An overlooked cover tune CLXXV

Given the inherent elegance of its melody, I don't think I could ever hear too many versions of "Moonlight In Vermont."  Although I have yet to hear any radio station play it, I'm glad that Cyrus Chestnut released a strong version of it this year.  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.

Still a place for radio news

I arrived at work during the afternoon of September 11, 2001 but didn't get out of the car right away.  During the drive and for five minutes while parked, I listened to KMOX and KWMU for coverage of the horrific terrorist attacks.  While the radio is an archaic news source to many people today, I still think it has value.  I'd already seen televised footage of the attacks, so those images were already seared into my mind.  Hearing interviews with credible sources and learning the latest information via the radio forced me to lean in and really listen--which is a valuable habit to have during tragic times--or any other time.

I understand that not everyone wants to lean in that way, but I'm inclined to think, "If you can lean in to a two-hour podcast about a celebrity's experiences as a sitcom actor, you should be willing to do that during a national tragedy, at least sporadically."

Persistent earworm alert CCCXCIII (In memory of Rick Davies)

I'm certainly not the only person who has had "Goodbye Stranger" in mind lately.  For the past few days, since reading about the passing of Supertramp's Rick Davies, I've thought about how well-constructed his signature tune is.  The keyboard hook catches the listener's ear immediately, and the slalom in the chorus between the distinctively different vocal ranges of Roger Hodgson and Davies seals it as one of the group's best hits.  Despite hearing it a few hundred times on classic rock stations over the years, I've never tired of "Goodbye Stranger"--and I doubt that I ever will.

Segue suggestion VI

I wonder if WXPN or another comparable station has ever segued Beth Orton's "Dawn Chorus" with Neko Case's "Magpie To The Morning."  They're rhythmically compatible and are suitable for easing into a new day.  They also segue equally well in either order.

Why play the music well? Here's why... II

I read an article over 30 years ago in which a symphonic violinist encapsulated the nature of his job.  He said that professional orchestral musicians have a duty to play their best for whoever is on the podium.

In other words, give all your performances your best effort--and adhere to the conductor's interpretation of the music.

Reading that took me right back to the University Philharmonic--and one atypical rehearsal, in particular. 

FM dial scan highlights CCLXXXV

Sunday morning standouts:

WSIE 88.7 FM 

• Everybody Wants To Rule The World-Fattburger (I've always been indifferent to the original Tears For Fears version of this, but hearing this jazz guitar-led incarnation made me appreciate the melody more.)
• Fancy Footwork-Ragan Whiteside (A sunny, uptempo flute number, released in August.)

KCLC 89.1 FM 

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

KSHE 94.7 FM 

• Home Again-Batdorf & Rodney (Upbeat lyrics, invigorating guitar, and vocal harmonies reminiscent of Crosby, Stills & Nash; if that's not a musical hat trick, what is?  Also recommended: "Oh My Surprise.") 

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

• J.S. Bach: The Well-Tempered Clavier, Prelude & Fugue in C major, BWV846 (Angela Hewitt, piano) (A warm, nimble interpretation of one of the most familiar, accessible Baroque pieces.)

A considerate compliment II

A listener once called me while I was on the air at KNJZ and said, "I just wanted you to know that I enjoy your commentary."

I thanked her for the compliment.  It reminded me that even when you're just back announcing songs from a predetermined playlist, you can still reach listeners by injecting your unique personality and sense of humor into your announcing style.

That's the difference between being a generic talking head and a broadcaster.

Only in college CXV

One night, in the KCOU office, I discovered a box of 45s I didn't know the station had.  The records weren't limited to any particular genre or organized in any obvious fashion, so flipping through them was intriguing.

When I came across "Breathtaking View" by The Trammps, I thought, "Now, there's a band I've never really thought about.  I know they had the hit, 'Disco Inferno,' but that's not a song I'd go out of my way to hear.  Let's hear what 'Breathtaking View' sounds like, though, and possibly find a place for it on the air."

I played it in cue off the air and was impressed.  The opening lick grabs the listener's attention immediately and kicks off a solid example of well-crafted funk.  It would be a blast, I think, to play any instrument on the track, as each one is essential to keep the groove moving.  That's one instance in which I would have felt satisfied as a bass player to have a supporting role on a tune.  

Lyrically, the tune boils down to, "Wow, that woman is stunning," and it doesn't really need to say anything beyond that.  With such a prominent groove, The Trammps or a strong cover band could make singing about standard versus itemized deductions on a tax return sound funky. 

The next time I was on the air, I played "Breathtaking View."  I don't remember what I played before or after it, but I made it work.  That's one of the many aspects of college radio that I miss--unearthing a tune, playing it on the air because it deserves the attention, and hoping that it's a pick-me-up for listeners who happen to catch it.

SiriusXM highlights CLVIII

Today's highlights:

1st Wave Deep Cuts 

• Flexible-Depeche Mode (When I think of Depeche Mode, "Enjoy The Silence" or "Policy Of Truth" typically come to mind.  This type of beat doesn't, but it's effective, of-its-time underscoring for lyrics that ponder how rich one is allowed to be while still being an idealist.  If I played this on a college or community station, I'd segue it with "The Life Of Riley" by The Lightning Seeds.)

'50s Gold 

• I Only Have Eyes For You-The Flamingos (Sentiments fit for any era.  Also, the phrase, "sha bop, sha bop," has never been used more effectively.  I never got tired of playing this on WEW.)

'80s To Now Alt Rock 

• Caroline-Mumford & Sons (Lyrically, this March release is an interesting blend of Fleetwood Mac's "Silver Springs" and "Go Your Own Way.")

The Bridge Deep Cuts

• Make You-Break You-Gerry Rafferty (These aren't the glossy pop stylings of "Baker Street" or "Right Down The Line."  Instead, "Make You-Break You" is a lyrically direct way of saying, "Ease up on the vanity.")

Lithium Deep Cuts

• For All The Cows-Foo Fighters (This caught my ear for how restrained it is, prior to the chorus, and for how its rhythm reminds me of "People Are Strange" by The Doors.  Lyrically, it's a frank way to call out those who try to pigeonhole you.)

Luna 

• Yesterdays-Poncho Sanchez (Prominent, festive trumpet, piano, and percussion.)

North Americana

• Boom-Sierra Hull (This March release is a lyrically sound way of processing rejection--and rebounding from it.)

Real Jazz Just Music

• Prelude For George-Cyrus Chestnut (Pensive, melancholy piano playing that crosses into new age territory at times.)

Spa 

• Crimson Bands-Jill Haley (Moving, elegant, reflective piano and cello.) 

Velvet 

• My Anarchy-Meaghan Farrell (A loud and clear way to let everyone know where you draw the line.)

The Village

• Across The Great Divide-Nanci Griffith (A strong cover of Kate Wolf's song.  It's a lyrical reminder that the past slips away from us--which is sad in some respects but a relief in other ways.)

Yacht Rock Deep Cuts 

• I Got The News-Steely Dan (This tune is frequently overlooked, as it's from the "Aja" album, which contains such standouts as "Peg," "Josie," "Deacon Blues," and "Black Cow."  The way its rhythm hops and skips around on the piano and bass deserves more acclaim.)

A petty fixation XLII

Louis Cato and The Late Show Band impressed me with an appropriate walk-on song choice last night.  As John Oliver walked over to Stephen Colbert's desk for his interview, I recognized the transition music immediately.

"Hey, that's Tower Of Power's 'Keep Comin' Back,'" I thought.  "I remember playing that on KNJZ and thought it was a catchy, underrated tune.  It's appropriate to play that for a guest making his 21st appearance on the show."

That knowledge that has no outlet for me other than this blog, so thanks for indulging me.

The foot-biting default option XXVII

Despite the promise about which they sang, my cat, Collette, and her offspring--who are inexplicably still kittens despite my first mentioning them on this blog in 2021--forgot to bite my feet last night.

To the tune of "Goodnight Tonight" by Paul McCartney & Wings, they sang, "We'll say it.  We'll say it.  We'll bite your feet tonight."  Surprisingly, all of the cats were so enthralled with the conga line they'd created that biting my feet slipped their minds. 

It was amusing to see them so uninhibited.  I'm not going to remind them to bite my feet, though.

