Online radio sampler highlights CCXLIV

Eight standout selections heard today:

KKJZ (Long Beach, CA)

• Next Time You See Me-Houston Person (A midtempo, big-band style groove with Person's tenor sax carrying the melody.)

KRWV (Phoenix, AZ)

• Catavento-Lee Ritenour & Dave Grusin (Pleasant uptempo smooth jazz guitar and piano with a Brazilian bent.)

KVMR (Nevada City, CA)

• Worry All Your Life-Sera Cahoone (Well-crafted lyrics about advising someone to relax, underscored sensitively with guitar and violin.)

KVSH (Vashon Island, WA)

• One More Song The Radio Won't Like-Kathleen Edwards (Honest lyrics about not compromising one's artistic integrity.)

WCRI (Block Island, RI)

• Johannes Brahms: Symphony No. 1 in C minor, Op. 68: I. Un poco sostenuto--Allegro (London Philharmonic Orchestra/Marin Alsop, conductor) (Dramatic, stately strings.)

WIIN (Jackson, MS)

• Cruisin'-Smokey Robinson (This is one of Robinson's smoothest grooves, ranking up there with his excellent album, "A Quiet Storm.") 

WIUX (Bloomington, IN)

• America-Simon & Garfunkel (I'm glad there's a place for this on WIUX's playlist.  I hadn't expected to hear it sandwiched between two indie rock tunes, but the exploratory, idealistic lyrics are appropriate for a college radio station.)

WSCA (Portsmouth, NH)

• Carry You To Safety-The Jayhawks (A reassuring way to tell one's significant other, "You can depend on me.")

I didn't have the nerve, but...

...when giving current weather conditions on the radio, I always wanted to say, "Once again, God is making it rain without my permission, and it's 83 degrees..."

I know I don't control the weather, but I like maintaining the illusion that I do.

FM dial scan highlights CCLI

Sunday night highlights:

KDHX 88.1 FM

• Embraceable You-Lezlie Harrison (Tasteful, understated vocals and rhythm playing.)
• Poinciana-Ahmad Jamal (Ideal piano jazz for a late night playlist.)

WSIE 88.7 FM

• The Way-Lindsey Webster (Slow jam vocals and instrumentation that are equally at home in a smooth jazz or R&B playlist.) 
• The Coast Is Clear-Jacob Webb (Energetic, easy-on-the-ears smooth jazz guitar.)
  

KWMU 90.7 FM

• 'Round Midnight-Johnny Smith (As the "JazzWorks" announcer said, "That's kinda perfect."  He's right, as Smith pulls off a strong performance on the guitar here.)
• Invitation-Art Blakey & The Jazz Messengers (The entire rhythm section enhances a captivating melody, and Wayne Shorter shines on tenor sax.)

KSHE 94.7 FM

• Samba Pa Ti-Santana (Exhibit A of Carlos Santana's guitar prowess.)

WFUN 96.3 FM

• A House Is Not A Home-Luther Vandross (The grandeur and structure of these lyrics make it unsurprising that there have been so many vocal and instrumental covers of this song.  Vandross sings one of the strongest renditions, as does Dionne Warwick.  Bill Evans and Eliane Elias also cover it superbly on the piano.)

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

• Ralph Vaughan Williams: Partita For Double String Orchestra: IV. Fantasia. Allegro (Royal Liverpool Philharmonic/Vernon Handley, conductor) (The opening of this movement brings to mind the familiar, foreboding "Jaws" theme.  The strings build considerable dramatic tension before bringing the piece to a tranquil, orderly close.)

FM dial scan highlights CCL

Six Sunday morning standouts:

KDHX 88.1 FM

• Amazing Grace-Judy Collins (Collins's voice carries out the reverence necessary for "Amazing Grace" and becomes even more powerful once the choir comes in.)
• Gentle On My Mind-Robert Ellis & Courtney Hartman (These two voices blend well in this tasteful vocals-and-acoustic-guitar cover of the Glen Campbell hit.)

