Context? CDXVI

Yesterday, a radio personality said he misunderstood someone's reference to Grandpa Pidgeon's after he'd moved to St. Louis.  

Thinking this person was referring to her grandfather, he asked, "Is that a nickname?  Is he a bird?"

He didn't realize that she was referring to a discount store.  That reminded me of how quickly you can get used to a store name that sounds odd to anyone who doesn't have that store in their area.  We don't have Piggly Wiggly stores here, for example, and if they ever opened stores in St. Louis, I'd feel awfully silly calling the store by its name--at least early on.  Over time, if I heard everyone else using it, I'd likely get used to it.

Similarly, my brother mentioned Schnucks, a grocery chain here, to a former co-worker who was based in Philadelphia.  

She asked, "There's a grocery store called Schnucks?"

Yes, there is.  I've shopped at Schnucks frequently and had never thought about how strange that name must sound to outsiders--especially if you think it's spelled Schnooks.

Steering into the skid IX

A smart tactic for a vocalist singing in concert with a sore throat: Compliment the audience when it's warranted.  Erin Bode did this earlier this month.

After the audience applauded several songs into her set, Bode told us, "You're a very kind group of people.  I don't know if anyone's told you that." 

What audience member doesn't enjoy hearing that?  It's gratifying as a concertgoer to know that your appreciation is reciprocal.

Persistent earworm alert CDXII

This is one earworm I'm glad to have in mind on such a frigid, windy day.  John Denver's "Aspenglow" makes me look at Winter in the most positive light whenever I hear it.

As cold, snowy, and icy as the season is, there's an undeniably picturesque aspect to it that Denver's lyrics capture.

That's worth remembering at the moment, when it's 18 degrees and feels like 1 degree with the wind chill, per weather.com.

An overlooked cover tune CLXXXVII

For years, I've thought that Hagood Hardy's easy listening rendition of "Silent Night," which he titled "Silent Night, Holy Night," is the best one I've ever heard.  I was pleasantly surprised earlier this month when I heard his instrumental rendering of John Paul Young's 1978 hit, "Love Is In The Air," on SiriusXM's Escape channel.  I had never imagined a vibraphone carrying the melody, but it works while retaining the original version's carefree verve.

I wonder how many couples have played Hardy's version at their weddings.

An overlooked (Christmas) cover tune CLXXXVI

While trying to adjust to a post-Christmas Day reality this morning, it was a pleasure to hear Rachel Van Voorhees play "Angels We Have Heard On High" on KFUO 850 AM.  When you want to hang on to the beauty of Christmas carols after the holiday, this subtle, medium tempo harp rendition does the trick.

A murky verdict VIII

This was the expression my brother's cat, Lily, had last night as she waited for Brad Mehldau to return to the melody in his freewheeling rendition of "Silent Night:"

She was reasonably patient, as she knew that waiting for a melody after a run of improvisational flourishes is characteristic of jazz.

Online radio sampler highlights CCLXXXVII (Christmas edition)

December 24, 2003: A bright, welcoming backdrop by which to hear Christmas music.

Ear-catching Christmas selections heard this morning:

KLZR (Westcliffe, CO) 

• It Came Upon A Midnight Clear-Edward Gerhard (Tasteful acoustic guitar.  Also recommended: "Silver Bells," or really anything from Gerhard's CD, "Christmas," which has an easy-on-the-ears consistency.)
• Winter Wonderland-Wynton Marsalis (A vibrant, upbeat trumpet rendition.)

KUSC (Los Angeles, CA) 

• I'll Be Home For Christmas (Giovanni De Chiaro, guitar) (Melodic acoustic guitar with just enough embellishments.)
• Good King Wenceslas (Philadelphia Brass Ensemble) (Even if you've never heard this rendition, you probably approximate it accurately.  This carol's basic melody lends itself easily to an arrangement of trumpets, trombones, and tuba.)

KWMU-2 (St. Louis, MO) 

• What Child Is This?-Ali Ryerson (A jazz fantasia of flute and piano.)
• God Rest Ye Merry Gentlemen-Jim Cullum Jazz Band (Cullum leads this Dixieland-style throwback on clarinet.) 

WAPJ (Torrington, CT) 

• Light One Candle-Peter, Paul & Mary (A plea for justice and compassion that's needed now.)
• We Three Kings (Sax Winterlude Version)-WordHarmonic (Before the saxophone comes in, I half-expect Crowded House to start singing "Weather With You."  This is a decent smooth jazz interpretation.) 

WEFT (Champaign, IL) 

• White Christmas-Elizabeth Elmore (An unpretentious indie ethos in this voice-and-guitar rendition.  I could imagine playing this on KCOU.)
• Silent Night-John Denver & The Muppets (Sung in German and English, with narration from Denver on how this carol came to exist.  Denver and the Muppets wishing each other Merry Christmas is a heartwarming touch.)

WSB (Atlanta, GA)

• The First Noel-Karla Bonoff (Bonoff consistently turns out quality work as a singer-songwriter, but her Christmas and non-Christmas releases haven't always gotten the acclaim they deserve.)
• We Need A Little Christmas-The New Christy Minstrels (This is about the only version that doesn't strike me as overly precious.) 

WUCF (Orlando, FL)

• Have Yourself A Merry Little Christmas-Lou Rawls (Has anyone else ever sounded this self-assured singing this?)
• O Tannenbaum-Ellis Marsalis (A stately, deliberate, and warm piano interpretation.)
• Santa Claus Is Coming To Town-Beegie Adair (Adair's stride piano rendition gives this tune an appropriate sense of fun.)

FM dial scan highlights CCXCIII (Christmas edition)

December 24, 2010: Christmas presents, including some CDs, ready to be distributed.

Christmas music highlights heard this morning and early afternoon:

WSIE 88.7 FM 

• Silent Night-Gerry T. Wiggins (This is the fastest, most upbeat & swingin' piano rendition of "Silent Night" I've ever heard.)
• The Christmas Song-Gene Ammons (Shimmering tenor sax with elegant piano backing.)
• The Christmas Waltz-The Carpenters (One of the three best sung pop versions of "The Christmas Waltz;" The Lettermen and Nancy Wilson recorded the other two.)

KCFV 89.5 FM

• Rockin' Around The Christmas Tree-The Smithereens (The Brenda Lee song, recast with rockin' guitar.  The Smithereens stay true to the melody while playing a rhythm that suggests "I Saw Her Standing There" by The Beatles will start at any moment.)

KSD 93.7 FM

• The First Noel-Carrie Underwood (This version has grown on me.  Underwood's vocals strike a reasonable midpoint between sensitivity and assertiveness.)  

KEZK 102.5 FM 

• Let It Snow! Let It Snow! Let It Snow!-Martina McBride (Speaking of reasonable midpoints, McBride captures the right balance of sounding cozy and inviting here, without sounding precious.  Not every singer achieves that with "Let It Snow...")

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

• O Tannenbaum (Robert Shaw Chamber Singers) (Sung with the same reverential gravitas and enunciation I'd expect in the most solemn hymn.)
• Or Vous Tremoussez, Pasteurs De Judee (The Boston Camerata/Joel Cohen, conductor) (For a carol whose English title is "Now You Are Trembling, Shepherds Of Judea," this is surprisingly whimsical.  Rhythmically, it sounds like a prototype of "Deck The Halls."  Classic 107.3 got even further into my good graces by also playing this ensemble's "Nouvelles, Nouvelles" this morning.  While singing along in my pidgin French, I picked up my cat, Collette, and danced her around the living room.  She bit my feet multiple times after this, but I think she appreciated at least the first 15 seconds of the melody.)
• Christmas Time Is Here (Cally Banham featuring Adam Maness Trio) (I enjoyed hearing Banham carry the melody of this favorite from "A Charlie Brown Christmas" on the English horn, which gave Maness the chance to embellish the tune on the piano.  Also recommended: "Bring A Torch, Jeanette Isabella," which features St. Louis Symphony trombonists.)
• Es ist ein Ros entsprungen (Chanticleer) (Sung with just enough resonance and delicacy.  Also recommended: "It Came Upon A Midnight Clear.")

The foot-biting default option XXX

I'm not certain that my singing prevented a foot-biting calamity Sunday, but I'd like to think so.  As my cat, Collette, opened her mouth and approached my feet, I sang in time to Cara Dillon's version of "The Wexford Carol," "Don't bite my feet.  Leave them intact!"

Collette then retreated without biting me.  Most likely, that was just a coincidence, but I'm choosing to believe it was Christmas spirit.  After all, I can't prove that Collette's conscience didn't get the better of her.

The foot-biting default option XXIX

My cat, Collette, got into the Christmas spirit Saturday by rolling around on the floor as "Winter Wonderland" by Boots Randolph with Tommy Newsom's Jazztet played.  While turning over happily, she poked my feet, trying to get me in the spirit, as well.  I obliged by moving my feet rhythmically for a few measures.  That was all the incentive Collette needed to pounce on my feet and bite them.

I knew she had an ulterior motive!  You'd think after six years, that would have been more transparent to me.

An overlooked (Christmas) cover tune CLXXXV

Sometimes, hearing a right-down-the-middle, relaxed version makes a Christmas carol easier to digest.  That's true of Cindy Bradley's take on "Do You Hear What I Hear?"  Her smooth jazz trumpet interpretation stays true to the tune's melody at a consistent midtempo pace and works equally well as background or foreground music.

An overlooked (Christmas) cover tune CLXXXIV

As much as I enjoy fast versions of "Sleigh Ride," such as those by Ramsey Lewis and John Pizzarelli, Dave McKenna's piano rendition makes a fair case for subtlety and a somewhat slower tempo.  One could argue that a brisk sleigh ride is exhilarating, but McKenna's pace allows sleigh riders to enjoy the scenery more.

Context? CDXV

This morning, a radio talk show personality asked his co-host if she'd ever seen a movie that was better than the book on which it was based.  She said she hadn't.

Society needs an informed citizenry, so it was great to hear an on-air plug for reading, at least indirectly.

SiriusXM highlights CLXIII (Christmas edition)

December 24, 2009: A Christmas tree and Christmas LPs, with a Coca-Cola polar bear and two Snoopys to guard them.  Those are essential ingredients for a positive Christmas.