Online radio sampler highlights CCLXXIX

Six standouts heard today:

KBEM (Minneapolis, MN) 

• Sweet Baby-George Duke & Stanley Clarke (An equally strong fit in soft adult contemporary, old school R&B, and smooth jazz playlists.  Sincere vocals and timeless lyrics should guarantee that there will always be an outlet for this tune.  It puzzles me that we didn't play it more frequently on KNJZ.)
• Bumpin' On Sunet-Wes Montgomery (This sly, in-its-own-time guitar rhythm has held up over the decades, and it's not surprising that multiple artists have covered it.) 

KFFR (Winter Park, CO) 

• Love Train-Keb' Mo' (The original version by The O'Jays emphasizes the tune's rhythmic dance quality, while Keb' Mo''s take brings out more of the social justice aspirations of the lyrics.)

WFMT (Chicago, IL) 

• Traditional Irish: The Foggy Dew (Carol Thompson, Celtic harp) (Appropriately delicate playing and a long, effective reverberation on the last note.)

WGMC (Rochester, NY) 

• All I Want-Rachel Z Trio (Rachel Z honors the essence of this Joni Mitchell melody on the piano but makes the tune her own with a jazzier, freewheeling bent.)
• Unsquare Dance-Dave Brubeck Quartet (It's challenging to compose and play a compelling melody in 7/4 time, so the quartet's success on both counts impresses me.  As I've written previously, it appeals to my cat, Collette, as well.) 

FM dial scan highlights CCLXXXIV

Six of the better tracks played today:

WSIE 88.7 FM 

• You Belong To Me-Carly Simon (I'm glad there's a place in WSIE's generally jazzy mix for a pop tune with a jazz-adjacent bent like this.  The Doobie Brothers also recorded a strong version of this.)
• The Cat-Jimmy Smith (Hip for 1964 organ playing from Smith, as expected, augmented by joyful, explosive brass.)

KWMU 90.7 FM 

• There's A Small Hotel-Houston Person (Smooth, resonant tenor sax tone from Person and excellent rhythm section backing.  The Gene Harris Quartet's "Strollin'" would flow well into this rendition of a frequently covered tune...)
• I've Got You Under My Skin-Beegie Adair Trio (...or this fine piano rendition of another much-covered melody.)

KSHE 94.7 FM 

• Solsbury Hill-Peter Gabriel (Honest lyrics about knowing when it's time to leave a situation.)
• Right Down The Line-Gerry Rafferty (Another way of conveying the sentiments expressed in Jim Croce's "I'll Have To Say I Love You In  A Song."  As much as I've always liked Rafferty's "Baker Street" and "Get It Right Next Time," this, to me, is Rafferty's best song, by a nose.)

An overlooked cover tune CLXXIV

I realized recently that I haven't given Triste Janero's version of The Lovin' Spoonful's "You Didn't Have To Be So Nice" its due.  After listening to it again, I appreciate it just as much as the original version.  The Lovin' Spoonful gives it more of a jaunty stroll vibe, which is likely a large part of why it was a hit.  Triste Janero's rendition, however, gives the tune a completely different energy.  Brazilian-style guitar underscores an attitude in the vocals of, "Look, just relax.  Make an effort, but don't look so desperate.  You're still my chosen one."  It isn't as overtly hook-laden, but it's just as compelling in its own way.

Context? CDV

Last night, before playing a live version of Aretha Franklin's "Oh Me, Oh My," the K297BI announcer said to pay attention to the bass because "it's doing some heavy lifting."

She was right.  Franklin's emotive vocals and the piano are key to the song's mood, but the bass has a more prominent role that you don't hear on the studio recording. 

As a bass player, it's nice to be reminded that your instrument, which usually plays a supporting role, is a key ingredient in making a song resonate. 

Impromptu balance correction II

As soon as the song started, I knew the speakers weren't balanced properly.  The chorus of Mason Proffit's "Voice Of Change" came through loud and clear, but the verses didn't.

My second listen with the proper audio balance was much more satisfying.  Lyrics demanding justice are much more impactful when they don't sound like, "Mumble, mumble, barely audible screed about discontentment, something, something, people giving orders..."

Persistent earworm alert CCCXCII

After watching Level 42 perform on "Saturday Live," the former '80s British equivalent of "Saturday Night Live," I thought, "I should listen to 'Running In The Family' more often.  Its lyrics about how much our upbringing influences how we approach life are perceptive, the tune's sensibility is overtly English, and its synthesized rhythm, rooted firmly in 1987, is catchy.  I have to respect any group that can make an infectious hook out of the lyrics, 'Looking back, it's so bizarre.  It runs in the family...'"

If the American pop charts were meritocratic barometers of taste, "Running In The Family" would have been a hit in the states.

Family entertainment? III

I've written previously about my surprise at hearing two different local bands play "Psycho Killer" by Talking Heads at the same venue.  Recently, while looking back at KCOU's Top 88.1 Countdown from 1992, I was surprised to see that listeners ranked it 49th, one notch ahead of one of my favorite songs, XTC's "King For A Day."  

I'm puzzled that "Psycho Killer" was the only Talking Heads song that made it into the countdown that year, when other, more widely palatable tunes of theirs, such as "Once In A Lifetime," "And She Was," "Take Me To The River," and "(Nothing But) Flowers," didn't. 

I really hope that the tune's rhythm--and not its lyrics--are "Psycho Killer"'s main draw. 

An overlooked cover tune CLXXIII

After catching Bob Baldwin's instrumental rendition of the Seals & Crofts hit, "Summer Breeze," on WSIE today, I'm surprised I don't hear it regularly on smooth jazz stations.  For pleasant, relaxing listening, it checks multiple boxes: Baldwin's easy-on-the-ears piano carrying the melody, Marion Meadows fluttering over the tune on saxophone, and solid execution of one of the strongest, most recognizable hits of the '70s.

Narrowcasting by default

This afternoon, I heard an engaging Joaquin Rodrigo piece, Fantasía Para un Gentilhombre: Españoleta, performed by Granada Orquesta Ciudad, conducted by Josep Pons, and featuring guitarist Marco Socías.  

The guitar and woodwind passages were particularly appealing, so it was considerate of a college radio station to play it just for me.  I didn't request it, but according to their website's listener tally, I was the only person listening online.

This surprised me.  I thought, "School's back in session, I'm not a student there, and I'm the only person tuned in online.  Aren't at least a few people who work there, a few students, or some community members also listening?" 

Perhaps a few people had their radios tuned to that station.  It's odd, though, that I was the only person in the universe listening to that compelling guitar concerto on that station's stream today.

An overlooked cover tune CLXXII

While listening to Leo Kottke's "A Shout Toward Noon" CD Thursday, I was struck by how perfect his cover of The Allman Brothers Band's "Little Martha" is.  The Duane Allman-penned original version of the acoustic guitar instrumental sounds as if Kottke composed it.  

Because it's so in keeping with his style of guitar playing, Kottke's version, in my view, is as strong as the original.  Randy Kerber's synthesized backing adds to the tune's warmth and punctuates the melody all the more. 

It isn't often that I wish for two versions of a song to come up equally during shuffle mode sessions, but that's the case here.

Context? CDIV

I was sitting outside about 20 years ago when I heard the longest, loudest cacophony of birds tweeting that I'd ever heard.  It was an impressive variety of birdsong, but to this day, I still wonder if the birds were having a summit, a spat, or a spat within a summit. 

Context? CDIII

While scanning the AM dial this afternoon, I heard someone being interviewed refer to "people on their computers--or gizmos, as I like to call them."

I aspire to be that person as I age.  There's a point at which using gizmo syntax sounds endearingly retro instead of hopelessly out of touch. 

Online radio sampler highlights CCLXXVIII

Noteworthy gems heard today:

KFSL (Fossil, OR) 

• Only A Broken Heart-Tom Petty (An effective way of reminding yourself, "I will get through this.")

KUWL (Laramie, WY) 

• The Courtship-Benny Carter And The Jazz Giants (The rhythm section creates a steady, leisurely groove while the saxophone and trumpet make their presence known.)

KVLU (Beaumont, TX) 

• Dolphins-Beth Orton featuring Terry Callier (The idealism of these lyrics sounds even more unattainable today than it did in 1996.)
• Lost Hollow Lament-Robin Bullock (Contemplative, sensitively played guitar and flute.)