WSIE 88.7 FM

• Stomp And Buck Dance-The Crusaders (This is one of the group's most aggressive instrumentals, with effective interweaving of guitar and horns.  It's one of many highlights from the "Southern Comfort" album.  Also recommended: "Greasy Spoon" and "Whispering Pines.")
• Araignee-Emily Bear Trio (This welcoming piano melody reminded me of Kenny Barron's version of "Triste" and various Carolbeth True numbers.  Bear has composition skills and a performer's confidence well beyond her young years.)

KSHE 94.7 FM

• Rose Of Cimarron-Poco (There's a literacy and an appealing structure to this tune that should have made it better known.)
• Freewill-Rush (One of my favorite Rush tracks, second only to "Entre Nous," in my opinion.  It sports one of my favorite lyrics of any rock song, "If you choose not to decide, you still have made a choice."  That's particularly apropos on Election Day.)
  

In memory of John Mayall

When Eric Clapton and three future members of Fleetwood Mac pass through your ranks, that's ample reason to be proud of what you've created.  Since first hearing his guitar playing, harmonica stylings, and vocals, Mayall has been one of my favorite blues artists.  I was sorry to learn of his recent passing and take heart in knowing that he left the world with a lot of quality music, such as these gems:

• Driving Till The Break Of Day (The blues intersect with jazz here, thanks to a successful blend of guitar and horns.  There's a bit of a "Sittin' On The Dock Of The Bay" vibe here that I like.)
• The Laws Must Change (This is a level-headed approach for a progressive fixer-upper to take.)
• Play The Harp (This is my favorite Mayall tune; try getting this riff out of your mind once you hear it.  How could a track with this guitar hook not get one's attention?)
• Red Sky (The opening harmonica riff sets the stage perfectly for the lyrics that follow.  Lyrically, this is an interesting way to say, "I'll put up with a lot, with there are still lines you shouldn't cross.")
• Room To Move (A great, brisk harmonica line.)
• Sunshine (An unfortunately overlooked track in Mayall's canon; I liked the way it ended an edition of  KCOU's "Blues 101" that I hosted on a fast flourish.)
• The Supernatural (Peter Green's blistering guitar technique and craftsmanship are on full display here.)

FM dial scan highlights CCXLIX

Friday morning highlights:

WSIE 88.7 FM

• Chicago Sunset-Charlie Musselwhite (The "Sesame Street" theme, recast as a blues harmonica instrumental.)
• Summer Rain-Hiromi (I'm inclined to like just about any piano piece with this energy level and ascending and descending patterns..  This is some smart, snappy piano and saxophone synergy.)

KCLC 89.1 FM

• The One Thing-INXS (The band's first hit, and it deserved to be a bigger one in 1983.  "The One Thing" has one of their strongest hooks and uses the saxophone effectively.)

WFUN 96.3 FM

• Another Sad Love Song-Toni Braxton (This 1993 hit creates an appropriate mood for wallowing in one's heartbreak.  I'd be curious to hear Anita Baker cover it.)

KLOU 103.3 FM

• Total Eclipse Of The Heart-Bonnie Tyler (The rasp in Tyler's voice makes her emoting sound all the more sincere here.)

Online radio sampler highlights CCXLIII

Thursday standouts:

KBEM (Minneapolis, MN)

• Wakamba-Chucho Valdes (Gripping tension in a minor key.  I have yet to hear any piano piece by Valdes that I dislike.)

KWNK (Reno, NV)

• Sing It Back (Boris Dlugosch Musical Mix)-Moloko (An infectious dance track from '98.  The Aluminum Group's "Cannot Make You Out" would sound right to me before it.)

WBFY (Belfast, ME)

• Elenore-The Turtles (Rhythmically, this reminds me of the Genesis track, "A Trick Of The Tail.")
• Diamond Head-The Ventures (One good spy/surf guitar instrumental deserves another.  I would have programmed "Bravado" by The Aqua Velvets before this.)

WBTV (Burlington, VT)

• Midnight At The Oasis-Renee Olstead (Olstead's voice is a natural fit for this cover of the Maria Muldaur oldie.)