Seasonal selections heard this morning:

Cool Jazz Christmas 

• White Christmas-Warren Hill (Easy-on-the-ears saxophone and piano.)
• Carol Of The Bells-Carol Albert ("Carol Of The Bells" isn't one of my favorite Yuletide tunes, but Albert's commanding piano playing, the periodic vocal punctuation, and strings make this one of the better versions I've heard.)

Country Christmas 

• I'll Be Home For Christmas-Martina McBride (McBride consistently sings country crossover renditions of carols with just the right amount of emotion.) 

Holiday Instrumentals 

• Santa Claus Is Coming To Town-Ramsey Lewis Trio (Lewis plays this on the piano at a slower tempo than it's usually performed and gives it an interesting bluesy cast.  Also recommended: "Sleigh Ride.")
• White Christmas-Booker T. & The MGs (One of the hippest renditions, thanks to the piano and organ arrangements.)

Holiday Pops

• Once In Royal David's City-St. Paul's Cathedral Choir/Andrew Carwood, director (This carol has grown on me in recent years.  In the best versions, such as this one, the verses build conspicuously in volume and intensity.)
• Still...Still...Still...-Kelly Yost (Yost plays this with an appropriately delicate touch on the piano.  Also, it's a minor plus, but props for punctuating the title as it ought to be, instead of using a comma between each Still.)
• It Came Upon A Midnight Clear-Arturo Delmoni String Quartet (A prim, proper rendering, characteristic of Delmoni & Friends renditions of carols.) 
• The Christmas Song-Isthmus Brass (This ensemble conveys the tune's warmth as effectively as any vocal or string ensemble.)

Holiday Traditions 

• Angels We Have Heard On High-Cedar Glen Orchestra/Chorus (It's easy for me to imagine a soft rock or easy listening station in 1980 playing this before or after "We Need A Little Christmas" by The New Christy Minstrels.)
• Hark! The Herald Angels Sing-Andy Williams (Surprisingly, this is one rendition I've rarely heard on the radio, possibly because it has a slightly melancholy undercurrent.)

Holidays With Anne Murray 

• It Came Upon A Midnight Clear-Anne Murray (Murray's voice is a natural fit for this carol.)

Holly

• Feliz Navidad-Kacey Musgraves (Ordinarily, I don't seek out any version of this except for Jose Feliciano's, but Musgraves and her backing singers do the tune justice, giving it an appropriate percolating energy.)
• Let It Snow! Let It Snow! Let It Snow!-Seal (I associate Seal with strong, serious tunes such as "Crazy" and "Prayer For The Dying," so it's out of character to hear him sound this lighthearted.)

Real Jazz Holiday 

• Sleigh Ride-Agunko (A brassy Latin instrumental rendition.)
• God Rest Ye Merry Gentlemen-Christian Sands (Infectious Latin jazz piano and percussion.)

Sleep Christmas

• Have Yourself A Merry Little Christmas-Michael John Hall (A warm piano rendition.)

Smokey's Holiday Soul Town

• The Christmas Song-Smokey Robinson (Robinson is a natural fit vocally for this relaxed version.)
• One Little Christmas Tree-Stevie Wonder (This is one of the more underrated tracks from Wonder's "Someday At Christmas" album, sung from the perspective of a Christmas tree Charlie Brown might have chosen.  Also recommended: "A Warm Little Home On A Hill.")
• White Christmas-The Four Tops (After hearing such authoritative vocals, I expect to look out the window and see snow, even if it's not in the forecast.) 

An overlooked (Christmas) cover tune CLXXXIII

While listening to Rick Braun's version of "Deck The Halls," retitled "Deck Those Halls," my brother exclaimed, "Paul Shaffer and The World's Most Dangerous Band!"  He's right that the arrangement of Braun's 2024 release brings to mind the "Late Night (and Late Show) With David Letterman" themes.

I also think that Braun's catchy big band-style instrumental sounds like the band Chicago, with the horn section displayed prominently.

In both cases, the tune swings.

Context? CDXIV

After an NPR station announcer's "Coming up in 20 minutes..." programming plug this morning, another announcer chimed in with, "What's not coming up in 20 minutes is the sunrise.  That happened seven minutes ago..."

I wonder if the announcer was covering the bases in case he hadn't said during a previous break, "The sun will rise today at (such-and-such time.)"  Perhaps he was stretching to fill time with local content.

Either way, it was an unusual segue.

(Christmas) Segue suggestion IX

I wonder if any radio station or stream has ever played Floyd Cramer's version of "I'll Be Home For Christmas," followed by The London Sound 70 Orchestra's rendition of "Have Yourself A Merry Little Christmas."  The similar easy listening piano-and-strings arrangements of both tracks makes them dovetail seamlessly.

An overlooked (Christmas) cover tune CLXXXII

This is how you lay down a beat and make a Christmas carol hip without disrespecting its melody.  Gregg Karukas performs "Greensleeves" on the piano, making it jazzy, with just enough of a hip-hop bounce in its step.  It's close to how Incognito or Soulive might have covered it, which I consider a plus.  Hearing "What Child Is This?" in this new light last night reminded me that I should revisit some of the Karukas tunes we used to play on KNJZ.

Steering into the skid VIII

Respect to Erin Bode at last night's Kirkwood Performing Arts Center concert for maintaining a "show must go on" attitude and pulling off an impressive performance, despite battling a sore throat.  She told the audience that she might sound like Eartha Kitt, but to my ears, she was in excellent voice, particularly on "Count Your Blessings," "Silent Night," "Have Yourself A Merry Little Christmas," and the show-closing "White Christmas," in which the audience took her up on her invitation to sing along.

Bode admitted she was particularly concerned how Joni Mitchell's "River" might turn out, noting that it's difficult to sing even when you feel well.  She nailed the vocals, though, and at "River"'s conclusion, told the crowd, "Now, I can relax."  She also conquered the octave leap in "Little Road To Bethlehem"'s lyric, "Your star of gold, your star of gold is shining in the sky."  During her cover of "Winter Weather," we applauded her in mid-song after her extended whistling solo.

I left the venue satisfied and appreciative that she'd sung three of my favorite carols, "Little Road...," "The Holly And The Ivy," and "The Star's Song," as well as many other Yuletide tunes, with moving accompaniment from guitarist Steve Schenkel and cellist Tara Santiago Anello; Santiago Anello, incidentally, received two well-deserved mid-song applause breaks for her melodic solos. 

Kudos to all three artists for a warm, enjoyable Christmas concert and to Bode for persevering under less than ideal conditions.

Favorite music of 2025

While ranking my favorite songs of 2016 and 2018, I marveled at what a bumper crop of well-crafted tunes had been released and considered expanding my countdown to 30 or more songs.  2025, in contrast, is not that type of year.  However, every year has its share of compelling music, so here are my rankings for this year--subject to change five minutes from now:

25.  Spine Oil-Samia (This rhythmically appealing April release's forthright lyrics show that the protagonist is more strong-willed than people realize.)

24.  Nothing I Need-Lord Huron (This March release's roots rock underscoring punctuates honest admissions about not being able to pinpoint exactly what you want out of life.)

23.  Riders Of The Moon-Arc De Soleil (The guitar underscoring the vocals reminds me of early '70s, Bob Welch-era Fleetwood Mac.)

22.  Better Broken-Sarah McLachlan (Sound lyrics about the pain and wisdom that come from making mistakes.)

21.  B61-The Westerlies (I never expected to hear Aoife O'Donovan's thoughtfully written song about isolation transformed into a brassy jazz instrumental, but it translates more successfully than I would have expected.)

20.  Boom-Sierra Hull (Vocally and instrumentally, this is a different style than I'm used to hearing from Hull.  It's successful, in part because rhythmically, the melody reminds me of Nilsson's "Coconut.")

19.  Hymn-Nicholas Krolak (Krolak sustains a catchy bass riff for over nine minutes while the trumpeter and guitarist take off on flights of fancy.)

18.  Ventura Highway-Dw3 featuring Peter White (Vocally and instrumentally, the group nails the essence of America's most pleasant hit.  By slowing down the tempo just a tad, emphasizing White's guitar playing, and giving the tune some smooth jazz and R&B gloss, this ensemble puts its own spin on the song without compromising the original version's appeal.)

17.  Metal-The Beths (Dry scientific facts, made bouncy and palatable.  They Might Be Giants isn't the only group capable of such a feat.)

16.  Hummingbird Highway-Dar Williams (This lyrically thought-provoking track makes the listener realize that when we're kids, we don't always understand or appreciate the long hours and dedication that having a job, especially one that requires being away from one's family for long stretches, requires.) 

15.  Moonlight In Vermont-Cyrus Chestnut (Chestnut plays a subtle, classy, unhurried rendition on the piano, and it's one of many standout tracks on his "Rhythm, Melody, And Harmony" release.  Also recommended: "Autumn Leaves.")

14.  UtopiaNoah-Nathan East & Noah East (Sublime jazz piano and bass.)

13.  Kwiczoly-Klawo (Appealingly spacey keyboard.)

12.  Energy-Josh Meader, Matthew Thomson & Alex Hirlian (A cool, dramatic, news bulletin-style melody.)

11.  Cherry Tree-Lera Lynn (This type of acoustic guitar accompaniment flatters Lynn's alto voice well, and this May release has refreshingly candid lyrics questioning whether one has made the right choices in life.  It's a good reminder to seize the day before too much time passes.)

10.  Feeling-Billie Marten (This is one of 2025's low-key charmers, with its lo-fi vocals and acoustic instrumentation.  Also recommended: "Planets.") 

  9.  Anywhere-Ratboys (Upbeat indie rock with power pop sensibilities, released in advance of the band's 2026 album, "Singin' To An Empty Chair."  Julia Steiner's voice captures the zeal of someone who wasn't ready to pursue someone but is all in now.  The lyrics don't break new ground, but the energy level is captivating, and the tune has a strong hook, so it would feel wrong not to place it in the top 10.) 

  8.  Money Hits-Daughter Of Swords (A catchy, chirpy way of imagining how life will get easier when your ship comes in.)

  7.  Van Nuys-Dan Wilson (A brief, thoughtful new age piano piece fit for a farewell.  The last chord reverberates effectively, letting the farewell vibe linger.  This is one of the subtler compositions in this year's rankings, and it deserves credit for bringing aspects of Beethoven's sonatas to mind.)