WIKD (Daytona Beach, FL) 

• Can't Keep Checking My Phone-Unknown Mortal Orchestra (A fun dance vibe, not too far removed from the group's standout track, "Everyone Acts Crazy Nowadays.")

WITT (Indianapolis, IN) 

• Lost, Night-Bill Frisell (This suspenseful guitar piece could underscore a graveyard exploration on Halloween.) 

WMBR (Cambridge, MA)

• Going Out Of My Head-Petula Clark (The Lettermen and Sergio Mendes & Brasil '66 recorded two of the best versions of this, but Clark's version also deserves its due.  The tempo and enunciation are a bit more deliberate, but they make the crescendo in the chorus command attention.)
• Utero Dei-Mondo Lava (Spacey new electronica, complete with crashing waves.  I would program Popol Vuh's "Dans La Nuit, La Neige" before it.)

Linguistic bemusement X

A memory from April 2004: I was surprised to hear two songs in a row on KDHX's "Lotsa A Cappella" that featured instruments, including one song that had a lengthy instrumental interlude.

One of the substitute hosts explained, "They have such beautiful voices, so I don't think we should hold it against them that they use instruments."

In their defense, the tunes warranted the airtime.  Besides, the show was called "Lotsa A Cappella," not "Only A Cappella," so technically, they were in the clear.

Context? CDII

This morning, a radio station caller mentioned that a grandchild of hers is attending Mizzou for college and "is pursuing...something."

The caller didn't mention a major or a goal the student has.  

"That's college," I thought.  "It's a time of life when it's OK, at least early on, not to know exactly where you're heading or what you want to pursue."

Sometimes, I envy that feeling. 

Persistent earworm alert CCCXCI

Since hearing it during today's 1980 rerun of "American Top 40" on KLOU, Billy Joel's "It's Still Rock And Roll To Me" has been stuck in my mind.  The memory of our sixth grade chorus class singing it while Mrs. B. accompanied us on the piano made me smile.  It would have been even more enjoyable if she'd split the class in half and had us alternate verses in call-and-response form, as Joel did with his band.  That's just a quibble, though.

Sidebar: This was a good week for pop music 45 years ago.  George Benson's "Give Me The Night," Olivia Newton-John's "Magic," "Upside Down" by Diana Ross, Irene Cara's "Fame," "Sailing" by Christopher Cross, Paul Simon's "Late In The Evening," and "Misunderstanding" by Genesis were all in the upper half of "American Top 40"'s countdown that week.

As I write, the S.O.S. Band's "Take Your Time (Do It Right)" is starting--another catchy earworm...I miss the early '80s pop scene.

Linguistic bemusement IX

Decades ago, it was more common to hear radio weather forecasts with predictions such as "a high in the upper 70s" or "a low in the lower 60s."

However, two different program directors that I know advised their announcers to pick a temperature in the predicted range and call that the high or low temperature.  Both of them would have wanted their announcers to condense the ranges in the previous paragraph to "a high of 78" and "a low of 62."

Given that weather forecasts are approximations in the first place, that's sound advice.

Context? CDI

As a musician, you can expand your palette or stick to a formula that works best for you or elicits the most commercial success.  Ramsey Lewis said on his self-titled radio show in 1995, "It's come to my attention that a lot of the young piano players...that you on hear on (the) radio, especially, it sounds like they took a few ounces of Keith Jarrett, a couple parts of Joe Sample, and a few bars of early Ramsey Lewis, and they sort of build a style around that without studying what those three piano players themselves were influenced by and not really going even further into the tradition of jazz piano."

To each, his or her own, but that's a pretty solid argument in favor of not stagnating as an artist. 

Context? CD

After seeing the illustration of various McDonaldland characters on a McDonald's bag recently, I exclaimed, "I didn't know Mayor McCheese played the bass!  How about that?  Common ground..."

I wonder if any other bassist has ever reacted that way.

Remembering KNJZ II

Fifty-four-year old me just listened to 24-year-old me.  More specifically, I just listened to a recording of myself as a KNJZ DJ from August 13, 1995.  That date looms large in my memory, as I was on the air for 12 hours.  Two DJs were on vacation, so shifts that were usually divided among five announcers were split among just three of us.  I worked 6 a.m.-12 p.m. and 6 p.m.-12 a.m.  I was especially pleased to work that night, as I got to choose the music for the 7-10 p.m. "Lights Out, St. Louis" show.  While listening to 90 minutes of "Lights Out..." from 30 years ago, these thoughts struck me:

• I grinned when hearing the first song on the tape, David Benoit's "Houston."  I had just played it in iTunes this morning, not remembering that I'd played it on-air 30 years ago.  I always thought "Houston" should have been a staple track on smooth jazz stations, as it's a strong piano melody and injects a large jolt of energy into an uptempo music set.
• I'm pleased that I segued Vince Guaraldi's "Pebble Beach" with Ramsey Lewis's version of "Do You Know The Way To San Jose?"  Those tunes flowed well and gave me the chance to promote "The Ramsey Lewis Show," which aired from 10 p.m to midnight.
• Although it's a classy, engaging way to start a tune, the opening passage for woodwinds is probably why I've rarely heard Wes Montgomery's rendition of "Fly Me To The Moon" on the radio.  Listeners who don't tune in often might think they've stumbled onto a Classical station--until Montgomery's jazz guitar kicks in.
• It was fun to play listeners' requested dedications, such as Tom Scott featuring Maysa Leak's "Don't Get Any Better" and Everette Harp's "If I Had To Live My Life Without You," while attaching the names of those requesting the tunes and those for whom they were requested.  I hope the beneficiaries of those requests were moved by the requesters' song choices and sentiments behind them.
• It felt strange yet refreshing to hear entire commercial sets without any mentions of websites or social media.  An announcer in one ad advised listeners to get a pencil and paper to write down a company's phone number, which you don't hear so often today. 

This is my 4,000th post for this blog, and I'm glad that my penchants for music appreciation and nostalgia haven't dimmed. 

Context? CCCXCIX

A talk show host defended his medium this morning, saying that "AM radio is podcasting--except it's not live, and you can't take phone calls."

As a frequent listener of AM talk station KTRS and long-time listener of KMOX, I agree that AM radio deserves its due--when it comes to entertainment, news, weather alerts, and interesting discussions.

I'm divided, however, when it comes to listeners calling in.  Unfortunately, the most clueless callers are  sometimes the most outspoken, frequent ones.  Also, once in a blue moon, something like this happens. 

Nevertheless, there's still a place in the media ecosystem for everything AM radio offers. 

Persistent earworm alert CCCXC

I haven't heard Christopher Cross's 1983 hit, "All Right," in years, but it entered my mind this morning.  The grounded optimism with which Cross sings this underscores that giving a relationship another try might be advisable.  The lyrics suggest that it'll succeed because--well, the protagonist just feels like it will.

That's flimsy justification for giving a relationship another go, but during this not so great year for our country, perhaps today's earworm is a subconscious wish for something to turn out well for some deserving people somewhere.  

SiriusXM highlights CLVII

Eight standout tunes heard today:

'40s Junction 

• Put Another Chair At The Table-The Mills Brothers (A classy way to welcome someone home.)

Acoustic Guitar Instrumentals

• Place In The Sun-Lennie Rhoads/Fin Moon (Bittersweet, contemplative guitar.)

Classic Folk

• Talk To Me Of Mendocino-Kate McGarrigle/Anna McGarrigle (An acknowledgment that even if you long to trade a chaotic setting for a peaceful one, you might miss the chaos now and then.) 

The Coffee House

• Love You For A Long Time-Maggie Rogers ("Light On" has been my favorite Rogers tune for several years, but with a hook this solid, "...Long Time" is a close second choice.)

Lo-Fi Cafe 

• DD.019-J Dilla (A relatively brief, flute-propelled beat.)

Real Jazz

• B's River-Marcus Miller (Uptempo, melancholy bass.  The piano and trumpet are key to the tune's ambience.)

The Village 

• Passing Through-Catie Curtis (Although we can't control other people, we can at least set a good example for those we influence.)
• Soul Companion-Mary Chapin Carpenter featuring James Taylor (A comforting way of saying, "There's someone for everyone.")

