "All Songs Considered" for bringing this tune to my attention.) 

  2.  Damage Control-Kate Clover (This is the catchiest power pop tune I've heard this year.  Clover's vocals and guitar playing here remind me of Blondie, updated for 2024 sensibilities.  It's also a plus that this could segue with "Because It's Not Love (But It's Still A Feeling)" by The Pipettes.)

  1.  Jealous Moon-Sarah Jarosz (This was a wise choice for the leadoff track of Jarosz's strong, consistent January release, "Polaroid Lovers."  As much as I've enjoyed all of her previous acoustic folk tracks, it's just as compelling to hear her vocals in this more assertive, electrified context.  Not just any artist could pull off lyrics about riding out less than ideal situations against a backdrop that listeners can crank up on a car radio.  I keep going back to this tune, and thus, it's my favorite song of 2024.)

A blessing to be counted

Tonight, my feet fell asleep.  I expected that, though, after hours of listening to Christmas music while my cat, Collette, kneaded her paws on me before slumbering blissfully.

Sleepy feet are a nice problem to have, I'll admit, when the cat I adopted five years ago causes them.  It's a bonus that she apparently appreciates Vince Guaraldi's Christmas tunes as much as I do.

FM dial scan highlights CCLXI (Christmas edition)

If you don't look too closely, you might conclude that I had a decent sense of symmetry when wrapping gifts on Christmas Eve 2009.

I'm glad to hear so many radio stations getting into the spirit with seasonal tunes.  Among today's highlights:

KDHX 88.1 FM

• Happy Holiday-Bing Crosby (Crosby was a voice of authority, so I don't question the sincerity of his holiday wishes.)
• Esta Navidad-Janine (Grandiose trumpet and strings underscore clear, confident vocals.)

WSIE 88.7 FM

• Hark The Herald Angels Sing-James PJ Spraggins featuring Caitlin Edwards (A warm smooth jazz instrumental take on this carol.  Edwards's violin playing is a key ingredient in maintaining this arrangement's mood.)
• Sleigh Ride-Mel Torme (Torme's voice conveys carefree seasonal joy with just the right amount of scat singing here.)

KCLC 89.1 FM

• Deck The Halls-Walk Off The Earth (There's a fun energy and a Mighty Mighty Bosstones feel in this fast rendition.  The sung bit of "Jingle Bells" in the outro is a nice touch.)
• Carol Of The Meows-Guster ("Carol Of The Bells," as if cats sang it.  The repeated singing of only the word Meow reinforces how much cats have to rely on tone when communicating.  The final sung-in-unison meow brings the carol to an amusing close.)

KEZK 102.5 FM

• O Holy Night-Martina McBride (McBride conquers one of the harder carols to sing impressively; she hits the glass-shattering notes without overemoting, unlike some vocalists.)
• Joy To The World-Lindsey Stirling (An appropriately uninhibited reading of this carol on violin, with Celtic fiddle touches.  Also recommended: Stirling's rendition of "Sleigh Ride.")

K297BI 107.3 FM, a.k.a. WFUN-HD2

• Claude Thornhill: Snowfall (Boston Pops Orchestra/John Williams, conductor) (Fittingly fanciful accompaniment for watching the snow come down in St. Louis today.)
  

From a flame to a flicker

Recently, I told a politically like-minded neighbor that I've been thinking about one lyric in Peter, Paul & Mary's "Light One Candle" recently.  I told him that I think the lyric, "Don't let the light go out.  It's lasted for so many years," could be used as a plea to preserve American democracy.  He told me that unfortunately, the light has already gone out.

I'd like to believe that the light hasn't gone out just yet--but it's undeniably dimmer.  Sadly, on or after January 20, it will likely diminish substantially.

SiriusXM highlights CXLIII

Saturday afternoon standouts:

Chill

• Azalea-Nora Van Elken (The haunting beat of this house instrumental, released in April, makes me envision someone pedaling a bike rapidly to a grim or uncertain destination.)

The Coffee House

• Rain-mxmtoon (This endearing tune, released earlier this month, is a lyrically honest way of admitting that home isn't where it used to be and that even if you visit a previous home, it will have evolved during your time away.)

Hallmark Radio

• The Silent Nutcracker-Trans-Siberian Orchestra (Unlike this ensemble's more elaborately produced efforts, this is a tasteful, understated acoustic guitar medley.)
• Home For The Holidays-Martina McBride (McBride's vocals blend well with the big band backing.)

Holiday Traditions 

• Do You Hear What I Hear?-Bing Crosby (Crosby's voice is appropriately authoritative here, making this one of the best vocal renditions of this carol.)
  

The Loft

• Ding Dong Merrily On High-The Chieftains (If there's one carol that cries out for a Celtic arrangement, it's this one.  I also recommend the Irish Philharmonic Chorus's rendition.)
  

Luna

• A Volta-Eliane Elias (These pleasant midtempo vocals and piano playing are equally at home in an international or jazz playlist.)

Real Jazz

• Black Jack-Donald Byrd (A cool strut for every instrument, but especially for trumpet and piano.)

Smokey's Holiday Soul Town 

• God Rest Ye Merry Gentlemen-Dionne Warwick/Dianne Reeves (Appealing alternating vocals against a jazzy backdrop.)
  

The Village

• The Old Courtyard-The Murphy Beds (The Wailin' Jennys sing my favorite version of this.  However, this vocals-and-guitar take, released in 2012, has a well-executed '60s folk feel.  In both versions, the advice about how to grieve someone who has passed away comes through clearly.)

Watercolors

• Monday Speaks-Everette Harp featuring Norman Brown (Uptempo smooth jazz saxophone and guitar with a steady bounce.)
• The Look Of Love-Diana Krall (Krall's vocals fit these much-covered lyrics appropriately.  Sergio Mendes and Brasil '66 also pulled off a strong version.)
  

Context? CCCLV

Someone on the radio today said he only allows lighted candles on his Christmas tree when he's in the room.

While that's certainly his right, I could never feel comfortable with that setup.  Even if you're in close proximity of a fire that breaks out, it's still a fire you need to put out.  As beautiful as an evergreen with live candles looks, it's too much of an unforced error waiting to happen.

Online radio sampler highlights CCLV (Thanksgiving/Thanksgiving marathon edition)

In honor of Thanksgiving, a low-key holiday that doesn't always get its due, here are some of the better Thanksgiving and Thanksgiving marathon selections I've heard today:

KBAQ (Phoenix, AZ)

• Stephen Paulus: Pilgrims' Hymn (The Dale Warland Singers) (Reverential vocals with crescendos that almost command the listener to stand and salute.  I can count on hearing at least one Thanksgiving-appropriate Dale Warland Singers piece on at least one radio station every Thanksgiving.)
• Joseph Curiale: Prairie Hymn (The Royal Philharmonic Orchestra) (A tasteful, pastoral showcase for strings and winds.)