  6.  Dinorah Dinorah-Butcher Brown (Released in March, this is a strong rendition of an Ivan Lins tune. George Benson covered it previously in a slightly faster tempo.  Brown's version retains the essence of the tune's Brazilian flavor while modernizing it.)

  5.  Long Pond Lily-Hayden Pedigo (One of this year's most pleasant guitar melodies.  When the tempo picks up, it reminds me of one of my favorite guitar pieces, Ken Bonfield's "From A Friend.") 

  4.  Pups-Lemon City Trio (Forthright trumpet over a Pat Metheny-style backdrop.) 

  3.  Ancient Light-I'm With Her (Compelling vocal harmonies, as usual, from Sarah Jarosz, Sara Watkins, and Aoife O'Donovan.  Lyrically, this is a nice reminder that while you may think your problems are unique, they're typically universal, and previous generations have weathered comparable storms.)

  2.  Slice, Diced, And Fried Twice-The Lewis Express featuring Chip Wickham (If I hadn't known otherwise, I would have sworn this was a Herbie Mann recording from the '60s or early '70s.  The piano and flute carry "Slice, Diced, And Fried Twice," in a melody that sounds to me like "Pata Pata" mingling with "One Mint Julep.")

  1  Ifyoucall-Parcels (This track, released in September, sports one of 2025's catchiest rhythms, a strong guitar hook, solid vocals, and a '70s dance influence.  The vocals and instrumentation pull off the tricky-to-navigate task of sounding contemporary yet old school.  Lyrically, this is as sound a way as any to remind someone, "I'm the cavalry.")

So, that's how things panned out in 2025.  Here's hoping my favorite tunes next year aren't so arduous for me to rank.

Annual Christmas cheer revisited IV

This afternoon, I congratulated the carolers who sang a verse of "O Little Town Of Bethlehem" to me over the phone.  I was sincere when telling them, "It takes courage and confidence to sing to people, so credit to you for doing a good job."  I've been making annual calls to a Dial-A-Carol service since 2013, and regardless of the vocalists' abilities, I'm always impressed that they're willing to put themselves out there.

Persistent (Christmas) earworm alert CDXI

I was drifting off to sleep Monday when The Bach Society Of Saint Louis began singing "Snow Lay On The Ground."  Despite my drowsiness, I fought the urge to leap up and start marching around the room.  The tune's rhythm, not unlike "Masters In This Hall," practically requires such allegiance.

A function of age XLII

A host of "The Not Ready For Prime Time Project" podcast struck a nerve with me this morning--but I can't refute his point.  While discussing a "Saturday Night Live" sketch in which Harry Shearer played the announcer at a radio station whose entire format was just telling listeners the current time, the podcaster remarked, "Remember when radio was a thing?"

I wanted to respond, "Radio is just as relevant today," even though I know that's not entirely true.  I still think the sketch's premise of an all-time radio station is clever, but I agree with the podcasters that it wouldn't play as well today. 

Still, the sketch aired originally in 1980, which was just--um, actually, quite a while ago.

Persistent (Christmas) earworm alert CDX

Today's earworm doesn't teem with hidden meanings.  The main idea of Peggy Lee's "Ring Those Christmas Bells" is right there on the surface.  Lyrically, it boils down to, "I like to hear bells during the Christmas season."  That's it...

...And, sometimes, that's enough.  Christmas is a season for joy, after all, and nothing says the joy must be laced with subtle nuance.

"Wishing you a dispirited Christmas..."

I enjoyed working at smooth jazz/soft vocals station KNJZ in the '90s, but one small regret is that I hardly got to play any Christmas music on the air.  Seasonal music was mixed into the playlist on all shifts except overnights.  One weekend in 1994, I got to work a slightly later shift, but even then, the only Christmas tune I got to play was Sting's version of "Gabriel's Message."

As much as I wanted to wish everyone Merry Christmas and Happy Holidays, I couldn't really do that.  A carol as solemn and downcast as "Gabriel's Message" demands a subtle introduction and back announcing.  A manic announcement of "Season's Greetings!!!!" is out of place before or after it.

Impeccable timing

Yesterday, I heard an unexpected response while listening to Gordon Goodwin's Big Phat Band and Take 6 perform "Do You Hear What I Hear?"  After Take 6 sang that question rapidly, I heard a perfectly timed "Woof!" from across the hall.  I'm still not sure which dog it was, but it was great to know that (s)he had heard what the musicians heard and answered the carol's question right on the beat.

A little later, my cat, Collette, started washing her face in time to Stevan Pasero's guitar rendition of "Ave Maria."  It was heartening to see Collette put her innate sense of rhythm to good use.

Then, while listening to Metamora's version of "This Rush Of Wings," a dove flew into my condo, cooing that 2026 will be a better year than I'm anticipating.

Admittedly, that last incident didn't happen.  Nevertheless, I'm still holding out hope.  Until the dove arrives, though, I take heart in knowing that pets in my building have the Christmas spirit.

An overlooked (Christmas) cover tune CLXXXI

Last week, I heard an especially pleasant version of "Deck The Halls."  Guitarist Chris Standring gives the melody a laid-back gloss while the keyboard undercurrent adds to the tune's warmth.  It's an ideal way to pull off a smooth jazz cover of such a well-worn Christmas favorite.

Context? CDXIII

I agreed with KTRS's John Carney yesterday that it looks odd when people put Christmas decorations on their lawn without taking down their everyday non-Christmas decorations.  As he put it, when people do that, they end up with "pink flamingos next to the manger."

It's even stranger, I think, when people combine aspects of Christmas that don't go together.  One year in the '80s, some former neighbors toyed with the Nativity scene by putting Jesus, Mary, and Joseph in an igloo, placing penguins nearby, and a sign that read, "Christmas At The North Pole."

Fortunately, the neighbors must have concluded or someone must have told them that was a misfire.  The following Christmas, they went back to a more traditional Nativity setting. 

Home for Christmas, gladly

Earlier this week, I thought, "I wish I could freeze frame this moment.  My cat, Collette, is kneading her paws on me with her usual thorough determination while The Hollyridge Strings play 'I'll Be Home For Christmas.'"

Home is a great place to be for Christmas when your cat kneads you as you listen to warm, seasonal music.  Collette's penchant for kneading is one of her best qualities--and one of the reasons I'm glad I adopted her on December 3, 2019.

A function of age XLI

This shouldn't have surprised me, as I've had decades to piece it together.  Still, I was gobsmacked when I looked it up recently and learned that Bobby Helms was only 22 when "Jingle Bell Rock" hit the charts in 1957.  I first heard "Jingle Bell Rock" when I was in grade school, and Helms sounded at least 40 to me then.  

Listening to "Jingle Bell Rock" now, I still think he still sounds at least 40.  His voice still doesn't sound that youthful to me--and that's not a criticism.  It's all the more impressive, I think, if you sound mature beyond your years and can pull off a Christmas tune intended mainly for kids.

An overlooked (Christmas) cover tune CLXXX

Want to look like the hippest person on your block while putting up Christmas decorations?  Use Christian McBride's version of "Deck The Halls" as your soundtrack.

Leave it to a jazz bassist to enhance your cool factor, even when it's already in the stratosphere.

An overlooked (Christmas) cover tune CLXXIX

On this first Sunday of Advent, my thoughts have turned to "O Come, O Come, Emmanuel," a hymn we sang in church frequently in the four weeks before Christmas.  I have yet to hear any radio station play the Karla Bonoff and Michael McDonald rendition of it.  Granted, "...Emmanuel" has a more downcast, solemn feel than most carols, making it difficult for pop stations to segue it with other Christmas tunes.

The contrast in vocal stylings might also be a factor.  Bonoff sings her verses with tasteful understatement.  McDonald, though, doesn't hold back.  I'm not critical of either approach because those styles suit each artist best.  Even if you're extremely familiar with McDonald's powerful pipes as a lead and backing singer, it's still a shock to hear him come roaring in for the first time during "...Emmanuel."  During an interview, Bonoff said that McDonald's voice blew out a microphone during their recording sessions.  I believe it, and I'm not critical of that.  When you have a voice that commanding, it's understandable that you'd use it fully.  

This Christmas season is still young, so maybe, I'll hear at least one station play it--and possibly segue it with Steve Winwood's "Christmas Is Now Drawing Near At Hand." 

An overlooked (Christmas) cover tune CLXXVIII

Although I've always liked the carol, "Fum Fum Fum," I never expected to say, "This version cooks," about any rendition of it.  That's the case, however, with George Burton's take on it.  It starts off with orchestral strings as you might expect them to sound in a Classical rendition.  Shortly after that, however, the tune takes flight as a simmering jazz number, with Nancy Harms flying through the vocals.

Usually, when I hear "Fum Fum Fum," it's a choir singing a brisk rendition, enunciated crisply, and using a predictable arrangement.  Burton, Harms, and company, however, made me hear the tune in a new light--and as unexpectedly jazz-adaptable.  I've never declared that any other rendition swings, but this one does.

Persistent (Christmas) earworm alert CDIX

There's no law, I suppose, against playing "The Chipmunk Song" with a dash of grandeur.  Still, since hearing Vitamin String Quartet's version of it last night, I keep thinking, "'The Chipmunk Song' isn't supposed to conjure up images of elegantly dressed couples waltzing in a ballroom.  It's a novelty song for kids.  It isn't supposed to be prim and proper." 

Online radio sampler highlights CCLXXXVI (Thanksgiving edition)

Five of the better Thanksgiving-themed selections I've heard today:

KSKO (McGrath, AK) 

• Thanksgiving Theme-Vince Guaraldi Trio (This version focuses primarily on Guaraldi's piano playing, which sounds great, as always.  Also seek out the 2nd Reprise version by The Vince Guaraldi Quintet, which includes horns.)

WCLV (Cleveland, OH) 

• Claudio Monteverdi: Mass Of Thanksgiving (Taverner Consort & Players/Andrew Parrott, conductor) (Regal brass and strings underscore the vocals in this Baroque piece.)
• Frederic Hand: A Psalm Of Thanksgiving (Jayna Nelson, flute; Frederic Hand, guitar) (A placid guitar intro turns into hops and skips when the flute enters.  The piece then returns to its initial subtlety.)