Online radio sampler highlights CCLXXVII

Five Saturday night highlights:

KCJV (Marta, TX) 

• I'll Try To Forgive You-Robert & The Eternals (It takes talent to make well-worn sentiments sound fresh, but this oldie, with its early '60s-style pop vocals and organ, pulls it off.  Sidebar: I have to admire a radio station whose slogan is, "We play the rarest records in the world.")

KYGT (Idaho Springs, CO) 

• Two Paths-David Helpling & Jon Jenkins (This compelling instrumental straddles the line between new age and rock.)

WJPC (Chicago, IL) 

• Poquito Spanish, Poquito Funk-George Benson (A self-assured guitar groove with occasional vocal punctuation, as needed.)
• Find A Way-Aloe Blacc (This steady rhythm lends itself well to being looped.)

WKYW (Keyser, WV)

• Cherokee Shuffle-Sally Van Meter (Fast, dexterous pickin' and fiddlin'.) 

FM dial scan highlights CCLXXXIII

Today's standouts:

KDHX 88.1 FM 

• No News Is Good News-Pops Staples (The rhythm and attitude of this tune remind me of Johnny Guitar Watson's "A Real Mother For Ya," which I first heard on KDHX years ago and would recommend as a segue.)

WSIE 88.7 FM

• Re-Entry-Kait Dunton (Dunton's strong, rhythmic piano playing propels this uptempo melody, along with prominent bass and drums.)
• Feel The Heat-Nathan Mitchell (Strong piano underpinning and horns carry this upbeat smooth jazz melody, released in June.)

KCLC 89.1 FM 

• Miles And Miles-The Heavy Heavy (An appealing driving energy.  Also recommended: "Happiness.")

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

• Franz Liszt: Hungarian Rhapsody No. 2 in D minor (Philippe Entremont, piano) (I admire how this piece pulls off the unusual hat trick of sounding grim, tender, and whimsical over 9 1/2 minutes.)  

Context? CCCXCVIII

Today, I turned on the radio just in time to hear a commercial announcer say, "Electricity is important.  Without electricity, you're sittin' in the dark."

I'm not sure what product was being promoted, as I turned the radio off after that sentence.  Whatever company it was had the right idea, however, in starting its commercial with an irrefutable premise.

An overlooked cover tune CLXXI

I've always thought of "Ventura Highway" as America's most pleasant hit.  Its breezy guitar part and vocals make it fit for driving, making listeners accept the quirky lyrical phrasing,"alligator lizards in the air," without question.  For decades, I didn't know that was a reference to cloud shapes.  In or out of context, however, the laid-back vocal stylings make that unusual syntax sound pleasantly palatable.

If you haven't listened to WSIE or another jazz station or stream lately, you might not know that Dw3 featuring Peter White covers "Ventura Highway" compellingly.  Vocally and instrumentally, the group nails the tune's essence.  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. 

I'll be surprised if this rendition doesn't make my Favorite music of 2025 countdown.

A professional perk

One of the best things about working in radio, especially when you choose the music and your shift doesn't require a ton of show prep, is that you never walk into the studio thinking, "Ugh...I have to do this again?  Blech."

At least, that's how I always thought. 

Only in college CXIV

Each year, the University Philharmonic director appointed various orchestra members to play in the pit orchestra for the school's annual musical.  One year, I was surprised to learn that a violist who hadn't been selected was playing in the production.  She told me that a violist who had been selected offered her "one whopper pizza" if she'd take his place.

If only I'd known I could have bribed another bassist with food, I could have avoided playing in the pit for "H.M.S. Pinafore."  It's a Gilbert and Sullivan production, but my reaction to it 35 years ago--i.e. not for modern sensibilities and not for me--still stands.

I don't remember which production the substitute violist played, but I'm not surprised that she accepted the original violist's offer.  When you're a college student, pizza is often a sufficient incentive.

Persistent earworm alert CCCLXXXIX

Although it's out of context, I've been thinking of the chorus, "Time for a cool change...," from the Little River Band's "Cool Change."

It's refreshing to have temperatures cool down and save some money by finally turning off the air conditioner overnight.

Persistent earworm alert CCCLXXXVIII

I haven't heard it recently, but the 1970 hit, "Give Me Just A Little More Time," by The Chairmen Of The Board has been on my mind tonight.  I've always liked the blend of realism and optimism the lyrics offer.  "...Time" has a sound way of telling someone, "Trust me.  In the end, things will turn out fine for us.  Don't worry," that's applicable in any era.

Segue suggestion V

While listening to Carrie Newcomer's "Lean In Toward The Light" recently, I thought, "'Lord, Won't You Help Me?' by Sara Watkins would flow well into this."

Lyrically, it makes sense.  Why not have a song about requesting help segue with a song about the best attitude to have while receiving help? 

An overlooked cover tune CLXX

I'd never thought of Pink Floyd's "Another Brick In The Wall (Pt. 2)" as a jazz-adaptable tune--until last night.  While driving around listening to WSIE last night, B.D. Lenz's instrumental take came on.  I was struck by how well a strong undercurrent of rock guitar works in that tune while a jazz saxophonist carries the melody.

Ordinarily, I don't like it when someone drives by with music blaring from their car--but I'd understand the impulse of drivers to crank this version up.

Online radio sampler highlights CCLXXVI

Today's standouts:

KMUN (Astoria, OR) 

• Guess I Started A Band-Slippers (Fun, upbeat indie power pop, released in April.)
• Good Friends Call Me E-Eliana Glass (The melancholy piano playing, vocals, and downcast lyrics on this March release make this compelling jazzy, rainy day music.)

KNBA (Anchorage, AK)

• Time, Be My Friend-Dar Williams (Doesn't everyone make this bargain with the universe to be more attentive, caring, or committed in exchange for more time?)

KSJN (Minneapolis, MN) 

• Dan Wilson: Van Nuys (Dan Wilson, piano) (A brief, thoughtful piano piece fit for a farewell.  The last chord reverberates effectively, letting the farewell vibe linger.)

WACC (Enfield, CT)

• Can't Slow Down-Almost Monday (Rhythmically strong indie rock with effective vocal leaps in the chorus.)

WBGO (Newark, NJ)

• Bright Moon-Quincy Jones (An impressive blend of rapid saxophone, drums, and bass.)

WWHM (Sumter, SC)

• Double Dutch Bus-Frankie Smith (I remember hearing this often on KMJM in 1981.  Its beat and nonsensical rhymes don't leave a listener's mind easily.)
• Caribbean Queen-Billy Ocean (Among Ocean's '80s hits, this one holds up best rhythmically and vocally.)

Segue suggestion IV

Since hearing Sting's "Nothing 'Bout Me" on KCFV two days ago, I've thought about how well Bruce Hornsby's "Great Divide" would segue with it.  "Nothing 'Bout Me" is appealingly uptempo, and "Great Divide" progresses at an even faster clip, building on "Nothing 'Bout Me"'s energy.  The theme of people remaining mysteries to each other also permeates both songs, so there's a lyrical connection, as well.

In memory of Tom Lehrer

After reading about the passing of song satirist Tom Lehrer, I thought back to my early teens.  During that time, I checked Lehrer's albums out of the library and listened to his clever wit during KADI's morning "Breakfast Flake" comedy segments.  I still think these are four of his best songs:

• A Christmas Carol (An accurate acknowledgment of the commercialization of Christmas, encapsulated by the lyric, "What's important is the price."  I remember liking the lyric, "Angels we have heard on high tell us to go out and buy," as a kid.)
• New Math ("New Math" reminds me of math group meetings in the library during fifth grade. I was so relieved when those sessions ended.  I thought, "Just because I can add, subtract, multiply, and divide well doesn't mean I want to solve problems in base eight," which, as Tom Lehrer said, "is just like base 10, really--if you're missing two fingers.")
• Pollution (This might be Lehrer's most clever composition.  Who else would think to set lyrics about the dangers of breathing polluted air to a calypso rhythm on the piano?  It's gratifying to hear the audience find this amusing.)
• Who's Next? (Despite the gravity of the subject, I still like the lyric, "'The Lord's our shepherd,' says the psalm, but just in case, we're gonna get a bomb.")

