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.