WPFW (Washington, D.C.)

• I Give Thanks-Jerry Johnson (This May release is a compelling blend of rhythmic reggae, jazz saxophone, and vocals.)
• Fried Pies-Wes Montgomery (Melvin Rhyne's organ playing makes this sound like a Jimmy Smith track.  The organ, guitar, and drums give this jazz instrumental a bluesy flavor.)

Overthinking the obvious V

This afternoon, Green Park's "The Bug" came up during an iTunes shuffle mode session.  I reread the review of it I wrote last year.  As I listened, I thought, "Why does this backing track appeal to me so much?  There's something so familiar and laid-back about it."

Then, I realized, "Well, of course.  A section of it is basically Chicago's 'Colour My World.'  How did I not think of that when I wrote about it last year?" 

Sometimes, a familiar melody is so ingrained, it washes over you in a different context.

In memory of Jimmy Cliff

After reading about singer-songwriter Jimmy Cliff's passing yesterday, I thought back to my college radio days and how often I turned to Cliff's music when I wanted to program a reggae segue on KCOU.  In my view, these are seven of his best tracks:

• I Want To Know (Who isn't curious about the origins of the universe?)
• Many Rivers To Cross (I've always liked how optimistically Cliff sings this.  When you approach a challenge this way, you're probably more likely to conquer it.) 
• Money Won't Save You (Fair warning about not being too materialistic.) 
• Sitting In Limbo (Good lyrics acknowledge the uncertainty that comes with major transitions in one's life.  Thea Gilmore's cover of this struck a chord with me in late 2005, when I was on the cusp of moving to a new residence but didn't know where it would be yet.)
• Waterfall (An appealing, almost bubblegum track not far removed from Gary Puckett & The Union Gap's sensibilities.  To me, it's Cliff's catchiest tune and the one I've listened to most in recent years.) 
• Wonderful World, Beautiful People (Idealistic lyrics about a striving for a harmonious world, undercut with a dose of reality.)
• You Can Get It If You Really Want (One of Cliff's best-known recordings, for good reason; it's a sunny, singable tribute to what one can achieve through hard work and perseverance.  I played this multiple times on KCOU, and it always improved my mood.)

Persistent earworm alert CDVIII

Six years after the passing of my cat, Sylvia, I'm thinking of one song repeatedly.  Mostly, I keep honing in on Rosanne Cash singing the title of her song, "Will You Remember Me?"  

I have no way of knowing what happens to us in the next life.  I'd like to believe, however, that our pets will remember us and reunite joyfully with us.  I'd also like to believe that we'll never be parted from each other again.  

In Sylvia's case, that would mean her latching onto me excitedly, the way she did when I said to the Humane Society adoption counselor in 2008, "I've found my cat."  It would also mean hearing her musical meow and steam engine purr once again. 

Will Sylvia remember me?  I can't prove it, but I'm betting on yes.

Online radio sampler highlights CCLXXXV

It's that twilight time of the year just before the holidays, so here are two recommended Thanksgiving tracks, two Christmas tunes, and two commendable tracks from 2025 that I've heard today:

KOSI (Denver, CO) 

• Hark! The Herald Angels Sing-Percy Faith & His Orchestra (Appropriately, this rendition begins with a trumpet fanfare.  The clanging bells and stately strings make this a regal arrangement.  Also recommended: "Joy To The World," in which the word Joy could be underlined accurately multiple times.)
• Have Yourself A Merry Little Christmas-The Pretenders (A laid-back rendition at an unhurried pace.)

KWNK (Reno, NV)

• B61-The Westerlies (I never expected to hear Aoife O'Donovan's thoughtfully written song about isolation transformed into a brassy jazz instrumental, but it translates more successfully than I would have expected.)

WHCL (Clinton, NY)

• Thanksgiving Song-Mary Chapin Carpenter (Heartwarming lyrics about the necessity for gratitude.)
• Thanksgiving Interlude-Vince Guaraldi Quintet (Kudos to DJ Abby for playing three songs from the soundtrack to "A Charlie Brown Thanksgiving," which was finally released in 2023.  In just 30 seconds, Guaraldi and company make an ascending three-note keyboard pattern sound like an essential part of an inviting Thanksgiving.)

WKDU (Philadelphia, PA)

• Hymn-Nicholas Krolak (Krolak sustains a catchy bass riff for over nine minutes while the trumpeter and guitarist take off on flights of fancy.)

Persistent earworm alert CDVII

I'm far from the only person who has ever had "The Farmer In The Dell" as an earworm.  I might, however, be the only person who has ever imagined that song sung in the R&B/dance groove style of The Whispers.  All morning, I've imagined the backing track The Whispers used in 1979 for their version of "White Christmas" with "...Dell"'s lyrics on top of them.

It's a more plausible blending of genres than you might think.

Baffling popularity

Admittedly, I've acknowledged that the Ray Conniff Singers weren't wrong to have given "Carol Of The Bells" a grim interpretation in their rendition, "Ring Christmas Bells."  Still, I have to wonder why such a dark interpretation, which, as my brother showed me last year, resulted in a truly bizarre AI-generated video, keeps making the cut for Christmas radio playlists.  Are other versions of "Carol Of The Bells" not foreboding enough for the masses already?  Do adult contemporary radio listeners prefer "Carol Of The Bells" as it might sound performed by a choir of skeletons in a haunted house?

To my ears, the downcast tone and haunting scream near the end make "Ring Christmas Bells" an unappealing way to ring in the season.  Apparently, other listeners disagree, or I wouldn't keep hearing it every year.

FM dial scan highlights CCXCII

Five Thursday standouts:

WSIE 88.7 FM 

• Pretty World-Sergio Mendes & Brasil '66 (Vocally and instrumentally, there's an appealingly breezy idealism.)

KWUR 90.3 FM  

• Up And Down-Judi Singh (The piano and orchestra enhance the vocals compellingly.  This endearing pick-me-up could segue with "Silly" by Deniece Williams.)

KEZK 102.5 FM 

• Have Yourself A Merry Little Christmas-Andy Williams (The harpsichord backing is appropriate for a nostalgic song about Christmas.)
• Feliz Navidad-Jose Feliciano (I've written before about how this song just sticks to one basic theme.  Nevertheless, it speaks well of Feliciano that this is the only version I've ever sought out.  That's what happens when you sing joyously enough and make a song your own.  I'd have been surprised if I didn't hear this at least once since KEZK went all-Christmas last Friday.)

 K297BI 107.3 FM, a.k.a. WFUN-HD2

• Johannes Brahms: Symphony No. 2 in D major, Op. 73 (New York Philharmonic/Bruno Walter, conductor) (Tenderness in the strings and winds when appropriate?  Check.  Drama from the entire orchestra when it's necessary?  Yes.  A rousing finale, performed with the precise amount of convincing spirit?  Absolutely.  I know that a piece resonates with me when I start conducting it without realizing it for several minutes.)

SiriusXM highlights CLXII

I always enjoy listening to SiriusXM at this time of year.  The Christmas music channels are back, and as Thanksgiving draws closer, it's a pleasure to listen to seasonal and non-seasonal music.  Thus, there are a lot of standout tunes today.  Among them:

Bluegrass Junction

• Charleston Ramble-Andy Statman (Fast, dexterous fiddle and guitar playing.)

Carolina Shag Radio 

• Across The Street-Lenny O'Henry (This reminds me approximately of how Santana might have sounded if they'd started recording three years earlier and had Motown-style backing vocalists.  This early '60s track has hints of the vibe Santana established on "Evil Ways.")

Country Christmas 

• I Heard The Bells On Christmas Day-Suzy Bogguss (Bogguss's crossover country vocal stylings suit the sorrowful resolve of this carol well.)
• The Man With The Bag-Lee Ann Womack (Womack's upbeat commitment to this tune's spirit makes it the version I've listened to most.  As with Suzy Bogguss, Womack's vocals cross over from country to pop easily.)

Holiday Pops 

• Once In Royal David's City- Henry Gauntlett (A well-paced, tasteful choral and organ rendition.)
• Rise Up, Shepherd, And Follow-The King's Singers  (If the vocal enunciation was any crisper, this rendition would sound a bit stilted.  Fortunately, it doesn't cross that line.  My go-to version of this is Pete Seeger's, as he straddles the line between sounding commanding and avuncular.)

Luna 

• Tenderly-Mongo Santamaria (Elegant saxophone, piano, bass, and percussion make this dance number stand up easily to repeated listening.)

North Americana  

• All In Good Time-Iron & Wine featuring Fiona Apple (I wish I'd known about this song when it was released last year.  It's a well-written, well-sung acknowledgment that some relationships aren't meant to last.)

Real Jazz 

• Ask Me Now-Thelonious Monk (This segues well with Monk's "Pannonica.")

Real Jazz Holiday

• Winter Wonderland-Neal Smith (An interesting piano fantasia interpretation with detours into a minor key.)

Siriusly Sinatra 

• Ghost Of Yesterday-Nancy Wilson (An elegant rendition of a tune best known to listeners in its Billie Holiday incarnation.  This would segue well with various renditions of "Good Morning Heartache.")

SiriusXM Chill 

• Sense Of Comfort-Nora En Pure (A graceful glide from a new age intro to a techno beat.)

SiriusXMU  

• Common Blue-Warpaint (A downcast yet catchy vibe permeates these direct lyrics about seizing the day by yourself until you feel sociable again.)

SiriusXMU Discovery  

• Anywhere-Ratboys (Upbeat indie rock with power pop sensibilities, released in advance of the band's 2026 album, "Singin' To An Empty Chair."  Julia Steiner's voice convincingly captures the zeal of someone who wasn't ready to pursue someone but is all in now.) 

Sleep Christmas

• Silent Night-Universe Mind (If you haven't heard this version, imagine "Silent Night" played as a lullaby on the piano, and this rendition likely won't surprise you.)

Watercolors 

• To The End Of The World-Pat Metheny Group (Metheny's trademark guitar playing against a backdrop that's not far removed from a chill track.  Also recommended: "The Girls Next Door," which is an even more atypical Metheny tune.)