FM dial scan highlights CCLXXXII

Five Sunday morning highlights:

WSIE 88.7 FM 

• Driving-Everything But The Girl (In its acoustic and original studio versions, I can't imagine "Driving" wearing out its welcome.  This is a heartwarming way to tell someone, "I can't wait to be with you.")
• This Here-Cannonball Adderley (A solid hook and an expansive showcase for each lead instrument to solo.)

KCLC 89.1 FM 

• Glue Song-beabadoobee featuring Clairo (Endearing, concise, and a torch song for modern times.)

KCFV 89.5 FM

• Nothing 'Bout Me-Sting (I hadn't thought about this tune in ages and was glad to hear it again.  Lyrically, it's an appealing ode to remaining mysterious.  It could just as easily stand on its own, however, as a jazz piano instrumental.)
• Like The Weather-10,000 Maniacs (I contend that this is the group's best melody.  As much as I like their issue-driven songs, there's a fun bounce to this tune that keeps me coming back.  Also recommended: "Don't Talk," "Verdi Cries," and "Trouble Me.")

Context? CCCXCVII

I felt sorry for a talk show host on a Texas AM radio station earlier this week.  When no one's calling in, filling time must feel excruciating.  

"Feel free to call in," the host said.  "The number is...  Once again, that's..."  When no one called, he said, "You can call right now at...  The number again is...  When you call in, you can go right on the air, like this caller..."

I didn't blame the host for prolonging the call.  When someone finally calls your phone-in show, it's understandable that you'd pounce on the call and keep it going as long as possible.

I wonder how long it took for the host to get a second call.

In memory of Chuck Mangione

I was saddened to learn yesterday of flugelhorn star Chuck Mangione's passing.  His pleasant jazz/pop tunes have been a positive part of my life since the '70s, so in his memory, I recommend these nine tracks:

• "Cannonball Run" Theme (A sunny, accessible flugelhorn melody; most listeners who like Mangione's smash hit, "Feels So Good," would enjoy this.)
• Can't We Do This All Night? (I remember being taken with this subtle, easy, late-night groove immediately, thanks to Leo Chears playing it on WMRY.)
• Chase The Clouds Away (Mangione's album title track, with its wandering-through-the-forest orchestral arrangement, is one of his best tunes.)
• Children Of Sanchez (This commanding melody practically decrees listeners to yell, "Charge!") 
• Feels So Good (Mangione's biggest hit, and deservedly so.  In its condensed form or nearly 10-minute incarnation, it sports a great melodic hook of which I never tire.) 
• Give It All You Got (This instrumental's title is perfect, as it captures the feel of determination and effort one needs when faced with a tall task.  It's no wonder that it was once the theme song of the Olympics.)
• Hide & Seek (Ready Or Not, Here I Come) (Aptly titled.  The intro mimics what sounds to me like video game sound effects before the melody kicks in and picks up steam.  I think this track would work as a radio station's contest promo accompaniment.)
• Hill Where The Lord Hides (The opening guitar lick drew me in when I first heard this decades ago.  This is a true band piece for players with chops, as Mangione and company's 1979 performance of it on "The Tonight Show" illustrates.)
• That's Nice (An overlooked 1988 track that's of its time in a catchy way.  I still think this should have been a sitcom theme.)

Online radio sampler highlights CCLXXV

Five recommended tunes heard today:

KUAA (Salt Lake City, UT) 

• Tunnel Vision-Monophonics (Impressively sung and played; this is from 2020 but pulls off a convincing early '70s R&B pastiche.)

KZIO (Duluth, MN)

• Save Your Soul-Kathleen Edwards (I wish acolytes of a certain president would wise up and ask themselves who's going to save their souls--and then switch party affiliations.)

WERU (Blue Hill, ME)

• Owls-Leo Kottke (What other acoustic guitarist would you expect to record an instrumental that chugs along, segues gracefully into a waltz, and then goes back to chugging along?  Also recommended: Kottke's live medley of Crow River Waltz, Jesu, Joy Of Man's Desiring, and Jack Fig, which accomplishes even more dazzling stylistic transitions.)
• Hummingbird Highway-Dar Williams (This new, lyrically thought-provoking release 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.) 

WNCU (Durham, NC) 

• Blues In The Basement-John Clayton/Mulgrew Miller (This bass-and-piano collaboration reminds me of various tunes by renowned jazz bassist Ron Carter.  That's always a plus.)

Segue suggestion III

After listening to Eddi Reader's "Prayer Wheel" today, it struck me how well it would segue with Beth Wood's "Two Years Or Three."  Their common ground:

• Both songs are by singer-songwriters who deserve to be better known.
• Rhythmically, the songs are similar enough that "Prayer Wheel" flows gracefully into "Two Years Or Three."
• Lyrically, both songs are about the uncertainty of the future but being reasonably well-prepared to handle it.

Will each protagonist have an enjoyable--or at least a decent--future?  The listener doesn't know for sure, but the optimism of the instrumentation under the vocals suggest that they will.  That's a reassuring way to discover two artists and delve into their music.

The allure of shuffle mode LXXXII

iTunes shuffle mode was in strong form for me today.  I was pleased to hear "Good Things" by BoDeans flow into Tom Petty's "A Higher Place."  The lyrical honesty and optimism of both tunes makes them compatible; in both cases, the singer is essentially saying, "This relationship might not be perfect, but there's a solid enough foundation here on which to build."

As a bonus, "A Higher Place" segued randomly with "River Rise" by David Crosby featuring Michael McDonald.  Musically, Petty's tune flows smoothly into Crosby and McDonald's track, so  I'm surprised that I've never heard that segue on any radio station or stream. 

Refreshing honesty, but...

Whenever DJs, especially morning and afternoon drive DJs, admit that they're just going through the motions on a particular day, I usually think, "It's best to give them grace, within reason.  That's certainly appropriate when they're grappling with something tragic.  Besides, no radio show can reasonably reach exactly the same heights during every edition."

When DJs phone in their performance routinely, however, for no apparent reason, I think, "Credit for honesty, but as my high school American Lit. teacher used to tell the class, 'You have to do the work.  There's no substitute for doing the work.'"

FM dial scan highlights CCLXXXI

Today's standout tracks:

KDHX 88.1 FM 

• Long Time Ago-The Jayhawks (Is a failed relationship worth rekindling?  The Jayhawks suggest that it is--in the instance the lyrics recall.)

WSIE 88.7 FM 

• I Didn't Know What It Was-Ptah Williams Trio (This is some ferocious piano playing.  Talk about needing to let the keys cool off...)
• Everlong-Ryan Marquez & Lola Kristine (This is the Foo Fighters tune, recast convincingly for jazz keyboard and vocals.)

KSHE 94.7 FM 

• Medicine Man-Michael Martin Murphey (The opening guitar lick draws me in every time.  There's a welcoming sing-along quality to this tune that I've always liked--and it's a shame that this only gets played on the radio once in a great while.)

KLOU 103.3 FM

• Roll With It-Steve Winwood (As a retro "American Top 40" countdown reminded me, "Roll With It" was soaring up the chart this week in 1988.  Even if you can't make out the lyrics completely, the chorus and the tune's solid rhythm shine through, making it evident why this was such a big hit.)

Persistent earworm alert CCCLXXXVII

The sorrowful first track from Alison Krauss & Union Station's latest release, "Arcadia," has been stuck in my mind recently.  Krauss sings melancholy lyrics effectively, so that's part of why "Looks Like The End Of The Road" has stayed with me.  Rhythmically, the tune could segue with "She's Leaving Home" by The Beatles, which gives it additional staying power.

As well-sung and well-played as "...Road" is, I'm trying to will my mind to gravitate toward "Arcadia"'s closing track, "There's A Light Up Ahead."  If a tune is going to stay in your mind, I think it's best if it offers at least a glimmer of hope. 

Context? CCCXCVI

This morning, a radio personality asked two representatives of a car dealership how he could get a car with wood paneling.  One of them replied that his science grades weren't great when he was in school, but he could try constructing a time machine.  The other rep said that he could find someone who would put a vinyl wrap around the car to give it that retro wood panel look.  The host joked that perhaps he could nail some two-by-fours to the car.

