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.