WLOY (Baltimore, MD)

• Good Morning-Gregory Isaacs (When you're going through a rough patch, it's comforting to remember that you have friends on your side.)

WZRD (Chicago, IL)

• Scott Street-Phoebe Bridgers (Lyrically, this a painful reminder that you can't--and wouldn't want to--get back certain aspects of your past.  Also recommended: "Motion Sickness.")
  

Online radio sampler highlights CCXLII

Wednesday highlights:

KALH (Alamogordo, NM)

• You-Rita Coolidge (I was glad to be reminded of this 1978 hit I hadn't heard in ages.  It doesn't break new ground lyrically, but it doesn't need to.  Coolidge's vocals sell a solid hook and catchy, of-its-time rhythm effectively.  Frankie Valli's "Swearin' To God" would sound right to me after this.)

KGKG (Salida, CO)

• St. Elmo's Fire-John Parr (The emotive vocals of this 1985 hit still hold up.  With this level of confidence, it's easy to feel like you've won a marathon without even entering the race.)

KVSC (St. Cloud, MN)

• Matter Of Time-Sharon Jones & The Dap-Kings (A perfectly reasonable demand for fairness, set to the tempo of a waltz.)
• La Rue-Cortex (This medley of French jazz vocals and characteristically '70s instrumentation features something interesting, abrupt tempo shifts.  Charles Stepney's "Look B4u Leap" would sound smooth before this.)

WAER-HD2 (Syracuse, NY)

• Yardbird Suite-Herbie Mann (Tal Farlow's guitar rendition is my default version of this, but Mann shows how well the melody works on the flute.)
• Prelude in E minor-Gerry Mulligan (Proof that a saxophone-centered melody can be simultaneously sorrowful and uptempo.)

WPVM (Asheville, NC) 

• See You On The Moon-Tift Merritt (Sadly, people don't always stay in your life as long as you wish. These endearingly thoughtful lyrics and vocals deserve a wider audience.)

Context? CCCXXXI

I was only half-listening, but I could've sworn I heard a radio talk show host say, "Don't talk down to me, you music savant," to someone on-air this morning.

I hope no one has ever reacted that way to any of my blog posts!

If I'd really thought about it...

...I wouldn't have been able to speak.  Looking back at the number of times when I went into a radio studio with only a vague idea of how I'd fill the hours ahead of me with music and what I'd say about it on-air, I could have frozen up and sat in a stupor with dead air.

Fortunately, that didn't happen.  When you love music and radio as much as I do, you're always thinking ahead.

After decades of work...

One program director I knew said his plan for retirement was to sit around and watch "The Three Stooges."  I'm not a "Stooges" fan, but after 40 years of working, that program director and other longtime workers who want to while away their time that way have earned it.

Persistent earworm alert CCCXLI

Andreas Vollenweider's track, "Hirzel," is a new age instrumental with staying power.  For over 30 years, it has entered my mind unexpectedly.  There's an exploratory vibe to the melody that could underscore archaeologists studying artifacts they find in a cave.

"Hirzel" also demonstrates how musical stylings from vastly different eras can coexist.  The tune's central melody, played on the harp, could almost pass for a music box arrangement--until the electric guitar crashes in and brings the listener into more modern times.  Somehow, it manages not to sound like a clash between genres.

Not every artist can make two worlds sound harmonious.  Vollenweider does, however, on "Hirzel."

OK to zone out now

Sometimes, the radio is background noise, but I still feel compelled to snap back to attention and ask, "What did I miss?"

Then, I realize that the station is in the middle of a farm report, and the announcer is giving soybean prices.

I'm not a farmer, so I hope that information is useful for those who need it.

Online radio sampler highlights CCXLI

Thursday morning highlights:

KMHD (Portland, OR)

• Something's Gotta Give-Joyce Collins Trio (I've heard many artists play and sing this tune in just about every tempo imaginable.  Bing Crosby, Sammy Davis, Jr., and Ella Fitzgerald sang three of the strongest renditions.  Until today, however, I'd never heard "Something's Gotta Give" played as a self-assured stroll on the piano; the unusually slow tempo works better than I would have imagined.)
• Skylark-Toots Thielemans (This is an appropriately lighthearted harmonica-led rendition of this standard.)