KBXR (Columbia, MO)

• Down On The Corner-Johnny Marr & The Healers (One of the best C minor guitar lines you could have to carry your rhythm.  KBXR's annual B to X marathon plays the station's music library in alphabetical order, resulting in tunes that aren't played frequently getting exposure.  This is a prime example of a quality tune that should be better known...)
• Dream All Day-The Posies (...and so is this song.  I'm impressed that KBXR still plays this 1993 power pop track with  committed vocals and heavy guitar.  It was the last hook-laden track I played frequently during my final few weeks at KCOU.)

WEVL (Memphis, TN)

• Houston (I'm Comin' To See You)-Glen Campbell (How did this 1974 track escape my notice until now?  Also, why wasn't it a hit?  If you're going to play songs about going home, "Houston..." has a strong sing-along chorus.)

WPFW (Washington, D.C.)

• Cornbread Crumbled In Gravy-Regina Carter (This bittersweet melody suits the violin well.)

WWFM (Trenton, NJ) 

• Prayer Of Thanksgiving (The Robert Shaw Chorale) (This is "We Gather Together," sung with absolute conviction and underscored appropriately with organ.)

Persistent (Thanksgiving) earworm alert CCCLVI

Since first hearing it on KDHX years ago, I can't get Darrell Scott's song, "The Day Before Thanksgiving," out of my mind every Wednesday before Thanksgiving.  Talk about cornering the market on a specific day.  Christmas Eve factors heavily into a lot of Christmas carols, but offhand, Scott's song is the only one I know of about Thanksgiving Eve.

A petty fixation XXXV

When I worked at a sports data-gathering service, some coaches would occasionally call in only their side of the score.  I'd ask for the score by quarters, halves, or innings, and the coach would say, "Oh, I don't know.  I only have our side."

I was tempted to say during my radio sports report, "And, finally, Team A scored 10.  In a display of poor sportsmanship, Team A's coach claimed not to have Team B's score.  However, Team A won--allegedly."

Obviously, I never did that.  My desire for self-preservation and continued employment topped my desire to say on-air, "Finally, in a brazen example of apathetic score reporting..."

Persistent (Christmas) earworm alert CCCLV

Well, credit for effort, I guess.  On Thursday, I heard Rene Turgeon's version of "Petit Papa Noel" on SiriusXM.  While I expected to hear Christmas carols from more than one genre on the Noel Incontournable channel, I didn't anticipate "Petit Papa Noel" with country vocals.  Four days later, I'm slightly more accustomed to it, but for my own enjoyment, I'll stick with Paul Mauriat's easy listening arrangement instead.

Context? CCCLIV

As I wrote yesterday, a radio personality implied on-air that cats are selfish.  I respectfully disagree, especially when it comes to my dearly departed cat, Sylvia.  Sylvia passed away five years ago, and not a day goes by when I don't recall how she'd meow to get my attention, purr with the strength of 10 cats, and reach out her paw, sometimes with her eyes closed, to prevent me from leaving a room.

I can't speak for all cats, but I know that in Sylvia's case, the word selfish doesn't come to mind.

Context? CCCLIII

This morning, a talk show host said, "If you ask vets if cats are selfish, they'll say yes."  I turned the radio on just as he said that, so I'm not sure what prompted that assertion.

As a proud guardian and fan of cats, I'm sticking with the term self-preoccupied.

A function of age XXXIV

Yesterday, John Carney of KTRS marveled that Stevie Wonder is still in great voice.  According to Carney, Wonder still sings exceptionally well in concert because he sounds the same at 74 as he did at 24.  Carney's guest, Pat Liston of the band Mama's Pride, agreed that it's humbling 

At her concert in Kirkwood earlier this month, Erin Bode made a similar observation.  Before singing "If It's Magic," Bode said it was one of just two Wonder songs she was comfortable tackling.

Talk about an admirable legacy.  How many of us in our later years of work can say we're just as sharp as we were 50 years earlier or that our best efforts are generally challenging for others to replicate?

SiriusXM highlights CXLII

Today's selections were among the most enjoyable ones I've heard on SiriusXM recently.  Among the highlights:

'80s On 8

• Head Over Heels-The Go-Gos ("Head Over Heels" and "Turn To You" are the band's two catchiest hits, in my opinion.  It's no coincidence that both tunes share a similar energy.)

HBCU

• Electric Vibes-Down To The Bone (A fun groove from 2007 with instrumentation and vocals seemingly extracted from the late '70s or early '80s.)

Holiday Pops

• Est ist ein Ros entsprungen-Arturo Delmoni String Quartet (A stately yet tender reading of "Lo, How A Rose E'er Blooming.")
• O Tannenbaum-The Louisville Chorus (These warm vocals combine Harry Simeone Chorale and Benedictine monk song stylings.)

Holiday Traditions

• Frosty The Snowman-The Glenn Miller Orchestra (Quite the snazzy big band rendition.)

Noel Incontournable

• Joyeux Noel-Patrick Norman (A tasteful acoustic guitar-and-vocals rendition of "The Christmas Song.")
• Plus Grand Que Nature-Pascale Paradis (I wouldn't have guessed that this Paradis track from last year is a Christmas song, but I like her vocals on it.  The tune's rhythm reminds me of "R.O.C.K. In The U.S.A." by John Cougar Mellencamp if it had been slowed down to sound like an '80s DeBarge hit.)

Oldies Party

• Bongo Rock-Preston Epps (This impressive 1959 instrumental hit is an energetic surf rock-style romp for guitar and percussion.)

Real Jazz

• Vonski-George Freeman/Von Freeman (An appealing walking melody for saxophone and guitar.)
• Take Five (Live At The Childe Harold, 1976)-Al Jarreau (I was pleased to hear this unearthed Washington, D.C. concert recording on "Jazz Detective" with host Zev Feldman.  Jarreau sustains his scat vocals on his cover of the Dave Brubeck tune for an impressively long time.  The concert will be released as a vinyl album, appropriately titled "Wow," on November 29.  Also recommended: Jarreau's concert renditions of "Rainbow In Your Eyes" and "We Got By," which Feldman also played.)
• How Insensitive (Insensatez) (Live At The 4 Queens, 1984)-Emily Remler (I second Feldman's objective of making Remler's music better known.  This lengthy Las Vegas concert cover of Antonio Carlos Jobim's tune is outstanding, as Remler puts every ounce of feeling possible into the melody.  Also recommended: The live versions of "Cisco" and Remler's take on the Sonny Rollins tune, "Tenor Madness."  It's impressive to hear Remler transfer a tenor sax melody to the guitar so gracefully, and Cocho Arbe sizzles on piano.  It's a testament to SiriusXM that I selected the Real Jazz channel, intending to listen for a song or two, but listened for nearly an hour instead.  That's compelling programming.)

The Verge

• That's The Gods Talking-Slow Spirit (It's interesting to hear a guitar part that's reminiscent of Joni Mitchell's "Help Me" overlaid with such laid-back vocals.)

Watercolors

• Sleepwalk-Larry Carlton (This pleasant guitar cover of the Santo & Johnny tune nails the melody's toddle-off-to-bed vibe.  I enjoyed playing it frequently on KNJZ in the mid '90s, and I'm glad that it's still a mainstay on smooth jazz stations and streams.)

FM dial scan highlights CCLX

Some of the better tunes I've heard today:

KDHX 88.1 FM

• Someone Disappeared-The Everywheres (With it's lo-fi guitar and vocals, this 2013 track could pass for a mid to late '60s garage rock tune.)