Both answers reinforced two evergreen sales principles:  Accommodate the customer, within reason, if you can, even if it means doing something you wouldn't do for most customers.  If you can't accommodate the customer within reason, don't respond with an immediate, hard "No!"

In all likelihood, that's probably why the car dealership the host consulted has been in business for decades.

Online radio sampler highlights CCLXXIV

Seven standout tunes heard today:

KBZR (Baker City, OR) 

• Luna's Gone-Mary Chapin Carpenter (As with Alison Krauss, there's a dependable consistency to Chapin Carpenter's singing and playing that falls somewhere between folk and country styles.  The lyrics of "Luna's Gone," however, remind me of why I could only have indoor pets.  I couldn't bear the thought of knowing that a cat of mine had wandered off and that I might not know where she is or ever see her again.)
• Dandelion-Charlotte Gainsbourg (Gainsbourg's quiet vocals contrast effectively with the loping, rhythmic gait of the instrumental backdrop, which falls somewhere between the blues and Donovan's "Mellow Yellow.") 

KRWV (Phoenix, AZ) 

• Route 101-Herb Alpert (Alpert's best instrumental single, in my opinion; this energetic trumpet melody should have been a bigger hit in 1982.  It remains one of my most-played 45s.)

KTBG (Kansas City, MO) 

• Dragonfly-Samantha Crain (This track is from 2024 but could have fit in easily on college alt rock stations in the early '90s.  The lyrics express a yearning to be free and adaptable at the same time.)

WESM (Princess Anne, MD) 

• Vibrations-Warren Wolf (Essentially, this is "I Can See Clearly Now," recast as a stroll for vibraphone.)

WILL-HD2 (Champaign, IL)

• I Shoulda Loved Ya-Narada Michael Walden (I'm surprised that this catchy 1979 dance groove wasn't a top 40 hit.)

WRDV (Warminster, PA)

• Wake Up And Live-Ella Fitzgerald (The attitude of these lyrics could segue well with multiple versions of "Blue Skies.")

Only in college CXIII

In the early '90s, KCOU's main sports segment broadcaster was considering starting his "Triple Threat Sports" segments with a new theme.  He asked if I had any suggestions.

I recommended Soft Machine's "Nettle Bed."  At the time, I thought, "This would be a strong signature theme that would get listeners' attention."

I still think "Nettle Bed" makes strong theme music.  Upon further reflection, however, it isn't fit for sports segments.  It works better as the intro for an early '70s TV newscast or as needle drop music in a "Saturday Night Live" "Sprockets" sketch featuring Mike Myers as Dieter. 

In retrospect, I understand why the sportscaster, upon hearing me play the record in KCOU's production room, said, "Yeah, I don't know about that."

Lesson learned.  There's a reason why sportscast themes don't usually sound like Kraftwerk.  You can't always force a piece of music you like to work in any context.

Trio vs. solo

Even as a kid, I thought this setup was odd.  During my sixth grade year, my middle school had three chorus teachers--Mrs. B. for sixth grade, Mr. T. for seventh grade, and Ms. M. for eighth grade.

That Summer, I thought, "Surely, they won't stay with that arrangement next year.  How much money could each of those teachers possibly make by teaching only sixth, seventh, or eighth grade chorus classes?"

Sure enough, at the beginning of my seventh grade year, a new instructor, Mr. B., replaced all three chorus teachers.  Was it the best move for the students?  Hmmmm...  Well...

...Yes, to some extent.  It's reasonable to think a full-time teacher will be more motivated to commit to a job than a part-time one--in theory, at least.

Context? CCCXCV

Recently, while promoting a sponsor who helps people plan for retirement, a radio talk show host said, "I have a five-year-old, so I (won't be retiring soon.)  (This sponsor) wouldn't take me as a client.  But if you're getting ready to retire, (the client) can help you."

There was something refreshing about the host admitting, "This service isn't for everyone," but it's also kind of like saying, "I'm lactose intolerant, so I could never eat this ice cream, but you might enjoy it."

Persistent earworm alert CCCLXXXVI

Inspired by my desire to eschew the surplus of negative news 2025 has brought, The Cyrkle's 1966 hit, "Turn-Down Day," has stayed in my mind since last night.  After all, there's a verse about tuning out the news, which is all too tempting these days.

Persistent earworm alert CCCLXXXV

Following the news these days is frequently depressing, to say the least.  As a defense mechanism, when I've started to read various articles about topics that irritate me, Tom Scott's "Breezin' Easy" instrumental has come to mind.

There's nothing like an accurately titled, pleasant saxophone melody for reminding us to breathe--and relax, to the extent that it's possible. 

FM dial scan highlights CCLXXX

Friday's standouts:

KDHX 88.1 FM 

• Crimson And Clover-Pom Pom Squad (If you're in the mood for this Tommy James & The Shondells hit recast with an indie rock bent and heavy guitars, this is for you.)
• Coffee & TV-Blur (A catchy rhythm underscores a fair case for being selectively sociable.)

WSIE 88.7 FM

• Tuesday Night Squad-Soulive (This ensemble has a way with jazzy, organ-anchored instrumentals.  Even after seven minutes and change, I was eager for this groove to continue.)
• Summer Daze-Paula Atherton (Pleasant, uptempo, smooth sax jazz released three weeks ago.) 

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

• Franz Joseph Haydn: Keyboard Concerto No. 11 in D major: III. Rondo all'Ungarese (Academy Of St. Martin In The Fields/Neville Marriner, conductor; George Malcolm, harpsichord) (A rousing steeplechase brings this concerto to a satisfying conclusion.) 
• Jean Sibelius: Symphony No. 2 in D major, Op. 43: I. Allegretto (BBC Symphony Orchestra/Sir Thomas Beecham, conductor) (The first movement of this symphony covers considerable ground, ranging from suggesting a lush, pastoral landscape to gripping tenseness to explosive joy.)

Steering into the skid VII

Billy Joel's "You're Only Human" received frequent radio airplay in the Summer and Fall of 1985.  Every time I heard it, I'd have conflicting thoughts.

"I'm going into (or I'm now in) my first year of high school," I thought 40 years ago.  "My class is at the bottom of the pecking order, so this won't be one of the best years of my life.  By default, it can't be.  There will be bright spots, but the best aspects of this place for me will likely happen in later years.  Still, as Joel's lyrics remind me, even though I won't always be the most graceful or comfortable version of myself this year, it won't last forever.  I'll learn how to navigate this place successfully the longer I'm here."

Sure enough, that's how it panned out.  By senior year, freshman year was a distant memory--and it was hard to believe I'd ever found the school intimidating.  

Online radio sampler highlights CCLXXIII

Wednesday's highlights:

KANH (Emporia, KS) 

• Malcolm Arnold: Three Shanties For Wind Quintet, Op. 4 (East Winds) (Just enough dissonance to convey the turbulence of the sea.)

KVSC (St. Cloud, MN)

• Glad-Saint Etienne (The wistfully tinged joy with which this is sung makes "Glad" one of 2025's more appealing dance/rock blends.)
• Motion Sickness-Phoebe Bridgers (Emotionally honest lyrics, somewhat hypnotic vocals, and a steady, driving rhythm made this one of 2017's winners.  To my ears, it has one of the strongest hooks in a Bridgers tune.  The pause between "you" and "out" in the lyric, "I could scream to drown you out," makes the chorus for me.)

WIDR (Kalamazoo, MI) 

• Disconnected-Veronica Lewis (The quaver in Lewis's voice underscores the feeling of loss in her lyrics here.)

WZUM (Pittsburgh, PA) 

• Track Meet-Vince Guaraldi (Don't let the title throw you off.  This is an alternate version of "Christmas Is Coming," with more prominent guitar and an even more freewheeling bossa nova feel.)
• Stompin' At The Savoy-Teddy Wilson (A spirited, swingin' piano rendition.)

Persistent earworm alert CCCLXXXIV

To me, "Another Park, Another Sunday" by The Doobie Brothers is an appropriate earworm for acknowledging Summer doldrums or a generally sour mood.  While the lyrics acknowledge the reality of a loss, the sunny instrumentation suggests that the pain of such a loss will subside eventually.