KMMS (Bozeman, MT)

• Keep Going-Guster (Lyrically, this May release is a good reminder not to give up hope.)
• People-Susan Tedeschi (Tedeschi's vocals are always consistently emotive, and her ringing guitar playing gives her blues-rock tracks appropriate gravity.  Lyrically, this is another effective reminder not to give up hope.  Also recommended: "Talking About," which spits fire and rhythmically brings to mind the Robert Cray Band's "Smoking Gun.")

KPHT (Laytonville, CA) 

• Living From Day To Day-Jimmie Lunceford & His Orchestra (This fiddling style from the '30s could have worked as the intro theme for "A Prairie Home Companion" or "Live From Here.")
  

WCBN (Ann Arbor, MI)

• Three Is A Magic Number-Bob Dorough (This is one of the catchiest "Multiplication Rock" tunes from the "Schoolhouse Rock" series.  Counting by threes doesn't sound this funky ordinarily.)
• Variations In Rock-Sven Wunder (An infectious '70s-influenced instrumental jazz-rock jam from 2022; a fully committed flute player and rhythm section sustain a strong rhythm.)

WSMC (Collegedale, TN)

• Francis Poulenc: Pastourelle (Jacqueline Schweitzer, piano) (Poulenc ended this piece rather abruptly, but I like the transitions from confidence to sorrow to confidence and the deft touch with which Schweitzer plays them.)
  

Context? CCCXXX

A radio personality made a sound point about social media this morning.  While attending a wedding, he was struck by how many people were taking photos and posting them immediately.

He mused, "Who are you doing this for?  Experience the event.  Then, take the photo," he suggested.

Alas, many of us, including me at times, discount the value of being in the moment.

Persistent earworm alert CCCXL

My subconscious mind has been craving a reprieve from the tense state of our country lately.  I'm puzzled, though, that the song it picked this morning is one I haven't heard on the radio in decades.  It's carefree and bouncy, but I have no strong feelings about it.

Nevertheless, Dan Hartman's minor 1985 hit, "Second Nature," is taking the edge off things today.

No artist card? Seriously?

I'm sure it was just a money-saving measure that record stores used.  Still, it irked me slightly in 1993 when I went to a music store to buy Tim Finn's "Before & After" CD.  "Persuasion" was the track that drew me in; lyrically, it gives sentimentality a good name, and I never tired of hearing it on WFXB.  "Hit The Ground Running" made a strong impression, as well, as did "Many's The Time (In Dublin.)"

I almost left the store without the CD, however, because unlike with most artists, the store had no artist card in the bin for Tim Finn.  On a whim, however, I checked the end of the letter F section in the rock category--and found the one copy the store had in stock.

"Before & After" still stands up as quality singer-songwriter material.  Just because an artist isn't a household name to every American doesn't mean he's unworthy of a labeled divider alerting listeners to his music.

No unhinged fury, despite the label

I won't name the band, but upon first hearing their music in the '80s, I thought, "I don't know that I'd listen to this group frequently, but these are some decent new wave tunes."  Then, upon reading in rock encyclopedias that they were a punk rock band, I thought, "This is punk rock?  Granted, I haven't heard a ton of their music, but I don't really hear any rage.  Also, these band members could pass for college students you'd see studying for hours at the library.  They don't look particularly menacing."

I was glad to learn that a punk rock band could look and sound refreshingly unthreatening.

An overlooked cover tune CXLIV

Until listening to it for the first time in a while yesterday, I'd forgotten that Miles Davis covered the traditional folk tune, "Billy Boy."  I remember one of my grade school vocal music teachers leading the class in singing the original arrangement.  The lyric, "Can she make a cherry pie, Billy Boy, Billy Boy?," still comes to mind unexpectedly.