WSIE 88.7 FM

• Sunlight Bossa Nova-Lawson Rollins (An aptly titled guitar number.  This is driving-with-the-top-down accompaniment.)
• Wet Bar-Lisa Addeo (A pleasant new piano melody with a bounce.  Freddie Ravel's "Sunny Side Up" would flow smoothly into it.)

KCLC 89.1 FM

• Water Underground-Real Estate (This band has a way with guitar and vocal hooks.  Exhibit A: "Crime."  Exhibit B: "Darling."  Exhibit C: This tune, released in February.)

WFUN 96.3 FM

• Rock Steady-The Whispers (During the Summer of '87, this hit got constant radio airplay.  Hearing it again decades later, its beat and chorus are firmly of their time but hold up well.)

KEZK 102.5 FM

• Winter Wonderland-Amy Grant (Grant's vocals consistently capture the wonder and lightheartedness of the season, so it's heartwarming to hear them in KEZK's all Christmas rotation, which started Friday morning.)
• Silent Night-Nat King Cole (Not many vocalists can command this level of gravitas with this carol.)
  

An overlooked (Christmas) cover tune CL

After listening to Andre Gagnon's piano rendition of "I'll Be Home For Christmas," I'm surprised it isn't better known.  The accessibility in Gagnon's playing falls somewhere between Floyd Cramer and Beegie Adair, although the undercurrent of swelling strings tilts his version more in Cramer's direction.

Gagnon recorded "...Home..." in 2011, but his throwback interpretation wouldn't have been out of place on late '60s easy listening stations.

A function of age XXXIII

At her concert earlier this month, Erin Bode promoted a website on which people can ask her to compose and record a song for them.  When she mentioned the site's URL, there was light chuckling in the audience.

I thought, "Most of these audience members appear to be between 60 and 80 years old.  If the crowd had skewed considerably younger, I'm sure they wouldn't have found the notion of promoting one's website amusing."

As my brother joked, "The Internet, that passing fad..."

Context? CCCLII

Yesterday, a radio personality asked if stuffing is really the most popular Thanksgiving side dish, as surveys claim.  He wondered, if stuffing is so popular, why you don't typically see people eating it randomly in April.

I think for most people, it's an out-of-sight, out-of-mind issue.  Candy corn isn't usually promoted heavily outside of Halloween, and stuffing isn't usually promoted heavily outside of Thanksgiving.  I've always thought bread stuffing is tasty, but I don't buy it or even think about it unless I see a prominent display of it at Dierbergs.  I imagine most people think similarly.

Context? CCCLI

Sometimes, when you play bumper music on your talk show, it's hard to know when to fade out of it.  One radio talk show host faced this dilemma recently with Bob Seger's "Night Moves."  If he'd jumped in too early, he would have stepped on Seger's heavy emoting, and the audience wouldn't have heard that Seger had "started hummin' a song from 1962!!"

The host admitted, "I wasn't sure when to break in."  He made the right choice, though, to start speaking  after Seger sang, "...with Autumn closin' in..."

Ultimately, it's a good idea to let the bumper music enhance the show without stepping on it.

Context? CCCL

Last night, while listening to Classical station K297BI, I did a double take upon hearing an announcer introduce a piece for cello and flower pots.  At first, I thought, "I must not have heard that correctly."

The announcer repeated it, though, and there was no mistake.  The piece is "Boris Kerner" by Caroline Shaw.  I know Classical pieces aren't meant to be segued, at least on the radio, but the haunting vibe of "Boris Kerner" would flow well into the "Mr. Coffee" movement of the David P. Jones piece, "Legal Highs."

There's a weirdly gratifying aspect of writing this type of blog; you never know when you'll be able to write about how a piece you've only heard thanks to a 1990s CD Review magazine sampler disc will dovetail with another piece you heard by chance on the radio.

Online radio sampler highlights CCLIV

Thursday highlights:

KOSI (Denver, CO)

• It's The Most Wonderful Time Of The Year-Andy Williams (When you're flipping your station's format over to all Christmas music for the 23rd year in a row, it's smart to begin with an upbeat tune that encapsulates the joy of the holiday season.  Bravo to the high school theater choir who prefaced the Christmas music kickoff with a precise, spirited rendition of "Rudolph The Red-Nosed Reindeer" during a live remote.)
• Sleigh Ride-The A-Strings (This 1988 violin-propelled rendition stays faithful to the original melody with just enough modern-for-their-time touches.)

KRML (Carmel, CA)

• Gild The Lily-Billy Strings (Lyrically, this September release is an effective, unassuming way of saying, "Don't be too picky.")

WHGE (Wilmington, DE)

• Blue Montreux-Art Farmer & Joe Henderson (This expansive jazz track has an appealing brassy energy similar to Freddie Hubbard's "Super Blue.")

WXOJ (Northampton, MA)

• Blisters-Riley Cotton (Cotton's expressive voice, guitar playing, and deft handling of downcast lyrics make her an artist to watch.)
  

SiriusXM highlights CXLI

Standout tunes heard today:

'40s Junction 

• Down Argentina Way-Leo Reisman with Sara Horn (If the title doesn't ring a bell, you still might have heard this melody played in commercials promoting tropical getaways.)

Deep Tracks

• Whenever You're Ready-Brian Auger's Oblivion Express (This is one of the stronger blends of jazz, rock, and funk that I've heard.  The organ goes a long way in underpinning the mood.)
  

The Groove

• Running Away-Roy Ayers (Rhythmically, this has a McFadden & Whitehead feel.)

Holiday Pops

• Sleigh Ride-Duo Campion-Vachon (This piano rendition has a Ferrante & Teicher feel.)
  

Holiday Traditions

• Christmastime Is Here-Mel Torme (There's no topping the original version from "A Charlie Brown Christmas," but Torme's vocals capture the warmth of the season.)
• I Saw Three Ships-Gary Schmidt (A slightly unusual chord progression for this carol's hook.  The tempo shift choices in this piano arrangement are offbeat, as well.)
  

Luna

• Made In New York-Tania Maria (Catchy vocals and rhythm playing.  The synthesized backing roots this track firmly in 1985.)

Noel Incontournable 

• Le setier de neige-Safia Nolin (Endearingly plaintive vocals and guitar.)
  

Smokey's Soul Town

• I'll Be Around-The Spinners (An honest way of saying, "I know I'm not your beloved, but if you ever need my friendship, I'm here for you."  This group recorded a lot of excellent hits in the '70s and early '80s, and this is one of their best.)
  

Spa

• The 2nd Law-Michael Hedges (A guitar melody with a pensive vibe.)
• Cottage-Tangerine Dream (Fit for underscoring an arduous trek or plotting one's escape from a haunted house.)

The Verge

• Driver-Soccer Mommy (A lyrical reminder of who's steering a relationship and why it's likely to stay that way.)