Persistent earworm alert CDVI

After hearing it in the dental office today, the Elton John/Dua Lipa track, "Cold Heart," has been stuck in my mind.  I don't think it's just the rhythm or the extraction of a "Rocket Man" lyric that's giving it staying power for me, though.  I suspect it's because a fish in the exam room's aquarium seemed to be singing the lyric, "Cold, cold heart," at times, or at least lip-syncing to it.  The fish looked friendly enough, but perhaps the lyric, "Cold, cold heart," struck a chord with him; the hygienist said the office's aquarium caretaker had just stopped by and rearranged the house and rocks in his aquarium.

It makes sense that a fish's heart would harden in those circumstances.  After all, when someone rearranges your home without your permission... 

Knowing one's limitations III

About 25 years ago, a co-worker told me, "You should go line dancing with (a small group of co-workers) and me sometime."

I thanked her for the invitation but declined politely.  Line dancing just...isn't for me.  I played the bass for years, so I have a sense of rhythm going for me, but I still would have needed grace...and coordination...and general ability.

Aside from that, though... 

Persistent earworm alert CDV

I might be the only person on Earth whose persistent earworm for several days has been the placid, seasonally appropriate guitar of "The Orange Autumn Days" by Sean Watkins interspersed with the scream at the 7:45 mark of The Who's "Won't Get Fooled Again."

In my case, however, the scream isn't a defiant outburst.  It's my reaction to pain from a persistent toothache.  Medicine, thankfully, is making the pain less frequent, but every now and then, my views of Fall foliage are interrupted by a guttural "Yeahhhhhhhhhhhhhhh!"

Actually, it's more like "Youcccccccccchhhhhhhh!"

I've been tempted to scream that multiple times over the past week, but I'm reluctant to disturb anyone.  There are times, alas, when one just has to settle for channeling his inner Youcccccccccchhhhhhhh!

Segue suggestion VIII

While listening recently to Donna Summer's 1989 comeback hit, "This Time I Know It's For Real," a realization struck me; I don't think I've ever heard any radio station play Rick Astley's 1988 hit, "Never Gonna Give You Up," before or after it.  That surprises me, as they're rhythmically similar enough to flow back to back.

In their original versions, Summer's tune is only a smidgen faster than Astley's, which serves the pairing well in either order.

Context? CDXII

I just heard an air break on an out-of-town, low-power FM station in which a DJ congratulated the hosts of the station's new shows for handling their first fund raising drive well.

"It isn't always easy to get on the mic and ask for money," the DJ said.

It isn't easy, and it wouldn't surprise me if that drives a fair number of would-be-adept music programmers away.  It's one thing to broadcast your favorite overlooked music to an audience.  It's another thing, however, to ask the audience to pay for that privilege.

Segue suggestion VII

Last night, while listening to Herb Alpert and Hugh Masekela's "Ring Bell," I wondered if any radio station had ever played Paul Simon's "Was A Sunny Day" before it.  "Ring Bell," after all, sounds rhythmically compatible with "...Sunny Day" and continues the sunny vibe Simon established.

Persistent earworm alert CDIV

I must have a subconscious desire to lighten my mood in the midst of a less than perfect year.  Two days ago, the commercial jingle, "The grass is always greener on our side of the fence, Evergreen Lawn," wedged its way back into my mind decades after first hearing it and hasn't left.

A cheery jingle can feel amusingly incongruous during not-so-great times and mirror one's mood during sunnier moments, so I hope this one stays with me for a while.

Anticipating the first Christmas carol

What song will KEZK play first when it flips over to all Christmas music this month?  The station has posed that question to listeners on its website.  I have no inside knowledge of how the station will kick things off.  I like it, though, when any station playing all Christmas music for a long stretch begins with "Caroling, Caroling," in its Nat King Cole or Manhattan Transfer incarnations, or any other respectable version.

That's a logical way to convey, "It's all about the carols on our station," so we'll see if any station heeds my advice.

Linguistic bemusement XII

In the early 2000s, I was catching up on the phone with someone I'd known as a DJ who had become a program director.  At the end of the call, he said, "Well, young man, I'll talk to you later."

I was in my thirties at the time and thought, "'Young man?'  Where did that come from?"

Authority does strange things to a person. 

FM dial scan highlights CCXCI

This morning's highlights:

WSIE 88.7 FM 

• Marvin's Song-Stanley Turrentine (If I were programming a jazz station, I'd play Count Basie's "Mister Softie" before this.  These instrumentals have a compatible brightness and bounce.)
• Same Ole Love-Anita Baker (The energy and rhythm of this hit make it my favorite Baker tune.)

KCLC 89.1 FM

• Dog Years-Hannah Cohen (Wise lyrics about not being too rigid about planning out one's life, considering its unpredictability.)

KCFV 89.5 FM

• Moving On (So Long)-Blue October (This is a more modern way of conveying the resolve found in The Cyrkle's "Red Rubber Ball.")

KSHE 94.7 FM

• From Now On-Supertramp (Honest lyrics acknowledge that a fair portion of life is tedious.)

KLOU 103.3 FM

• Who Can It Be Now?-Men At Work (I appreciate this song more than I did when it was a hit and seemed to be played once an hour on the radio.  Lyrically, it concedes that everyone is entitled to be misanthropic if they so desire.)

Persistent earworm alert CDIII

Somehow, I doubt I'm the only person who livens up a mundane task such as taking out the trash by imagining the intro of Styx's "The Grand Illusion."

Regardless of how inconsequential the task is, I feel a sense of accomplishment when those opening chords come to mind.

The allure of shuffle mode LXXXVIII

I love it when the last note of a song glides right into the first note of another song, especially when both songs are acoustic tunes.  That happened Wednesday when iTunes shuffle mode paired "Crossing Muddy Waters" by Sara Watkins, Sarah Jarosz, and Aoife O'Donovan, just before they'd adopted their group name, I'm With Her, with Shawn Colvin's Acoustic Edition version of "Diamond In The Rough."

As much as I enjoy it when two lyrically similar tunes end up together by chance, it's just as satisfying to me when the equivalent of that happens from one instrument to another.

The allure of shuffle mode LXXXVII

Apparently, iTunes shuffle mode was in the mood yesterday for songs about the precariousness of relationships.  It paired two compelling vocals-with-acoustic-guitar tracks, Michelle Malone's "The Edge" with "Knife Edge" by Brooks Williams.  Both songs convey the honest yet hopeful message, "It won't always be smooth sailing, but we should still be together."  Both tunes are well-crafted gems.  Alas, I've only heard "Knife Edge" on the radio once, and I've never heard any station play "The Edge."

So many acoustic standouts get such limited exposure, unfortunately.

Persistent earworm alert CDII

A neighbor triggered this morning's earworm.  While walking her dogs, she passed by a church that had multiple signs saying, in essence, "Don't do this," "Don't do that," and "Property of the church."   She said it reminded her of the Five Man Electrical Band's song, "Signs."

I second that, especially considering the irony of a church that also has a sign inviting congregants to "build bridges." 

Persistent earworm alert CDI

When I voted in last year's presidential election, I felt hopeful.  I thought, "Surely, a majority of voters realize what's in their best interest and in the best interest of the general public.  Surely, they'll vote accordingly for the candidate who will improve the lives of those who need help."

Alas, that's not how the results turned out.

Today, I've been looking back on that first Tuesday of last November and thinking of the Traffic song, which is better known to many listeners in its Joe Cocker incarnation, "Feelin' Alright."  If you don't listen to the lyrics and just focus on the rhythm, it's catchy.  Lyrically, however, it's not particularly hopeful, and it's sometimes forgotten that songwriter Dave Mason's title actually includes a question mark.  I don't usually see it written as "Feelin' Alright?" even though it's technically correct.

So, am I "feelin' alright?"  Considering what this country has become and is attempting to become, no.  As Mason wrote, "I'm not feelin' too good myself."

Based on the attendance at No Kings protests, however, it's comforting to know that I'm far from alone. 

Blind vs. conventional auditions II

In the late '80s, I was auditioning for my third year in an after-school orchestra.  In the rehearsal room before the audition, I heard another bassist flying through his audition excerpts with ease.  I remarked to another bassist, "I think I just heard our new first chair bassist."  The other bassist replied, "Really?  But he was eighth chair last year."  I said, "Yeah, but if he plays as well at his audition as he did just now, I'll be surprised if he isn't named the principal--especially considering that they're doing blind auditions this year, unlike previous years, and won't have any preconceived notions about how to rank us."

I was right.  That bassist earned first chair that year, deservedly.  It's interesting, though, how heavily previous rankings factor into people's perceptions--and how strongly that justifies blind auditions.

Persistent earworm alert CD

I've never owned or driven a motorcycle, nor do I have any strong opinions about motorcycles or motorcycle riding.  Despite not having seen the commercial in decades, the jingle, "Kawasaki lets the good times roll," won't leave my mind this morning.

I wish I knew what sparked this jingle.  Considering that motorcycles have nothing to do with my life, my next persistent earworm might as well be about asparagus, bulldozers, or woodworking.

Changing just enough notes

This morning, I heard a sign that Christmas will be here before we know it.  I saw a commercial with musical accompaniment that reminded me right away of Vince Guaraldi's "Skating" but was different enough to be a new song.

I don't remember what was being advertised, but if I hear those telltale notes again, I'll know enough to exclaim, "There's that song that sounds sort of but not quite like 'Skating!'"

The advertisers would have more integrity if they'd used a new, entirely different song, but I don't blame them for being inspired by one of the best melodies ever composed for the piano. 

Online radio sampler highlights CCLXXXIV (Halloween edition)

Halloween decorations don't need to be scary.  Instead, why not lean into the fun, welcoming side of the holiday?  That was my view when putting Halloween items on the bookcase in October 2008, and that's still my view today.

Despite what I wrote on October 26, I'll admit to getting into Halloween a least a little today.  Here are some of the better Halloween-themed selections I've heard this morning:

KZMU (Moab, UT) 

• Spooky-Dusty Springfield (Springfield stays true to the spirit of this Classics IV hit while adding just enough of her own kick to the vocals.)
• Born Under A Bad Sign-Booker T. & The MGs (This tune lends itself easily to Booker T.'s bluesy organ playing.)