It's an unlikely choice for an instrumental jazz cover, but Red Garland ups the tempo of it on piano, gives the melody a bit of a kick, and makes it work in a surprising context.  It stands out in a set of modern-for-their-time, i.e. 1958, Miles Davis jazz tracks.  I've heard plenty of Davis tracks on the radio over the years, but I've never heard any station play this surprisingly jazz-adaptable cover.

FM dial scan highlights CCXLVIII

Five of the better tunes I've heard this morning:

KDHX 88.1 FM

• High Tide-Fu Manchu (Without any context, I would have thought this was a prog rock instrumental from the '70s.  Actually, the band released it last month.)

WSIE 88.7 FM

• Mysterious Vibes-The Blackbyrds (This album track is a smooth blend of R&B and jazz.  I hear elements of Ronnie Laws and Bob James in the instrumentation and vocals.  The synthesizer flourishes root it firmly in its time, i.e. 1977.)
• Run For Cover-Basia (Upbeat and reassuring vocals.  This is from Basia's 1987 debut album, "Time And Tide," which has a bumper crop of strong tracks.  Also recommended: "Promises," "New Day For You," "Astrud," "Miles Away," and the title track.)

KCLC 89.1 FM

• New Slang-The Shins ("New Slang" pulls off the impressive trick of setting not-so-upbeat lyrics to a sing-along arrangement, proving there's such a thing as tempered vengeance.) 
• Teenage Summer-Crowded House (Crowded House has had a way with hooks since the '80s.  This 2024 track about not being able to get together with someone you seek continues the streak.)
  

Context? CCCXXIX

"Horsepower cracks me up--the very concept of it," said the host of a public radio feature yesterday.

I agree.  I'm sure it was much more applicable in the 18th century.  Today, however...

Online radio sampler highlights CCXL

Wednesday standouts:

KMGG (Albuquerque, NM)

• Yearning For Your Love-The Gap Band (This is how you write and sing from the heart.  The in-no-rush instrumental intro sets the tone perfectly.  The vocals are sung with exactly the right amount of feeling and no theatrics.  It still baffles me that this wasn't a pop hit.  Decades later, this is still one of the most tasteful slow jams I've ever heard.)

KWSS (Scottsdale, AZ)

• Punchline-The Motels (To most listeners, The Motels are best known for their early '80s hits, "Only The Lonely" and "Suddenly Last Summer."  Martha Davis and company capture the feel of that time in this 2018 release.)

WERS (Boston, MA)

• Take A Bite-beabadoobee (This is one of 2024's catchier tunes.  Rhythmically, it strikes me as a faster version of Tom Petty's "Mary Jane's Last Dance.")
• Hourglass-Squeeze (I was glad to be reminded of this fun romp with its infectious chorus from 1987.  Also recommended: "Footprints.")

WSBZ (Santa Rosa Beach, FL)

• Sizzlin'-Fattburger (A pleasant, brisk smooth jazz instrumental with easy synchronicity between the guitar and keyboard.  Also recommended: "Good News.")
• I'm All Ears-Cindy Bradley (A fresh breeze of an uptempo trumpet groove, reminiscent of Herb Alpert and Hugh Masekela's late '70s trumpet stylings.)

The participant-to-spectator transition

Going back to watch my old high school's jazz band concert felt comforting yet odd during my first semester of college.

"I know a lot of these people, but it looks strange not seeing anyone from my graduating class on stage," I thought.  I was on this stage with the jazz band less than a year ago, but somehow, it feels longer.  It's interesting that they're using an electric bass player this year instead of an acoustic bass player like me."

The new bass player said to me after the concert, "I saw you in the audience and kept thinking you'd jump onstage to show me how the songs are played."

I wouldn't have done that, but I appreciated the acknowledgment.  I enjoyed the concert, but being a spectator instead of a participant reminded me that we're all filling roles during our lives.  Others had played the bass in the jazz band before me, and others would after me, as well.  Some years, there will be an acoustic bassist; other years, an electric bassist will have that role.