An atypical standout XV

When most listeners think of Anne Murray's music, hits such as "Snowbird," "You Needed Me," or "Broken Hearted Me" probably come to mind.  Fewer listeners, however, will likely recall "That's Not The Way (It's S'posed To Be)," released in 1983.  Despite not hearing it in decades, it came to mind earlier tonight.  Even when singing about heartbreak in her '70s hits, Murray's music has a comforting soft rock sheen.  Hearing her lyrics against a darker backdrop that falls somewhere between The Alan Parsons Project's "Prime Time" and Styx's "Mr. Roboto," however, is a shock to the system.  It sounds like backing for a film scene in which someone's ire while driving boils over into road rage.  I can't say the song isn't well crafted--but it's not what listeners would generally seek from Murray's music.

Context? CCCXLIX

Before singing a two-song Beatles medley at Saturday's concert, Erin Bode asked the audience, "Is there anyone here who likes The Beatles?  That should include everyone."  Bode said she agrees with a bumper sticker she saw in Nashville that read, "Don't trust anyone who doesn't like The Beatles."

She'll get no argument on that from me.

A function of age XXXII

During last night's concert at the Kirkwood Performing Arts Center, singer Erin Bode said that when she taught a college class on lyric writing, she devoted considerable time to Paul Simon's lyrics, in part because "(the students) don't know who he is."

I felt not a day younger than 54 hearing that.  I guess it shouldn't surprise me, but college students not knowing who Paul Simon is?  Paul Simon of Simon & Garfunkel fame and enormously successful solo singer-songwriter acclaim?  They haven't heard his music on a stream or on the radio?  

I'm glad Bode set them straight.  Thanks to her tutelage, maybe one of her students will compose the next "Bridge Over Troubled Water."

Persistent earworm alert CCCLIV

Unlike yesterday, I haven't had the distraction of Rebbie Jackson's "Centipede" in mind.  Instead, I've gone back to a gloomier earworm, "Summer Rain" by Johnny Rivers.

Staying positive is proving to be a challenge.  So is striking the right balance between staying informed and not dwelling on negative events I can't control.

Persistent earworm alert CCCLIII

Since last night, at odd intervals, the chorus of Rebbie Jackson's goofy but fun 1984 hit, "Centipede," has drowned out all my other thoughts.  I'll be reading a serious opinion piece about why a majority of voters cast their ballots in favor of certain progressive issues but didn't vote for Democratic candidates, and then, suddenly, my brain will shout, "Centipede!"

Apparently, my mind is craving a respite from the depressing consequences of Tuesday's presidential election.

Still on edge

Yesterday, I put my 45 of Buffalo Springfield's "For What It's Worth" on the turntable.  I thought it was appropriate, considering Tuesday's election results.  I'd forgotten, however, that the record had the wrong labels on each side, so "Rock 'N' Roll Woman" started playing instead.

I erupted at this minor setback, shouting, "What the #$&*?!  Why are the labels wrong?  Can't anyone do anything right?!"

I flipped the record over, and order was restored.  To be fair, "Rock 'N' Roll Woman" is a compelling tune in its own right.  "For What It's Worth" is appropriate, however, for the inevitably fractured and fractious political climate to come.

Persistent earworm alert CCCLII

So...A majority of American voters chose the shameful option of contempt and recklessness over optimism and inclusivity in yesterday's presidential election.

Initially, I was going to write about the first earworm that came to my mind, the outro to ELO's "It's Over."  Then, I thought, "'Darkness' by The Police is looming large in my mind, as well, and it also fits the occasion."

This morning, however, I've thought repeatedly about a more obscure tune played on WMRY during its eclectic rock days in the late '80s.  "Raise Yourself" by Jasmine is about the Equal Rights Amendment and how to react when people don't support your agenda.  It reminds listeners that even when you're on the losing side, one's compassionate, inclusive ideals are still the correct ones and that they shouldn't stop fighting the good fight.

If nothing else, on a depressing day like today, it's at least somewhat comforting to remember that even though my preferred candidate lost last night's election, my ideals are still the correct ones--and that a great many Americans agree with me.

Persistent earworm alert CCCLI

I hope that the blue tsunami Michael Moore is predicting comes to pass in today's election.  I don't know if it will, though, so to calm my nerves, I'm thinking of Steve Hackett's soothing guitar melody, "Adriatic Blue," repeatedly.

All I can do now is vote--and hope that enough fellow Americans vote on the side of compassion and sympathy.

In memory of Quincy Jones

In memory of composer/producer Quincy Jones, I recommend these six tracks as some of his most compelling work:

• Just Once (featuring James Ingram) (Since 1981, this hit has been a mainstay of soft rock dedication programs.  Its vocals and sentiments hold up in any era.)
• Quintessence (Longtime St. Louis jazz authority/DJ Leo Chears used to close his radio shows with this track.  It's easy to hear why, as it brings to mind images of a ballroom closing for the evening.)
• Something's Cookin' (With an organ vibe this sly and cool, the bar for any movie or TV drama to use it should be pretty high.)
• Tell Me A Bedtime Story (This excellent version of the Herbie Hancock-penned tune starts on a fanciful note and builds to one of the most appealing crescendos I've ever heard.  It pulls off the impressive trick of making an orchestra sound epic and intimate simultaneously, and thus, it's my favorite Quincy Jones track.  I still remember what a great choice I thought it was for a respected jazz show's leadoff track in 1990.)
  
• Theme From "The Anderson Tapes" (This is one of the most impressive examples of genre-blending I've heard.  Funk, jazz, electronica, easy listening, and international influences coalesce perfectly in this instrumental.)
• What's Going On (An expansive, well-sustained cover of the Marvin Gaye hit.  Hubert Laws carries the melody effectively on the flute.) 

As these six tracks and a long discography illustrate, Jones had a vital ear for assembling top flight musicians and getting the best results from them.

Persistent earworm alert CCCL

This morning, Pat Metheny's instrumental, "Chris," is on my mind.  As a KNJZ DJ, I played it frequently.  While I still like its energy, the tune has a tense vibe that's appropriate to feel when you're waiting for a judge to issue a consequential decision--or when it's two days before a presidential election, and the outcome is extremely uncertain.

Context? CCCXLVIII

A radio personality opined recently that it's a shame "Thanksgiving has fallen even more by the wayside."

While it has never been an especially commercial holiday, I think that's Thanksgiving's appeal. It doesn't come with gift-giving promotions and music that's played frequently on radio stations and in stores, but that's its low-key charm.  It's what you make of it, and I've always thought it's one of the best days of the year.

Teaching my cat respect for music

My cat, Collette, has a signal when I'm asleep on the couch for letting me know she's hungry.  At least 20 times in recent months, she has knocked Willie Wright's "Telling The Truth" CD off the top of a stack.  I've asked her multiple times why she always chooses that CD, but she doesn't answer.  I don't want her to knock any CDs off of their stacks, but she never knocks over other top-of-stack CDs by Ramsey Lewis, The Isley Brothers, Sarah Jarosz, Carrie Newcomer, or The Kennedys.

I've explained to Collette that Wright's "Telling The Truth" release deserves respect for its strong vocals and guitar playing.  The catchy hook of "I'm So Happy Now," which I first heard on KDHX years ago, drew me into the album.  Once I heard it, I also enjoyed the breezy feel of "Nantucket Island" and Wright's musings about the passage of time on "It's Only Life, That's All."