The allure of shuffle mode LXXXI

This morning, through a skillful pairing, iTunes shuffle mode reminded me why we should all want to play--or at least appreciate--the acoustic guitar.  Thanks to a random play of my library, "Jessica" by Dave Evans led into "The Toy Guitar" by Earl Klugh.  How could hearing an instrumental fit for sitting by a bubbling brook and an instrumental with a welcoming, tropical vibe not lift a listener's spirits?

A function of age XL

Per a recent St. Louis Post-Dispatch article, album rock station KSHE's primary target demographic is adults aged 25 to 54.

It's disconcerting to me that in three months, I'll age out of a classic rock station's desired listener category.  If that isn't a sign of advancing age...

Context? CCCXCIV

This morning, on a financial radio show, the host talked about planning for retirement.  He recalled someone he knew who had forgotten about a 401(k) she'd set up with a previous employer.  She had accumulated over $62,000, as a result.

Since hearing that, I've thought, "Who forgets about a 401(k) and free money?  Must be nice..." 

Striking the proper tone today

I've grappled with how to approach today's post.  I could have written an Online radio sampler highlights post, recommending seasonally appropriate music, as I did two years ago.  I could argue that a moving melody is still a moving melody regardless of when you hear it.  That doesn't feel right today, though.

I could have written a Context? post, recalling what a radio talk show host said yesterday.  Her dad allowed his kids to shoot off fireworks but insisted that they wear goggles, which she said compromised the coolness factor of fireworks for her considerably.  That would have been a seasonally appropriate post, but it would have sidestepped the disturbing time we're in politically.

I also considered writing about my reaction to seeing the lineup of performers for this year's "Pops Goes The Fourth" Boston Pops celebration.  Referencing a "Kids In The Hall" sketch, I planned to ask, "Who's playing Boston?  Who's playing Boston?  Bell...Biv...DeVoe.  Can't watch the show without a whole lotta milk..."  A few readers might have appreciated the inside reference and gotten the joke, but that, too, wouldn't have addressed the seriousness of America's current situation.

Since yesterday, I've thought about an exchange I had with a neighbor.  I was talking with a neighbor about his plans to watch the fireworks tonight when another neighbor arrived.  We had this exchange:

Neighbor: What are we celebrating again?

Me: Being an ostensibly free country.

Neighbor: A free country in name only...

That's the precarious perch on which we're teetering in America.  As Heather Cox Richardson pointed out on a recent edition of "The Bulwark" podcast, democracy isn't dead yet.  I'd like to believe that's true.  I'd also like to believe, as Senator Elizabeth Warren said, "Together, we have power."  Millions of people participated in the No Kings protests, and it's heartening to believe that the attendance at today's Free America protests may well be similar. 

Having said that, this still doesn't feel like the right day for jaunty, jingoistic tunes.  Last night, I played Ferrante & Teicher's version of "Shenandoah," as it's a beautiful melody and, in my opinion, the strongest track on the "Spirit Of 176" album.  I followed it up with Paul Simon's "American Tune," which is more lyrically appropriate now than ever.

I think that's the right tone for today--although the most discordant portion of the Charles Ives/William Schuman piece, "Variations On 'America,'" wouldn't be out of place, either.

Context? CCCXCIII

Yesterday, I tuned the radio on, just as someone was doing a live promo for a place where one could get fishing poles and telescopes and also take quilting classes.  What is this place called?

A library.  I assume it also has books.  Perhaps they mentioned that before I tuned in.

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

At the midpoint of 2025, I've contemplated my favorite music of this year so far.  The phrase I keep thinking of is "spare parts."  Thus far, there's no cohesive theme, lyrically, vocally, instrumentally, or stylistically among my favorite tracks.  There are just bits of this and that--and none of them really segue with each other.

In Kentucky Derby terms, that's called a wide open field.  Let's see what music the rest of the year has in store... 

Linguistic bemusement VIII

It caught my ear recently when "The Coffee Klatch"'s podcast host, Robert Reich, said the word prelude.  My sixth grade chorus class teacher, Mrs. B., sporadic Classical station announcers, and Reich are the only people I've heard pronounce the word correctly.  It's supposed to be pronounced prell-yood, but I can't bring myself to say it that way.  Pray-lood just strikes me as a better-sounding, less awkward pronunciation.

I fit in well in this city where it's normal to pronounce Gravois Road Grav-oy.

Context? CCCXCII

I was surprised to hear a local police department sponsor a radio station's traffic report this morning.  It was even more surprising to hear the department's pitch for recruiting police officers.

Perhaps the department's need for advertising shouldn't surprise me.  As a former co-worker once said, when you're an officer, and "shots ring out, your job is to run toward them."

Even if someone's qualified to be an officer, there's no denying that it's a dangerous job. 

Persistent earworm alert CCCLXXXIII

In recent months, iTunes shuffle mode has landed frequently on "Take Me To The River" by Talking Heads.  It's a tribute to how well the rhythm players set the scene, as I usually listen to just the first 39 seconds before the vocals come in.  All three instruments--drums, bass, and guitar--make the intro pop and announce to the listener, "You've heard Al Green's version?  Here's a different, more mechanized take on the tune."

Persistent earworm alert CCCLXXXII

Off and on for decades, when I've driven past almost any convenience store, I've thought of the theme song for the short-lived sitcom, "Open All Night."  (i.e. "This is the story of Gordon Feester, born in Ohio the day before Easter...Now, he's open all night.  Open all night, Open all night...") 

I watched the first episode this morning, after not seeing it since its original airing in 1981.  It's refreshing that a sitcom theme could have a decent hook then; the lyrics could tell the main character's story from birth to running a convenience store, while the network expected viewers to stay with it for--Gasp!--an entire minute.

Steering into the skid VI

When you work at two radio stations in one day, as I did sometimes in the early '90s, you might start to say the wrong call letters on the air.  

As far as I know, I only did this once.  During an air check critique session at KBIA, the program director heard a break in which I said, "We now return to the Cleveland Symphony Orchestra on KC...on KBIA."

Fortunately, the p.d. took this with good humor.

"You're entitled to one of those," he told me.  "During our last pledge drive, I accidentally started to say W..., which was the start of the (call letters) of another station where I'd worked." 

It's refreshing when a program director accepts that we're all human.

Online radio sampler highlights CCLXXII

Six standout tunes heard today:

KBFT (Nett Lake, MN) 

• Ghibli-Savana Funk (This instrumental sports a memorable hook while pulling off the trick of sounding uptempo while sorrowful.)

KVMR (Nevada City, CA)

• Sunshine-Little Dragon (Fun, upbeat indie rock.  Lyrically, this is a cool way of telling someone, "You rock my world.")

WRFI (Ithaca, NY) 

• Radio City-Eilen Jewell (This instrumental could set the scene for a murder mystery.  Various Shadowy Men On A Shadowy Planet or Aqua Velvets tracks could flow into this.)
• Playing On The Radio-The Shivas (Considerable energy that can't help but spill out of car radio speakers--and possibly make one drive a tad faster.)

WRTI (Philadelphia, PA)

• Agua De Beber-Astrud Gilberto (With a rhythm this strong, it's not surprising that this tune has been covered so often.  Gilberto sings one of the best renditions.  For a faster take, check out Al Jarreau's version.)
• New Pinnacle-Brandee Younger (A new, fanciful jazz harp piece.  Quincy Jones's version of "Tell Me A Bedtime Story" would flow well after this.)

Persistent earworm alert CCCLXXXI

Earlier this afternoon, I was stuck for inspiration.  Then, my cat, Collette, pushed her dragonfly toy under the door, triggering my memory of the somewhat overlooked Fleetwood Mac track, "Dragonfly."  With its moody, atmospheric guitar underpinning and vocals that create a floating sensation, it deserves--but doesn't typically get--airplay on most album rock stations.  In retrospect, I should have included it in my In memory of Danny Kirwan post.

Thanks to Collette for sparking today's welcome earworm.

It's radio, not TV--or a zoo.

About 15 years ago, I saw that a radio station's website had added a studio cam tab.

I thought, "Is this for in-studio concerts or interviews?"

When I clicked on the tab, it showed the DJ in real time sitting behind the console, waiting for a song to end before he started the next one.

I still think that's unnecessary.  Why does the audience need to see the DJ in the studio sitting around between songs, initialing a commercial log, taking meter readings, or preparing for the next break?