One way or another, that role will always be filled.

Eventual benefit of the doubt

I was always a tad miffed when radio stations didn't play my requests in the '80s.  Once, it irked me when the DJ played a song I hadn't requested, and said, "This is by request for Des Peres, (the town where I grew up.)"

"Hmmm," I thought.  "I didn't request that.  I'll bet he's just putting the name of my city on another song that he was already scheduled to play."

Then, after a pause, I thought, "Granted, I'm not the only person who lives in Des Peres, and I'm probably not the only listener from this town who called the station this afternoon."

The DJ didn't play my request that afternoon.  I reminded myself that as tasteful as I think my requests are, no radio station can accommodate every listener every time.

No doubt about who's in charge

A DJ at a station where I'd worked called me in the '90s to ask if I wanted to work full-time there, splitting office work, production work, and on-air work roughly into thirds.

Before telling me about the job, he informed me that the previous program director had resigned.

I asked him, "Who's the program director now, then?"

"I'm the man.  I'm the guy.  I'm the p.d.," he responded.

No ambiguity there.  It was surprising to hear such an even-tempered, mild-mannered person take ownership of his job so resolutely.

Persistent earworm alert CCCXXXIX

To me, the ideal musical accompaniment for enjoying a Japanese Zen garden is Hiroshima's "Ren."  In just two-and-a-half minutes, this instrumental conjures up a soothing backdrop with a hint of tension.  It's ideal for times when you want to feel generally but not completely relaxed.

Context? CCCXXVIII

According to one radio talk show host this morning, some podcasts are captivating because sometimes, "there's something compelling about listening to a weirdo...We're all a little bit weird."

The host then clarified that "there's a difference between being a strange bird and a total nutjob."  It was wise of him to claim that "nutjob talk" doesn't happen at his station because it's a serious news/talk outlet.

Admittedly, eccentricity needs at least some broad parameters.

One year from now...

...will the concept of America being for everyone, as expressed in "This Land Is Your Land," be a quaint, outdated idea?  I sure hope not.

Also, as I listened to Peter, Paul & Mary sing "This Land..." yesterday, it dawned on me how much the tune's sentiments have in common with The Guess Who's "Share The Land."  Here's hoping that's also not an archaic way of thinking next year.

Sustained (but slightly tempered) fury

I'm still irate about Monday's disgraceful Supreme Court decision.  This resulted in an over-the-top reaction during an AM radio dial scan this morning.

The two AM stations I listen to most were both playing endless commercials at the same time, so I lost my patience while waiting for them to return to their talk shows.

"HAVE THESE STATIONS SWITCHED TO A FORMAT OF ALL COMMERCIALS?!" I shouted.  "THIS IS UNACCEPTABLE!!!!"

Shortly after my rant, they resumed regular programming.  By default, that was inevitable.

I've felt conflicted about listening to patriotic music in light of recent events, but "America The Beautiful" is still a moving, tasteful tribute to this country, in its St. Louis Symphony Orchestra, Ray Charles, or Nathan East incarnations.  Multiple orchestral renditions of the John Williams piece, "Liberty Fanfare," soar majestically.  Beegie Adair's piano version of "God Bless America" is understated and stirring.  The lyrics of Paul Simon's "American Tune" are especially appropriate during these turbulent times. 

So, I'm conflicted, but good music is still good music.  I plan to listen to more of it today and tomorrow.  Hopefully, the ideals on which America was founded will prevail, and tomorrow won't be our nation's last Independence Day as a democracy.

Persistent earworm alert CCCXXXVIII

While stewing over yesterday's appalling Supreme Court decision on presidential immunity, I kept thinking of The Who's "The Song Is Over."  In my mind, however, the refrain became, "This country's overrrrrrrr..."

I'd love to believe that my reaction is just hyperbolic hysteria, but...

Context? CCCXXVII

I don't know the context in which an interviewee on the radio said it was a compliment that he liked someone.  

"I don't like many people," he clarified.

"Today, on 'All Things Misanthropic...,'" I mused to myself.