My explanation, unfortunately, hasn't gotten through to Collette, so I've moved Wright's CD to another room.  It's probably naive of me to hope she'll just meow when she's hungry instead of knocking over another CD.

Online radio sampler highlights CCLIII (Halloween edition)

Three witch cats and a turkey reached a consensus last month: There isn't a ton of great Halloween music out there, but if you listen to enough sources for enough hours, you'll eventually hear some gems.

Halloween and Halloween-adjacent highlights heard this morning:

KNON (Dallas, TX)

• Ghost-Helene Cronin (A voice and an acoustic guitar are all that's needed to convey what being a ghost feels like.)

KORE (Entiat, WA)

• Hypnotized-Fleetwood Mac (This has always been one of my favorite eerie tunes.  The opening drum pattern and spooky guitar intro set the stage perfectly for Bob Welch's vocals and lyrics about paranormal occurrences.)

WDNA (Miami, FL)

• Devil May Care-Bob Dorough (If you've only heard Dorough's "Schoolhouse Rock" standouts, such as "Three Is A Magic Number," "The Shot Heard 'Round The World," and "Lolly, Lolly, Lolly, Get Your Adverbs Here," check out his jazz vocal and piano playing chops on this rendition.)
• Midnight Creeper-Teddy Edwards (Self-assured saxophone and rhythm section playing in this strongly sustained groove.)

WDSE (Duluth, MN)

• Friendly Ghost-Eels (The optimism in the lyrics is definitely tempered, but it's more uplifting, at least, than the group's "Rotten World Blues.")
• Kiko And The Lavender Moon-Davina & The Vagabonds (This impressive cover of the Los Lobos tune stays true to the original version's Three-blind-mice-in-a-haunted-house vibe.)

WUOL (Louisville, KY)

• Aaron Copland: From Sorcery To Science: The Witch's Cauldron (Eos Orchestra/Jonathan Sheffer, conductor) (This semi-Leonard Bernstein-style melody could underscore footage of a bustling city street.  The winds, strings, and brass convey turbulence effectively in this short movement.)
• John Williams: Devil's Dance (Gil Shaham, violin; Jonathan Feldman, piano) (A brisk Celtic-sounding melody with a sinister bent.)
  

The allure of shuffle mode LXV

Certain jazz tracks are best heard late at night.  iTunes shuffle mode reminded me of this today when pairing "The Moon Song" by Charlie Haden and Pat Metheny with Grover Washington, Jr.'s "East River Drive."  Both instrumentals have contemplative vibes, and the relatively subtle bass and guitar playing of Haden and Metheny segues well with Washington's smooth approach to the saxophone.

If you're up late tonight, those two tunes should soothe you--and maybe start you thinking.

Punctuating the drama

While listening to radio mystery dramas recently, I realized how much of a difference a well-placed musical sting makes.  When someone needs to tiptoe gingerly through a forest or a haunted house, a wind ensemble underscores how delicately one's footsteps need to be.  When a character suspects (s)he's about to face a precarious situation, a low bass note illustrates how foreboding the situation is.  When characters are about to uncover shocking news about another character's fate, a sinister bassoon passage captures the moment of discovery perfectly.

Well-written, well-acted dialogue goes a long way toward showing how perilous a situation is.  To sock it completely home, however, a fitting musical sting is advisable.

A function of age XXXI

Despite what I wrote recently about getting a late start on the Halloween spirit, I've been seeking out  radio mystery dramas on YouTube.  One show I found yesterday had "Old Time Radio" as part of its title.  Immediately, I thought, "This will be a program from 1938 or 1941."

Actually, it aired originally in 1974.

I thought, "1974?  That's the definition of 'old time' radio now?  Yes, it was 50 years ago, but that's still part of my early life.  Therefore, old time radio isn't the right description.  Flashback radio, yes...Retro radio, perhaps...Not 'old time' radio, though..."

...Well, at least, not to me.

An overlooked cover tune CXLIX

The Mills Brothers sang a strong version of "Tiger Rag," in my opinion, by nailing the tune's fun, fast spirit.  

Ferrante & Teicher mastered the tune's frenetic precision, as well, but instrumentally.  I can't hear their rendition without wondering how many hours it took to master such brisk passages on two pianos.  I can just imagine starting to learn the song at about half-speed and then upping the tempo incrementally with a metronome.  For all the hours of practice that must have required, I'm glad the audience appreciated the duo's concert rendition.

Context? CCCXLVII

A radio commercial I heard yesterday for a shoe store began, "When it's time to shop for a new pair of shoes, consider (our shoe store.)"

Upon hearing that, I remembered a broadcasting school instructor telling aspiring copywriters, "You don't want people to just consider buying your product.  You want them to buy it."

He's right, but as a listener, I'd be more likely to buy from a store that wants me to consider buying its products rather than commanding me to purchase them.  The soft sell approach is more courteous, after all.  Besides, if you go too far down the hard sell road, you end up with the '90s TV commercials in which an announcer said ominously, "At Silo, we want your business, and we'll do anything it takes to get it."  The spokesperson's sinister tone made me wonder if non-Silo shoppers had to risk being scolded or possibly maimed.  

Consequently, I never shopped at Silo.  Maybe they would have stayed in business past 1995 if their ads simply asked people to consider shopping there instead of implying that not shopping there might affect one's fate in the afterlife.

A late start on the Halloween spirit II

A co-worker surprised an AM radio talk show host this morning with his imaginative optical illusion costume.  The host said she was caught off guard because this fellow host "has railed against Halloween, probably since he was a child."

That's proof, I suppose, that it's never too late to embrace your inner child.

The pitfalls of shuffle mode XI

Earlier today, iTunes shuffle mode did a number on me.  It segued The Who's dark, cautionary "Eminence Front" with...

..."When I'm Sixty-Four" by The Beatles.

That's an abrupt way to transition from admonishing people for their hedonism into musing about advancing age with a whimsical Dixieland undercurrent.

A late start on the Halloween spirit

Usually, by this point in October, I've listened to multiple episodes of CBS Radio Mystery Theater.  Becoming engrossed in a compellingly written and performed story conjures up the Halloween spirit, I've found.

This year, however, I haven't done that.  With such a consequential presidential election coming up, I've been listening to multiple political podcasts instead.  Granted, I know how I'm voting, and people's predictions are just educated and not so educated guesses on how things will turn out.  The results of the November 5 election are what count, so that's an argument in favor of tuning out the podcasts and listening to works of escapist fiction instead.

And yet...

Context? CCCXLVI

This morning, an AM station commentator joked that someone was returning "for his 12th or 13th year as a college basketball player."

That's a backhanded compliment, but at least it's still praise for being a team veteran.

In retrospect...

...my brother was right to wonder recently how he managed to learn the violin and I managed to learn to play the bass, considering that neither instrument had frets.  I know that with practice, we got the feel of where the notes were, just as typists learn where the correct keys are.

Looking back, however, learning Classical pieces in middle school through college that professional symphony musicians play strikes me as almost miraculous now.  How does any musician become that intuitive on a fretless instrument?