WDCB (Chicago, IL) 

• Trick Or Treat-Lionel Hampton (A cool, upbeat stroll of a melody with a rhythmic undercurrent of piano and vibraphone.  Clark Terry's performance on trumpet is commanding, to say the least.)
• Evil Ways-Willie Bobo (Most listeners know Santana's version, but Bobo's rendition also deserves its due as well, for its rhythmic instrumentation and spirited vocals.) 

WOWD (Takoma Park, MD)

• Ghost Town-The Specials (While the vocals complete the tune, the brass and winds go a long way in establishing the song's eerie mood.)

WRCI (Block Island, RI) 

• Carl Maria von Weber: Ruler Of The Spirits: Overture, Opus 27, J. 122 (Philharmonia Orchestra/Neeme Jarvi, conductor)  (Based on the frenzied nature of this overture, particularly in the strings, the spirits are quite the busy bees.)

WXPN (Philadelphia, PA) 

• The Ghost In You-The Psychedelic Furs (Even when we're no longer in someone's life, it doesn't necessarily mean our presence is forgotten.) 
• Is There A Ghost?-Band Of Horses (When you live alone or feel alone in the world, it's easy to fixate on real and imagined problems.)

A petty fixation XLVIII

This morning, while staring at a violin Christmas ornament I've had for decades, I announced to no one, "This violin has no strings."  Everything else about it is an accurate replication of a violin.  Then, I thought, "It's an ornament, just like this trumpet ornament and French horn ornament.  None of these ornaments are meant to be played; they're meant to enhance a Christmas tree."

Besides, who says a violin ornament can't be a violin-in-progress ornament? 

FM dial scan highlights CCXC

Wednesday highlights:

WSIE 88.7 FM 

• It Had To Be You-Janet Evra & Ptah Williams (Evra's voice suits this standard easily.)
• Unlimited-Gregory Goodloe (A steady, upbeat smooth jazz guitar groove.)

KCLC 89.1 FM  

• Planets-Billie Marten (An endearing way of saying, "I'm yours for the long haul."  The instrumental backing reminds me somewhat of "Follow You Follow Me" by Genesis.)

KCFV 89.5 FM

• Out On The Fringe-The Urge (This St. Louis-based band has maintained an appealingly energetic blend of vocals, guitar, and horns since the late '80s.)

KWUR 90.3 FM

• 6-Porch Light (There's a haunting heaviness to this tune, particularly in the guitar.  "Waltzing Back" by The Cranberries would flow well after this.) 

A petty fixation XLVII

I was already watching podcasts on YouTube this morning, so I thought, "Why not call up this song that's on my mind?"  To my surprise, it wasn't on YouTube.  Granted, the artist isn't a household name, but other songs of hers are on that site.  I also have her CD and imported it into iTunes years ago, so it isn't a Herculean task for me to hear it two other ways.

I reflected on how much I reflexively expect YouTube to have everything these days.  I admitted to myself, "If there's a song I want to hear on that site, someone has to post it first."

As much as we might like to think things just fall into place magically, there's still a human component involved.  There's something comforting about that, even when your song of choice isn't available.

Online radio sampler highlights CCLXXXIII

Despite what I wrote yesterday about not being in the Halloween spirit, three of these seven tracks I heard today are ideal for October 31:

KALX (Berkeley, CA) 

• Lester Left Town-Art Blakey & The Jazz Messengers (A cool descending hook propels the melody that tenor saxophonist Wayne Shorter composed.  There's some fine synergy between trumpeter Lee Morgan and Shorter here.)

KXUA (Fayetteville, AR) 

• Broken Chords Can Sing A Little-A Silver Mt. Zion (Grim piano, apt for an eerie Halloween.)

KYAC (Mill City, OR)

• Falling Star-Karla Bonoff (Brave lyrics about grappling with rejection.  I've listened to Bonoff's self-titled LP multiple times, and it puzzles me that such consistently solid singer-songwriter material didn't get more attention when it was released.  Also recommended: "Home" and "Someone To Lay Down Beside Me.")

WLFR (Pomona, NJ)

• Incarnadine-Mary Halvorson (A spooky blend of instruments, fit for underscoring an undercover investigation of a mad scientist's lab.)

WLOU (Louisville, KY)

• Happy Feelings-Maze featuring Frankie Beverly (One of the band's standout tracks that lives up to its title.  Also recommended: "Golden Time Of Day.")

WRCT (Pittsburgh, PA)

• Experiment In Terror-Al Caiola (Spy thriller pursuing-a-suspect instrumental underscoring.)

WUIS-HD3 (Springfield, IL)

• Here I Am-Lyle Lovett & His Large Band (Clever tongue-in-cheek lyrics, with effective alternating between spoken and sung passages.  This 1989 release is one of Lovett's more memorable efforts.)

A late start on the Halloween spirit II

This is another year when I'm not in much of a Halloween mood.  More specifically, I'm not down with the frights that go with it.  It could be argued that escapist fare such as "CBS Radio Mystery Theater" is an effective way to tune out the madness this country is experiencing.  To an extent, that's true.  Given the state of things, however, I'm in no mood to listen to anything eerie--even a work of fiction.

It's best to stick with "The Great Pumpkin Waltz" this year, I think. 

Linguistic bemusement XI

This morning, while listening to an out-of-town radio station, I passed on hearing a song all the way through.  Upon hearing its opening lyric, "As I look out my window...," I thought, "That's a logical way to start one's lyrics.  You look out the window, and see what inspires you."

Immediately after that, however, I thought, "That's also a very cliched way to start a song.  On a different day, I might stick around for a while and see where it leads.  Not today, though."

Hopefully, I didn't miss out on any perceptive insights from that singer-songwriter.

The allure of shuffle mode LXXXVI

How you transition from an enjoyable time back to work, school, or everyday life?  Per iTunes shuffle mode's pairing yesterday, you play Squeeze's "Footprints," followed by ELO's "Last Train To London."  That way, you acknowledge both the good time you had and the necessity of transitioning back to reality.

Playing the odds II

I'll concede that it's a universal certainty, along with the sun rising in the east and setting in the west: Whenever I select the Music For Cats station on SiriusXM, it will be playing a selection by The Piano Guys.

That's not a bad thing, but I'm guessing that my cat, Collette, must have decreed that edict and gotten her way, due to her insistent personality.

SiriusXM highlights CLXI

Today's bumper crop of noteworthy tunes:

1st Wave 

• Oblivious-Aztec Camera (With a guitar intro like this and a hook this infectious, it almost doesn't matter that the lyrics are rather inscrutable.)

The Bridge Deep Cuts 

• Seasons-America (The waltz tempo of this ode to the changing seasons gives this track an atypical sound for this band.)
• That Song About The Midway-Bonnie Raitt (A vocally impressive rendering of a Joni Mitchell tune.) 

Classic Rewind Deep Cuts 

• Behind The Lines (Live)-Genesis (This is how you start a concert.  Any band that can set the bar this high with a great hook, through-the-roof energy level, and technical expertise in its vocals and instrumentation deserves a rousing audience reception.  Seek out any concert video in which Phil Collins and Chester Thompson mount a double attack on the drums before Collins steps up to the mic and sings.)

The Coffee House Discovery 

• Normalcy-Gigi Perez (Lyrically, this makes a sound case for letting a relationship lapse.  Rhythmically, "Normalcy" reminds me of "Iris" by the Goo Goo Dolls.) 

Escape 

• You Are-Paul Mauriat (This Lionel Richie hit lends itself easily to the Mauriat strings treatment.)
• Autumn Leaves-Bert Kaempfert (Played at a slower tempo in its own good time, fitting for the melancholy nature of this melody.)

Luna 

• Aquarela do Brasil-Marco Periera & Cristovao Bastos (Understated, uptempo piano and guitar synchronicity.)

North Americana 

• Youth Not Wasted-Great Lake Swimmers (Particularly in the chorus and mandolin accompaniment, this sounds somewhat like a Nickel Creek song.  Chris Thile, Sara Watkins, or Sean Watkins could likely pull off the lead vocals easily.)

Piano Instrumentals 

• Astral-Jennifer Zulli (Underscoring fit for moments of wonderment or uncertainty.) 

Real Jazz Just Music

• Cempasuchil-Diego Rivera (Sublime, tasteful trumpet, saxophone, and piano cohesion.) 

Siriusly Sinatra 

• It's Only A Paper Moon (Live)-Nat King Cole (For many listeners, the slower, statelier tunes of Cole's come to mind first--"Mona Lisa," "Unforgettable," or "The Christmas Song," for instance.  For contrast, it's refreshing to hear Cole's vocals and piano playing swing on this standard, played for an appreciative audience.) 

Watercolors 

• Take Me Away-Oli Silk (A fresh breeze of uptempo smooth jazz piano.) 

Willie's Roadhouse 

• Orange Blossom Special-Charlie McCoy (McCoy's skillful harmonica playing mimics a train convincingly.  Living near railroad tracks, I was primed to like this; this rendition made the rhythm of passing trains all the more appealing.)

Context? CDXI

Recently, before watching a talk show, I sang, "Calling out hypocrisy..."  I'm not sure what possessed me to sing that phrase to the tune of James Brown's "Living In America," but it summarizes why I watch certain talk shows, even when I know there won't be much new information reported.  Sometimes, it's just reassuring to know that others find a politician's stance on an issue as absurd as I do.

FM dial scan highlights CCLXXXIX

Monday morning standouts:

WSIE 88.7 FM 

• Second Balcony Jump-Dexter Gordon (Gordon's tenor sax playing, in conjunction with the rhythm section's steady energy, sustains the bounce in this rhythm's step for seven minutes.)

KCLC 89.1 FM  

• Cherry Tree-Lera Lynn (This type of acoustic guitar accompaniment flatters Lynn's alto voice well, and this May release has refreshingly candid lyrics questioning whether one has made the right choices in life.)

KWUR 90.3 FM  

• Clouds-Lucy Gooch (This May release uses cloud formations as a metaphor for resetting one's life and being open to new connections.  It's indie dream pop that's not far removed from new age music in its vocals and instrumentation.)
• Sacer Profanare-Kali Malone (Sinister-sounding organ, suitable for Halloween.)