Maintaining station integrity

A friend who used to work at a classic hits station told me that a longtime DJ from another station in the building would sometimes stop by the studio.  When programming his album rock show for another station, he wanted to make sure that the songs he chose didn't overlap with the classic hits station's playlist.

Not every DJ would do that.  With a classic rock and a classic hits station close to each other on the dial, some degree of duplication is inevitable.  It's commendable that the album rock DJ would try to prevent it by asking, "Does your station play this song?"

Persistent earworm alert CCCXLIX

One recent morning, my cat, Collette, woke me up with her impression of an owl.  Imitating an owl's hooting cadence, she said, "Meow, meow-meow-meow.  Meow, meow."  Since then, I've had the CBS Audiofile Sound Effects Library track, "Owl/Wind," on my mind.  However, instead of the owl, I've imagined it with Collette's owl impression and a wind machine.

Apparently, both of us are getting into the Halloween spirit.

An overlooked cover tune CXLVIII

Thanks to Dayton, Ohio jazz station WDPS for playing Dave McMurray's version of "Seven Nation Army" by The White Stripes yesterday.  McMurray's rendition shows how the tune's forthright indie rock vocals can be transformed into a credible jazz saxophone melody.  If I hadn't known otherwise while hearing this version, I would have thought "Seven Nation Army" had originated as a jazz track.

Online radio sampler highlights CCLII

Standout songs heard today:

KFLO (Jonesboro, AR)

• I Just Wanna Stop-Gino Vannelli (Another example of how the '70s were soft rock's best decade: More often than not, expressions of longing were sung effectively and tastefully.)
• Sweet Freedom-Michael McDonald (One of the Summer of '86's most appealing uptempo hits; the energy level is there from the first note and stays for the duration.  McDonald sings with his usual conviction.)

KHBL (Hannibal, MO)

• Poems, Prayers, And Promises-John Denver (This overlooked, should-have-been-a-hit track will be in my Thanksgiving music rotation from now on.  The lyrics illustrate moving appreciation for one's life and those in it.  I enjoy James Taylor's "Secret O' Life" for similar reasons.)

WDPS (Dayton, OH)

• Backyard Groove-Kenny Garrett Quintet (A well-sustained B-flat minor groove, with Garrett carrying the melody on alto sax and Vernell Brown, Jr. providing forceful piano underpinning.)
• Lucy From Afar-Renee Rosnes (An expansive, energetic performance from Rosnes on piano and Steve Nelson on vibraphone.  The tune is in B major but features attention-getting juts into a minor key.)

WJZP (Portland, ME)

• Love's Theme-Love Unlimited Orchestra (I never tire of these of-their-time strings and piano.  This instrumental is so joyous that it was deservedly one of 1974's biggest hits.)

WVEW (Brattleboro, VT)

• Khaabon Ke Parindau-Alyssa Mendonsa & Mohit Chauhan (This Indian track features pleasant vocals and instrumentation conjuring up images of a carefree day when nothing can bother you; it's not unlike many Brazilian tunes in that way.)
  

FM dial scan highlights CCLIX

Six noteworthy tunes heard today:

KDHX 88.1 FM

• Sympathy-Mowjoe (An appealing new jazzy instrumental with an early '70s R&B feel.)

WSIE 88.7 FM

• Rain Forest-Paul Hardcastle (A strong upbeat electronica hook has kept this melody in smooth jazz station rotations for four decades.  We hadn't been playing it on KNJZ until one night when the station was off the air.  While the engineer worked to get us back on the air, I listened to tracks off-air that I wished we would play.  When broadcasting resumed that night, I was playing "Rain Forest."  Soon after that, it was added to our playlist; I can't prove it, but I'd like to think that the program director heard me playing it and thought, "Say, why aren't we playing 'Rain Forest' regularly?")
• Nostalgia-Brittany Atterberry (Pleasant uptempo smooth jazz sax stylings, released in September.)

KCLC 89.1 FM

• Worthy-Mavis Staples (Staples conveys empowering sentiments here similar to those in Taj Mahal's "Everybody Is Somebody" through her declarative, anthemic vocals.  I also like that Staples left in her request, "Let me do that again," at the end.)

KEZK 102.5 FM

• I Heard A Rumour-Bananarama (I didn't know KEZK played this until today.  The synthesized arrangement and catchy vocal hook are lodged firmly in 1987.  For what it is, it's a fun pop tune--and it was an even bigger hit than I realized.)

KPNT 105.7 FM

• Shimmer-Fuel (This tune rocks harder than much of what I usually recommend.  It deserves credit for grabbing the listener's ear from the first sung note and being well-structured; this is how to increase a song's energy level and pull out all the stops in the second verse.)
  

Steady temperament, steady improvement

At a recent reunion, I talked with two other members of my high school jazz band.  While all three of us enjoyed the music we played back in the '80s, I also remarked on how consistently even-tempered our director, Mr. B., was.  In two years of rehearsals and concerts, I never saw him get angry.  Not once did he tell us that we'd offended the spirit of Duke Ellington or Count Basie.  When the band's read-through of a tune was somewhat anemic, he mentioned matter-of-factly what needed to be fixed--and then, we fixed it.  As a result, the band improved steadily from rehearsal to rehearsal and didn't play any subpar concerts.

I wish certain orchestra directors for whom I played had emulated Mr. B.'s even-keeled approach to conducting.

When Halloween is too much with us

For the past three minutes, I've been hearing a faint, eerie sound through the wall.  I'm not sure if someone's phone is ringing or if someone is watching a movie with an ominous musical score.  Perhaps some foreboding music just sprang up organically while some witches or evil spirits started brewing a potion in a cauldron.

On second thought, I think I just heard a low-pitched ringtone.

An overlooked cover tune CXLVII

The first time I heard Sandler & Young's version of "Let It Be," I thought, "It's odd to hear two baritone voices covering a Beatles tune, especially this one, but it kind of works."

I think the key to that remake's success is the bounce in its step, especially in the piano part.  The rhythmically spoken outro, "There will be an answer.  Let it be," is an amusing way to end the tune, as well.

It's best to remember that not every cover version is intended to surpass its original rendition.  Often, the point of a cover is simply to put a new spin on a well-known hit.

Why these presets?

The car radio allows me to choose up to six FM presets.  These are the six stations I've selected:

1. KDHX 88.1 FM (Although I dislike that the station let go of many longtime DJs last year and hasn't been sufficiently transparent in the reasons for the changes, KDHX is still the most musically diverse station in St. Louis.  You can hear everything from a Celtic reel to an obscure blues 45 on KDHX.  Despite my reservations about how the station is run, a good portion of the old KDHX still remains, and some of the new programs deserve listeners' attention, as well.)

2. WSIE 88.7 FM (Since its rebranding as "88-7, The Sound" several years ago, a good station has become a great one.  Any station that can blend Oscar Peterson, Joni Mitchell, Gil Scott-Heron, and Erin Bode into its signature sound warrants frequent listening, as far as I'm concerned.  Not every station could offer such a unique blend of jazz, R&B, blues, and singer-songwriter material, but WSIE does.)

3. KCLC 89.1 FM (While the Lindenwood College station's music often skews younger than my demographic, enough of the tunes catch my ears.  I discovered my favorite songs of 2021 and 2022, Clairo's "Amoeba" and Julia Jacklin's "I Was Neon," on KCLC.)

4. KWMU 90.7 FM (With five of my six presets being music stations, it's only right that I include our NPR affiliate as a source for news and thought-provoking interviews.  KWMU is also a music source, as well, for St. Louis Symphony Orchestra concerts and three hours a week of the syndicated service, JazzWorks.)

5. KEZK 102.5 FM (I had space for one commercial station, and for oldies, I could just as easily have chosen KLOU 103.3 FM or WARH 106.5 FM.  The tiebreaker in KEZK's favor?  Christmas music.)

6. K297BI 107.3 FM (How could I not support our city's lone Classical station?  Knowing that I can hear everything from a Monteverdi choral piece to a Dvorak symphony I played on the bass keeps me tuned into the Radio Arts Foundation's station.  The weekly show, "The Jazz Collective," is also a plus.)

Relative anonymity

During my last month at KCOU, one of the higher-ups at Residential Life, the residence hall association that owned the station, visited.  When she walked past the studio after I'd just finished an air break, she did a double take.

"I never knew that was you on the radio," she told me.  "I've seen you around the dorm many times, but I never knew you were a DJ.  You sound good."

After thanking her for the compliment, I thought, "I like that reaction.  People who want to listen to my shows will listen, but they all don't have to know who I am.  There's something appealing about being known and unknown at the same time."

Context? CCCXLV

I'm not sure what to make of a DJ's announcement yesterday.  He said he wasn't sure he'd be able to do his radio show at first because he didn't feel like doing a rock show that day.  Then, he admitted, "Rock and roll saved my life today.  It got me up and at 'em."

Here's hoping he was exaggerating about the life-saving aspect of rock music and that he isn't hanging onto life by a thread!

Online radio sampler highlights CCLI

Six standout tunes heard today:

KBLU (Logan, UT)

• Moto-Highline Drifters (This joyous, festive track could segue with Rusted Root's "Send Me On My Way.")

KBRP (Bisbee, AZ)

• Journey To The Center Of The Mind-The Amboy Dukes (One of the best propulsive rock intros ever, lodged firmly in 1968 in the best possible way.  A progressive rock station of its time could have used this as its newscast theme.)
  

WRTC (Hartford, CT)

• Zanzibar-Earth, Wind & Fire (Part fanciful jazz, part expansive R&B jam, vocally and instrumentally, from early in the group's career.  The tune surpasses 13 minutes and never wears out its welcome.)
• The Best Things In Life Are Free-The Gene Harris Quartet (Elegant, uptempo piano jazz.)

WUNH (Durham, NH)

• Inside Outside-This Is The Kit (Kate Stables sings the memorable hook, "Call it out again," compellingly.  This rhythmically and vocally strong release from 2023 is on my mental loop.)
• Hung The Moon-Cults (The spacey instrumental backing gives the lyrics about finding someone special additional gravity.)

Only in college CIX

During my freshman year in college, our orchestra held a Halloween concert.  It was the only time we were allowed to wear costumes instead of formal concert clothes.  I thought, "What's the simplest costume I could wear that doesn't require any extra effort?"  

I wore a jogging suit during the concert and went as a jogger.  It was the most comfortable I ever was playing the bass on stage--and the only time I ever wore a jogging suit in concert.

For a broadcasting class I took senior year, we were required to write and perform a commercial for a business of our choice and include a prop.  I thought, "What can I use as a prop that won't require any extra effort or expense?"  It didn't take me long to ask myself, "Why not use my glasses?"  I wrote a commercial for an ophthalmologist's office that sells glasses.  At the end of the commercial, I put on my glasses and said the tag line, "You'll like the look."

Sometimes, the simplest solutions are the best ones--or the most convenient ones, at least.

Take 2: "As I just said, you did a great job..."

I saw someone I hadn't known well at my high school class reunion Saturday.  I told Germaine that I remembered her singing an impressive version of Cyndi Lauper's "Time After Time" during the eighth grade vocal music Christmas program and that I'd remembered it because her performance was one of the few things about that program that was well done and went off as it was supposed to.

She replied, "Thank you!  Would you mind saying that again for the camera?"

I was happy to oblige.  While a friend of Germaine's filmed us, I repeated my compliment.  I'd like to think I sounded just as natural the second time around.  

It takes courage to sing in public at any age.  The up side, however, is that it's incredibly satisfying when you pull it off.  Also, in that 1984 fiasco of a Christmas program, a sincere, on-key rendering of "Time After Time" was bound to stand out.

No diabolical laughter today

During a reunion last night, I described how botox injections for dysphonia affected my voice initially.

"I couldn't have been on the radio then," I said, joking that I had "Lanacane witch voice.  I might as well have cackled."

"I'm glad you decided not to cackle," someone from my high school class said.  "Even for you, that would have been a bit much."

High school might or might not be where they know you, but I'm not cackling today.  Today, I'm thankful for another birthday.  I've made it to age 54, and I'm grateful for everyone who has encouraged or furthered my interest in music and radio.  Last night's reunion reminded me how lucky I was to have gone to school with an admirable group of people who have their equivalents of those passions--or, in some cases, those same passions.

FM dial scan highlights CCLVIII

Friday night standouts:

KDHX 88.1 FM

• Sunshine Keri-Lee Oskar (A pleasant upbeat groove from War's harmonica player.  I almost never hear Oskar's solo work on the radio, so this was a pleasant surprise.  Also recommended: "Before The Rain" and "More Than Words Can Say.")
• When The Morning Comes-Daryl Hall & John Oates (Considering Hall's impressive multi-octave vocals, the tune's accessible lyrics, and its memorable melody, it's surprising this wasn't a hit.  This track from early in their career is some of the duo's best work.)

WSIE 88.7 FM

• Moonlight Drive-Paula Atherton (A smooth jazz sax groove with a steady bounce, released in June.)
• Agua De Beber-Al Jarreau (Jarreau's vocal dexterity lends itself well to this cover.)

KPNT 105.7 FM

• Don't Bring Me Down-Juliana Hatfield (I'm glad 105-7 The Point plays this cover of the ELO hit, as it stays faithful to the original version while modernizing it just enough.  This was one of 2023's catchiest tracks.)

K297BI 107.3 FM, a.k.a. WFUN-HD2

• Bim Bom-Sergio Mendes & Brasil '66 (This short, fun, uptempo tune would segue well with Antonio Carlos Jobim's version of "Fascinating Rhythm.")
• Twice Shy-Hot Club Of St. Louis (This track is from this year, but the fiddle playing is seemingly from a much earlier decade.  Doc & Merle Watson's "Carroll County Blues" could segue with this.)
  

Context? CCCXLIV

I'm not sure of the speaker's occupation, but I heard him say on an NPR station today, "You've got to learn to keep (your politics) to yourself when you're trying to make people happy."

While that's good advice in some situations, I stand by what I said September 15.

FM dial scan highlights CCLVII

Thursday highlights:

KDHX 88.1 FM

• Sunrise-Mildlife (This slow jam, released in March, has an appealing '70s jazz feel.)