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

• William Schuman: New England Triptych: II. When Jesus Wept (St. Louis Symphony Orchestra/Leonard Slatkin, conductor) (Ordinarily, the third movement is my default choice.  I haven't given this quieter, sorrowful movement its due, particularly when the strings rise up forcefully at the 6:04 mark.  This middle movement establishes a downcast mood almost as effectively as Samuel Barber's Adagio For Strings.)
• John Williams: A Hymn To New England (Boston Pops Orchestra/John Williams, conductor) (Mighty brass and lush strings coalesce majestically here.)

A petty fixation XLVI

Whenever a podcast has a theme song, even when it's less than 10 seconds long, I almost always skip past it.  After all, I'm tuning in for the interview that's about to take place.

For someone who writes a blog extolling the virtues of music, I'm not sure I like what that says about me.

Persistent earworm alert CCCXCIX

Perhaps there's some trepidation in my mind about today's weather prediction.  The forecast calls for a storm that's expected to last into early tomorrow.  As much as I like Chicago's '70s output, the ending of "Fancy Colours" has always unnerved me.  For the last 44 seconds, the horn section repeats one ominous note.  It's a turbulent end to a song fit for nightmares. 

Actually, it's not unlike the ending of the movie, "1776."

Persistent earworm alert CCCXCVIII

If I hadn't known otherwise, I would have sworn this was a recording from the '60s or early '70s.  My brother recommended a jazz instrumental earlier this month by The Lewis Express.  The piano and flute carry "Slice, Diced, And Fried Twice," in a melody that sounds to me like "Pata Pata" meeting "One Mint Julep."

I'd never have guessed it's from 2025, but it is--and it speaks well of the group's ability to craft a throwback pastiche. 

A petty fixation XLV

So...It's possible I overreacted.

This morning, I listened as an online radio station played a decent acoustic cover of "Lovefool" by The Cardigans.  The station doesn't post its playlist online, and I listened for a while without hearing a live announcer.  I did a search for possible song matches and listened to samples of various renditions without finding the one I'd heard.  Near the end of the last version I heard, I exclaimed, "WHO SANG THAT VERSION OF 'LOVEFOOL' THAT I HEARD EARLIER?!!!"

Inexplicably, shouting failed to produce an answer from the heavens. When you're accustomed to finding so many of the answers you need through search engines, it's vexing to come up dry.  I guess, unless I stumble on the answer elsewhere, I'll just need to stick with the original--and admittedly best--version.

The allure of shuffle mode LXXXV

Apparently, iTunes was in a dancing mood this morning.  Sam Cooke's "Twistin' The Night Away" kicked off a shuffle mode session, followed by "What Now My Love" by Richard "Groove" Holmes.  I'd never played those songs back to back before, but hearing them that way made me realize how rhythmically compatible they are.  I also noticed how the central hook of "What Now..." sounds like it's about to mimic "They Can't Take That Away From Me" on the organ before it juts off.

It's difficult to be sour when you hear two full-of-life songs consecutively.

A petty fixation XLIV

Recently, during a radio interview, I heard a spokesperson talk engagingly about the cause she was promoting.  Throughout the interview, though, I kept thinking, "This sounds like a worthy cause, and she's obviously sincere about her commitment to it.  What's with the vocal fry affectation, though?  I understand if she has a sore throat or grapples with dysphonia, as I do.  If that's not the case, however, why would she want to sound like's croaking out her words?" 

Context? CDX

This morning, a radio personality said a pitcher "struck out 13 dudes" in a baseball game.

Presumably, he was just speaking informally about the game.  Otherwise, that phrasing would sound peculiar, even in a sportscast.

Context? CDIX

As with stand-up comedy, when a radio talk show host asks what else is going on, I think, "Perhaps there's a good reason why this person is stretching for topics on which to opine, but that question usually signals that (s)he's not well-prepared.  I'll tune in again some other day." 

Persistent earworm alert CCCXCVII

My mind is craving a respite from all the bad news our country has had this year.  That's likely why a tasteful, sedate Christmas carol, "Past Three O'Clock," has been on my mind since yesterday.  Hearing calming, resonant choirs, even when I have to conjure them up, offers at least a temporary soothing balm.

The allure of shuffle mode LXXXIV

I've listened to The Aluminum Group's "Cannot Make You Out" and Suzanne Vega's "Unbound" many times separately, but I'd never thought to play them back to back.  iTunes shuffle mode did recently, though, and it occurred to me that in both songs, there are just enough electronica elements to complement them without obscuring the lyrics.

Not everyone can pull off that balance.

Context? CDVIII

This morning, a radio talk show host ended his show by saying, "Thanks for puttin' up with me."

That's a good sign-off.  Humility is a good trait for a talk show host to display.

SiriusXM highlights CLX

Today's standout selections:

Acoustic Guitar Instrumentals 

• We Did Not Make The Instrument, The Instrument Made Us-Kaki King (Simultaneously comforting and sobering.)

Lo-Fi Study

• 4Am-Zesik (An interesting instrumental blend of a new age rhythm and a hip-hop beat.) 

Piano Instrumentals

• Clear Night-Jennifer DeFrayne (This tasteful melody proceeds in its own time, allowing the listener to appreciate how contemplative it is.) 

SiriusXM Pops 

• Johannes Brahms: Clarinet Sonata No. 1 in F minor, Op. 120: III. Allegretto Grazioso (Richard Stoltzman, clarinet; Richard Goode, piano) (Melodic and graceful, as I would expect from a Brahms composition.) 

SiriusXMU Discovery 

• Venus In Nadir-Peel Dream Magazine (The warmth of this September release's instrumentation cushions the lyrics about a relationship's deterioration.)

Spectrum Discovery 

• Words-Big Thief (Three aspects of this tune, released in September, drew me in--its upbeat rhythm, quiet vocals, and lyrics about how sometimes, things just need to be left unsaid.)

Watercolors 

• Caribbean Breezeway-Bob Baldwin (This track, released last month, is a pleasant, upbeat blend of smooth jazz piano and steel drums.)

An overlooked cover tune CLXXVII

"Another Star" is one of many standout tracks on Stevie Wonder's excellent sprawling album, "Songs In The Key Of Life."  The power in Wonder's lead vocals, the backing vocals, and the instrumentation makes me never tire of hearing it.  Whenever the song starts, I half-expect the floor to rumble and stationary objects to shimmy off of tables.

Vocally and instrumentally, Althea Rene shows how smoothly "Another Star"'s rhythm works in a jazz context.  The smooth gloss on the vocals and easy-on-the-ears flute and saxophone solos make me wonder why I never hear any radio station play it.

FM dial scan highlights CCLXXXVIII

Monday morning highlights:

WSIE 88.7 FM 

• Ann Springs-Nat Adderley (This is how you maintain a steady walking rhythm while giving ample space for saxophone, trumpet, and piano solos.)
• Stomp Your Feet-JJ Sansaverino (Uptempo smooth jazz guitar with a bite.)

KCFV 89.5 FM

• Adia-Sarah McLachlan (The sing-along quality of the chorus makes this McLachlan's most appealing hit, in my opinion.)

KLOU 103.3 FM 

• Time After Time-Cyndi Lauper (Lyrically, this holds up in any era.  With its timeless sentiments about always being there for someone, that's not surprising.  There's a reason why a wide range of artists--Miles Davis, Tuck & Patti, Erin Bode, and Bill Baird, among others--have covered it.)

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

• Jean Sibelius: Symphony No. 5 in E-flat major, Op. 82L III. Allegro molto (Boston Symphony Orchestra/Colin Davis, conductor) (This symphony's gripping finale is brassy and dramatic.  The crescendos in this performance are so commanding that I started to turn the volume down, even though I was wearing headphones and not disturbing anyone.)  

Online radio sampler highlights CCLXXXII

Six Sunday standouts:

KJHK (Lawrence, KS) 

• Ifyoucall-Parcels (This track, released in September, sports one of 2025's catchier rhythms, a strong guitar hook, solid vocals, and a '70s dance influence.  The vocals and instrumentation pull off the tricky-to-navigate task of sounding contemporary yet old school.  Lyrically, this is as sound a way as any to remind someone, "I'm the cavalry.")

KKJZ (Long Beach, CA) 

• You Go To My Head-Art Pepper (This much-covered jazz standard is a natural fit for a saxophone-and-elegant-piano arrangement.)

KPTZ (Port Townsend, WA) 

• Talassa-Rail Band (Spirited, upbeat vocals and instrumentation from Mali.)

WMED-HD2 (Calais, ME)  

• Gerald Near: O sacrum convivium (Gloriae Dei Cantores/Elizabeth C. Patterson, conductor) (A motet celebrating the Eucharist, sung with convincing conviction.  The long fade on the last organ note allows the reverence to sink in.)

WMUA (Amherst, MA) 

• Now I'm In It-Haim (It amused me to see that my cat, Collette, finds this tune as rhythmically appealing as I do; she kneaded her paws in time to it, giving it the ultimate feline seal of approval.)

WXOU (Auburn Hills, MI) 

• One Flight Down-Norah Jones (One of many examples that made Jones's "Come Away With Me" CD such a big seller.  Jones sells this, as well as all other tracks on that album, convincingly with her vocals and piano prowess.  "Shoot The Moon" has a similar vibe.)

Down the drain, alas--but not for good, hopefully...

Sigh...It happened.  KDHX has ceased operating.  Reports say that the station may be back online within the next two years.  I've praised the station's wide-ranging programs many times on this blog.  Here are three random memories of how the station offered something no other local station could match:

• During the Christmas Eve 2011 edition of "Backroads," substitute host Keith explained his reasoning for not stepping on the outro of Bruce Cockburn's "Early On One Christmas Morn."  "We never speak while the mandolin is still trilling," he told the audience.
• During an August 2004 edition of "Radio Rio," host Andrea explained why she rarely played '80s Brazilian music on her show.  She explained, "It's simply because most of what I've come across by some of my favorite people...They just got swept up in that electronica kind of keyboard synthesized sound that became too overly orchestrated and just ruined a lot of songs."  The example she played proved her point; when the synthesizer came in, I thought, "Blech...That's musically inedible processed cheese."  It's understandable that she'd gravitate toward more natural, authentic arrangements instead.
• The sentiments that "Family Reunion" host Judy expressed in her show promo from 2001 encapsulated KDHX's idealistic ambitions.  "You know, I think there's more similarity than difference in us, most of us," she said.  "Yeah, there's race, creed, accent, politics, but aren't those secondary to the fact that we all have to work, we all have loves and disappointments, and music, and good and bad times?  We all like a good joke.  At any rate, I like to explore the possibility that we are all connected in some way."  She said that during her show on Sundays, "I'm here playing old-time music from lots of different times and places that serves to make those connections."  In the political environment of 2025, such objectives sound lofty and nearly impossible to achieve.  It's comforting to remember, though, that KDHX was an 88.1 FM mainstay for almost 38 years--and might still reappear online.