WSIE 88.7 FM

• Autumn Leaves-Bill Evans Trio (If I hadn't heard any other rendition of this tune, its title would suggest a more placid tempo and mood.  This upbeat take for piano, bass, and drums cooks and swings impressively, though.)
• Tell Me What I Gotta Do-Al Jarreau (I probably sang along with the chorus when playing this on KNJZ more than I realize; a good hook sometimes draws me in that way.  Jarreau's "All Or Nothing At All" has a similar bounce.)

KWUR 90.3 FM

• Running-Kate Bollinger (Listeners should lean into Bollinger's quiet, subtle voice here.  Her vocals blend compellingly with a pleasant instrumental backdrop.  This was released originally as a single in 2022.  Bollinger includes it on her first album, "Songs From A Thousand Frames Of Mind," released last week.  I'm glad, as it gives the tune a second chance to contend for my favorite music of the year post in December.)
• Moon Ahead-Sun June (Laura Colwell's vocals have a subtlety similar to those of Kate Bollinger.  This release from last year has compelling lyrics and a quiet appeal.  Alexis Marsh's celestial-sounding saxophone interlude gives the tune additional ambience.)

WFUN 96.3 FM

• Human Nature-Michael Jackson (Of the many hits from Jackson's tremendously successful album, "Thriller," this ballad holds up best in 2024.)
  

An overlooked cover tune CXLVI

Looking back at the notes I made on October 2, 2016, I heard one version of a well-known hymn on SiriusXM but didn't mention it on this blog.  After listening to it again, I recommend The Chuck Wagon Gang's rendition of "Amazing Grace."

Yes, really.  I'm as surprised as you are, reader.  I wouldn't have guessed that a band by that name would record such a credible rendition.  I'll admit that if the group had been named The Fourth Street Choir or The Voices Of Reverence, I probably would have recommended it eight years ago.  Also, if I'd heard it on KFUO AM on Easter Sunday, I would have let it play out.

Approaching this version with an open mind reminded me of how well the vocal ranges from soprano to baritone are covered and how respectfully straightforward The Chuck Wagon Gang's take is.  I'm no zealot when it comes to sacred music, but I'll give credit where it's due here.

Context? CCCXLIII

In the early '00s, an evening radio talk show host was perplexed.  He quoted song lyrics and asked callers to name the titles and artists of various '70s and '80s pop hits.  It puzzled him that listeners were only guessing about one out of every three songs correctly.

"Apparently, there's a lot of passive listening going on," he mused.

The songs he quoted were well-known ones by artists such as Elton John and Kenny Loggins.  I recognized a lyric from "What I Am" by Edie Brickell & New Bohemians, which was as close as the host came to an offbeat choice.

While many people listen to music more for the feel of songs than their lyrics, I'll bet the audience's batting average would have been higher if they'd heard the song clips.  Hearing, "Susie went and left us for some foreign guy," spoken out of context instead of sung wouldn't make a lot of listeners immediately think, "Oh, that's from 'Crocodile Rock.'"

With song lyrics, context is key.

Context? CCCXLII

Last Thursday, I tuned into a college radio station just as one DJ was asking his three fellow DJs what they learned that day.  The first woman responded, "I learned a really hard riff in one of my choir songs."  Another woman said an article she wrote was on the front page of a newspaper.  The third woman said she'd learned to script what to say on-air.

That third response surprised me.  I always thought that as long as I had my playlist in front of me and a general sense of what I planned to say, scripting wasn't necessary--especially on a casual, noncommercial college station.

If a DJ is more comfortable scripting air breaks, though, why not?  As long as the delivery is natural, who says you can't write out what you want to say ahead of time?

Persistent earworm alert CCCXLVIII

Since last night, David Olney's version of "Absalom" hasn't left my mind.  I'm not sure why.  I've only heard it once on a streaming service over 20 years ago, but its somber melody and downcast lyrics have taken root.  "Absalom" could segue with Fairport Convention's "Polly On The Shore," which isn't a joyful tale, either.

I wish I knew how the mind works in such matters.

One breezy waltz that deserves another

After listening to "Spike's Waltz" by Warren Vache recently, I was struck by how pleasant and breezy the piano part is.  It sets the stage for the rest of the instrumental, giving it a warm, carefree, uptempo vibe.  If I were programming a jazz station, I'd segue it with Wes Montgomery's version of "Hello, Young Lovers;" Montgomery's guitar playing has a similar waltzing feel on that track.

Persistent earworm alert CCCXLVII

Over 40 years ago, I saw a reference in a pop music book to "The Cinnamon Cinder (It's A Very Nice Dance)" by The Pastel Six.  I thought, "That's the most polite parenthetical song title I think I've ever seen.  I wonder what the song sounds like."

Yesterday, I finally found out, and the song has been on my mental loop since then.  KISN, an oldies station in Portland, Oregon, played it as its lost oldie of the day.  The title's courteous vibe extends to the song, as well. In the lyrics, dancers are invited to use whatever steps they want for the Cinnamon Cinder; the lyrics, "It's a very nice dance," are spoken during each chorus to underscore how welcoming the dance is.

That soft sell of an invitation charted in 1963.  Although it isn't a song I'd seek out regularly, The Pastel Six deserve credit for the appealing civility of the tune's title and lyrics.

Online radio sampler highlights CCL

Some of the best selections I've heard today:

KISN (Portland, OR)

• Guitar Boogie Shuffle-The Virtues (If you like the guitar stylings of The Ventures, you'll probably also enjoy how The Virtues let the notes reverberate in this 1959 guitar instrumental.)
• Time Won't Let Me-The Outsiders (The upbeat rhythm of this 1966 oldie holds up, and the lyrics work in any era.)

KTRU (Houston, TX)

• Houston Special-The Rooftop Singers (I reflexively like any guitar part that mimics a train, and this folk trio, best known for the hit, "Walk Right In," carries off the guitar playing and vocals compellingly.)
• Today-Jennifer O'Connor (Sensitive vocals and acoustic guitar convey honest lyrics about how weighty it is to commit to someone.)

WCLK (Atlanta, GA)

• La Costa-Vanessa Williams (Williams sings some of the most immediately appealing vocals of 2024 in this strong cover of a Natalie Cole tune.  This August release could easily paint an inviting picture of a vacation destination in tourism commercials.  The "Ah, yi, yi, yi, yi, yi, yi" hook is just as captivating in both versions.)
• The Breaks-Golden Mean (This is approximately how a guitar shredder such as Eric Johnson, Steve Vai, or Joe Satriani might sound over a smooth jazz backdrop.)

WQAQ (Hamden, CT)

• Turn That Heartbeat Over Again-Steely Dan (This unusual call-and-response among three vocalists  builds to a memorable chorus.  It's one of many examples of how Steely Dan hit the ground running on its debut album, "Can't Buy A Thrill.")

WSCS (New London, NH)

• Franz Joseph Haydn: String Quartet in D minor, Op. 76, No.2: IV. Finale: Vivace assai (Tatrai Quartet) (A spirited frenzy of a conclusion to this quartet.)