KDHX as I knew it is no longer on the air.  I was 17 when a group of committed investors and idealistic DJs brought KDHX to life.  Now, I'm about to turn 55.  That's a respectable lifespan for an idealistic, noncommercial endeavor.  I'm choosing to believe that this is a pause, however, and not the end.  Even if the next online-only incarnation of KDHX draws fewer listeners, at least it will exist once again to play everything from jazz to indie rock to Celtic music.  Hopefully, it will have a long run.  The idealist in me isn't giving up hope.

Playing the odds

Perhaps it's just chance, but it seems like at least 75% of the time I tune into the Music For Cats station on SiriusXM, they're playing a selection by The Piano Guys.

That's not a bad thing, but I wonder what panel of cats advised SiriusXM that those piano stylings are most pleasant for their ears.

My cat, Collette, has remained uncommitted on the subject.

Inexplicably mundane nostalgia III

Yesterday, when Marshall Crenshaw's "Someday, Someway" came up during an iTunes shuffle mode session, I thought, "Ah!  I remember buying Marshall Crenshaw's self-titled CD with this track on it at Blockbuster Music on this day in 1994."

My immediate follow-up thought was, "How is it that I remember the date I bought that CD and where I bought it, yet I'm still not sure of my own blood type?"

The mind prioritizes what it wants to prioritize--regardless of whether it's truly a priority.

Context? CDVII

Thanks to Hilary Forth's mention of it in today's "Sally Forth" comic strip, I've been listening to Mike Oldfield's "Tubular Bells," as I usually do at least once a year.  For decades, I've thought that Part One's segment from 13:48 to 15:12 would be ideal sitcom, drama, or horror movie theme music.  I envision the cast of a show enjoying a picnic in a park just before a storm hits.  When the thunder starts at 14:07, the characters scatter, trying to salvage as much of the food as possible while seeking dry shelter hastily.  At 14:16, the opening credits start, displaying a rain-soaked photo and superimposed conventional picture of each cast member.  The credits end or fade out at or before the 15:12 mark.

Not that I've given this a lot of thought...

FM dial scan highlights CCLXXXVII

Today's highlights:

WSIE 88.7 FM 

• Haw-Right Now-Patrice Rushen (Rushen is best known to many listeners for her vocals on such catchy tracks as "Forget Me Nots" and "Haven't You Heard."  This 1974 instrumental, however, shows off her serious jazz keyboard chops.  Even after eight minutes, I wanted this jam to continue.  Just when I think WSIE can't get any more obscure in the best way, they play a tune like this...)
• Chimes-Dudley Moore Trio (...or this.  Not just any station would play this swingin' piano, bass, and drums number from 1969.)

KCLC 89.1 FM 

• Floating Parade-Michael Kiwanuka (Vocals and strings fit for times when escapism is warranted.)
• Better Broken-Sarah McLachlan (McLachlan's new release sports sound lyrics about the pain and wisdom that come from making mistakes.)

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

• John Field: Nocturne No. 17 in C major, H.61 (Alice Sara Ott, piano) (Nimbly played Mozart-style whimsy.)

The allure of shuffle mode LXXXIII

Kudos to iTunes shuffle mode for starting a morning's worth of music with two songs that ease a person into the new day.  Bob Thompson's "Coming Home To You" flowed into Ken Bonfield's "Mystic Morning," making me savor a tasteful piano instrumental followed by an equally graceful guitar selection.

At a different time of a day or when I'm in a more aggressive mood, I might welcome "Shimmer" by Fuel or Free's "Wishing Well."  Not when it's this early in the day, however... 

The foot-biting default option XXVIII

I was concerned as I started listening to last night's St. Louis Symphony Orchestra concert on KWMU.  I thought, "Collette (my cat) might be startled by the percussion in Aaron Copland's 'Fanfare For The Common Man.'  To a cat, it could resemble thunder, which Collette clearly doesn't like.  This has happened before when I've listened to 'Liberty Fanfare' by John Williams."

I was relieved to see Collette roll around happily as "...Common Man" progressed.  The timpani didn't rattle her at all; in fact, she showed me how at ease she was by biting my feet multiple times.

I was OK with that.  I'd rather have a few cat bite marks on my feet instead of seeing Collette flash back to a darker time in her life when she must have endured storms outside.

What's in a (DJ) name?

Over 30 years ago, I heard an aspiring DJ call two morning radio DJs for advice on choosing his on-air name.  After telling them his first name was Dan, the DJs suggested pairing his first name with a two-syllable last name, such as Saint James or Saint John.

That's decent advice.  When going on the air, you want people to remember your name easily, and a two-syllable last name, especially one that includes Saint, will likely stick in listeners' minds.

Context? CDVI

After hearing two radio talk show hosts discussing the appeal--or lack thereof--of a corn maze recently, I thought, "Why would I want to participate in an activity that makes me feel disoriented and calls for a strong sense of direction?  Life already gives me enough of that with road detours."

I love most aspects of Autumn--but that fondness doesn't extend to corn mazes. 

Online radio sampler highlights CCLXXXI

Today's highlights:

KJMS (Memphis, TN) 

• Wanna Be Startin' Somethin'-Michael Jackson (Of "Thriller"'s uptempo tracks, this one holds up best.)
• Slow Jam-Midnight Star (One of the better from-the-heart slow jams of the '80s.  It segues well with DeBarge's "Time Will Reveal.")

WTUL (New Orleans, LA) 

• Horizon-Peter Gregson (Cello-propelled, celestial-sounding new age music.)
• Aerial Troubles-Stereolab (Grim lyrics paired with uptempo instrumentation.  That isn't the easiest combo to pull off.)

WWCF (McConnellsburg, PA)

• Instead I Chose-The Roches (Vocal harmonies that rival Crosby, Stills & Nash convey honest lyrics about finding the life that works for you.)
• Machine #2-Leo Kottke (Kottke's guitar playing mimics a locomotive in motion here.  Also recommended: "Hear The Wind Howl.")

A petty fixation XLIII

I was surprised to hear myself borrow a moment from "The Brady Bunch" and quote Alice's cousin, Emma, today.

"I've gotten as soft as a civilian," I said in jest.  "Here it is, September 24, and I haven't done my annual requisite listening of Earth, Wind & Fire's 'September' yet.  It's too infectious of a tune not to hear in the month it celebrates."

(Pause to rectify this grievous error)

Alright, I'm back.  I've listened  to "September."  Order has been restored, and the earth may now resume spinning on its axis. 

Persistent earworm alert CCCXCVI

While driving earlier today, I thought, "Cool...Here's Paramore's 'Running Out Of Time.'  If ever a song could get a driver to rev up the engine and make a car airborne, this one probably could.  As appealingly energetic as the song is, though, I hope no one ever does that.  No song should ever make a driver throw caution to the wind like that.  Besides, my car is between two cars at a stop sign right now.  I couldn't lose control even if I wanted to."

There was never any chance of me driving like that.  It's too dangerous, and by the time I finished that thought, I was home.

An overlooked cover tune CLXXVI

Earlier this month, I praised Cyrus Chestnut's version of "Moonlight In Vermont."  Another standout cover on his latest "Melody, Rhythm, And Harmony" release is "Autumn Leaves."  Autumn, which begins this afternoon, is my favorite season, so I've never thought of it in sorrowful terms.  However, when I hear "Autumn Leaves" sung, especially by Nat King Cole, I understand why the lyrics use falling leaves as a metaphor for a terminated relationship.  Chestnut conveys the tune's inherent elegance and melancholy bent just as compellingly on the piano, though.

It speaks well of any artist, I think, who call pull off a standard instrumentally, despite its lyrics being critical in setting the mood. 

SiriusXM highlights CLIX

Sunday morning standouts:

The Coffee House 

• Three Little Birds-Kacey Musgraves (Musgraves made an interesting choice in singing this sunny Bob Marley tune with a more tempered optimism.)

Escape 

• Annie's Song-James Galway (This John Denver hit's sentimental melody translates easily to the flute.)

Lo-Fi Cafe 

• Chilled Breeze-Joseph Jacobs (An aptly titled laid-back instrumental with a flute part seemingly lifted from the '70s.) 

Queens Of R&B

• (Please Don't) Leave Me Now-Madison McFerrin (Smooth vocals for a late night playlist.  I'd be curious to hear Maysa cover this.)

Real Jazz

• Piece Of Cake-Michel Camilo (Slick piano playing anchors this brassy slice of Latin jazz.)

SiriusXMU Discovery 

• Sliver-Mother Soki (This August release sports minimalist lyrics, breathy vocals, a dark atmosphere, and a rhythm that sounds like a subtler variation of Metallica's "Enter Sandman.")

The Village

• A Chatrion' Og-Julie Fowlis (It's easy to appreciate the tenderness of the vocals and instrumentation here, even when you can't understand one word of what's being sung.)

Yacht Rock Deep Cuts 

• Paradise-Herbie Hancock (An overlooked 1982 track fit for a prom.  Hancock's vocals set the mood, but I think the keyboard rhythm is the tune's most appealing ingredient.)

An odds-and-ends kind of year--so far II

In July, I wrote about there being no cohesive theme among my favorite songs of the year so far.  While things are looking slightly more promising now, I know the main reason why the music scene feels a bit off to me this year.

In January, St. Louis's noncommercial community radio station, KDHX 88.1 FM, stopped using live DJs and started rebroadcasting old shows.  At the moment, the station is silent.  It's jarring to punch preset #1 in the car and hear nothing.  While other stations and streams have filled the void to an extent, it's disconcerting to be without my first choice for local bands, obscure tracks, and multi-format gems.

I could compile a Favorite music of 2025 countdown today if I had to.  It would be decent, but it would lack some of the quirky indie spark that KDHX has provided since 1987.

Such is life, alas.  The year isn't over yet, however, so perhaps it can still be salvaged musically.