It's radio, after all.  It's meant to be heard, not seen.

FM dial scan highlights CCLXXIX

Sunday and Monday highlights:

WSIE 88.7 FM 

• Barbara Mae-Althea Rene (Pleasant smooth jazz flute.  The tune progresses in a way that a Grover Washington, Jr. melody might.)
• Boca Chica-Starwolf (This 2024 instrumental has a '70s R&B/jazz throwback feel.  If I'd known of it last year, it definitely would have made my top 25 countdown.)

KWMU 90.7 FM 

• Ask Me Now-Tony Campbell (Shimmering saxophone and rhythm section.)

KSHE 94.7 FM

• The Story In Your Eyes-The Moody Blues (The lyrics say all they need to say in three rapid-fire minutes.)

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

• Hamilton Harty: With The Wild Geese (Ulster Orchestra/Bryden Thomson, conductor) (Alternates between mighty brass and pastoral strings and winds.)

Persistent earworm alert CCCLXXX

I haven't seen this "60 Minutes" segment since it aired originally, but I still remember it.  Decades ago, "60 Minutes" did a piece on the making of a Stroh's beer commercial.  It amused me to see people running alongside a plane while singing, "There's nothing like a Stroh's beer," off-key.  Professional jingle singers were used in the final version as the plane takes off.

Beer--and alcohol, in general--doesn't appeal to me.  Still, during mundane moments in traffic or while shopping, that jingle still comes to mind ironically.  I've never equated a soaring plane with beer consumption.  Presumably, though, market research must indicate that the image scores with customers.

Meanwhile, my cat, Collette, puts her own spin on the Stroh's jingle. 

Only in college CXII

When choosing the music for my shifts on KCOU, I took satisfaction in coming up with sets that flowed.  In the Spring of 1992, I programmed what I thought was one of my best sets of three, in this order:

• Sunrise-George Duke
• Summer Chill-Grover Washington, Jr.
• Take Me Higher-Soul II Soul

I reasoned, "Why not play a song about the sunrise while the sun is rising?  Then, why not segue it with a saxophone instrumental that illustrates how the current temperature feels?  Once it fades out, why not  segue it with vocals that command the listener's attention immediately while flowing gracefully after the melody before them?"

I wish every set I ever programmed on any radio station segued that well.

Where the buck stops

One reason why some conductors appear disgruntled: Not unlike the manager of a sports team, the conductor is expected to elicit sound musical performances from an orchestra.  

When this doesn't happen to the extent it should, concertgoers may react the way my mother did in the '80s.  It was the orchestra's first concert under a new conductor.  He'd spent the first three weeks rehearsing only the first movement of Dvorak's eighth symphony.  Then, he repeated this process with the fourth movement of that symphony, leaving insufficient time to rehearse the second and third movements of that symphony, Haydn's 88th symphony, and a Mahler piece.

Mom's verdict: "I think they had better results under the previous director." 

She wasn't wrong.  Pacing rehearsal time properly is critical for a conductor, especially a new conductor. 

Persistent earworm alert CCCLXXIX

For the past week, a surprising Beatles track has infiltrated my mind.  I hadn't thought of the song, "Mr. Moonlight," in years.  I don't dislike it, but even as a child, I thought, "This is a Beatles song?"  To me, it falls somewhere between a novelty song and an oddball folk tune that wouldn't have been out of place in the movie, "A Mighty Wind."  During the organ solo, I can imagine Harry Shearer launching into his truncated "tentacles of the moon" monologue.

What a bizarre image to have in mind when trying to digest the complexities of an editorial about world affairs...

The allure of shuffle mode LXXX

I've praised "We May Never Pass This Way Again" by Seals & Crofts in previous posts.  I can't imagine ever getting tired of its sentimental look at the pleasant moments of one's life.  It ends on such a graceful note, it seems wrong to slam into blistering metal guitar or anything remotely avant-garde.  That's why I'm glad iTunes shuffle mode segued it with Toto's "99" today.

One wistful piano part deserves another, I believe.

Online radio sampler highlights CCLXXI

Five recommended selections heard this morning:

KRCL (Salt Lake City, UT) 

• Introduction-Nick Drake (A warm, classy start to the morning, with orchestral strings.  This is from my favorite album of Drake's, "Bryter Layter."  Also recommended: "At The Chime Of A City Clock" and "One Of These Things First.")
• A Way Around-Kim Richey (This 2024 track has an appealing 1975-'77-era Fleetwood Mac feel in its vocals and instrumentation.) 

KUNV (Las Vegas, NV) 

• Soul Serenade-Patches Stewart (A relaxed smooth jazz trumpet melody.  This goes-down-easy groove was released in February.)

WQXR (Newark, NJ) 

• Felix Mendelssohn: Pieces For String Quartet, Op. 81: Variations And Scherzo (The Eroica Quartet) (A nice contrast between an expressive, unhurried melody and one necessitating nimble dexterity from its players.)

WZVN (Lowell, IN)

• I Got You-Split Enz (Not just any band could pull off a chorus like "I don't know why sometimes I get frightened...," and make it this tuneful.)

Persistent earworm alert CCCLXXVIII

I don't think I've heard this radio commercial jingle since the late '80s, but it still creeps into my mind at odd times.  I'll be grocery shopping, sleeping, or reading an article, and suddenly, I'll think of the jingle, "So, come to The Linen Warehouse, and make your home complete."

I've never set foot in that business, and I'm not sure if it even still exists.  I remember the jingle singer having a somewhat unusual voice--not bad but distinctive.  Somehow, it's the only jingle for a business of its kind to stay with me over the decades.

I'm sure I wouldn't have predicted that jingle having staying power 40 years ago, and yet... 

Segue suggestion II

While listening to Todd Rundgren's "A Dream Goes On Forever" recently, I wondered if any radio station has ever played Carole King's "It's Too Late" before it.  Lyrically, it's a good pairing.  Rundgren's lyrics suggest that it might not be too late to salvage a relationship, after all, or if it is, you can still hold on to your dreams about it.

Context? CCCXCI

I've been grappling with how to approach playing patriotic music this July 4.  Paul Simon's "American Tune" is certainly appropriate, given how democracy is veering off course.  The "Schoolhouse Rock" track, "No More Kings," would also work and is in keeping with the theme of today's widespread "no kings" protests.

After listening to Erin Bode's rendition of "Savior Of The Nations, Come," though, I'm half-considering playing it on Independence Day.  While that hymn isn't a patriotic anthem, it's appropriate this year.  After all, it might take divine intervention to get this country back on sane, civil footing.

Persistent earworm alert CCCLXXVII

Since completing my annual viewing of the movie, "1776," last night, the ominous repeating final note hasn't left my mind.  Whenever I watch the film, it sinks in what a risk those who signed the Declaration Of Independence were taking.

This time, however, I also thought the movie's final note could underscore the decline and possible elimination of American democracy.  I really hope that our democracy doesn't vanish.  "1776"'s chilling note reminded me, however, that a positive outcome isn't necessarily a given. 

Segue suggestion

While listening to Joseph Arthur's "Honey And The Moon" recently, I thought, "Has any radio station ever played Alanis Morissette's 'Hands Clean' after this?  If not, they should.  Both songs start off rather quietly before their energy levels increase, and the vocals in both songs grab the listener's ears.  They're lyrically compatible songs, as well."

Yes, I often think in full paragraphs when it comes to musical segues. 

In memory of Brian Wilson

In memory of Beach Boys co-founder Brian Wilson, these are, in my opinion, eight of the best songs he wrote, co-wrote, or arranged:

• God Only Knows (An honest, vulnerable way of telling someone, "You complete me.")
• Good Vibrations (Among the group's many surf and fun-in-the-sun hits, I think this one holds up best.  The intro grabs the listener's ears, and the vocal harmonies propel the chorus effectively.)
• Heroes And Villains (Some of the group's most imaginative harmonizing.  For a lounge arrangement with a hint of Wilbert Harrison's "Kansas City" in it, check out the Geraint Watkins version.)
• In My Room (Unusually introverted lyrics for a typically extroverted band.)
• Little Deuce Coupe (Of the group's songs involving cars, this one, to my ears, has the best shelf life.  It also sparks this memory for me.) 
• The Man With All The Toys (The a cappella refrain grounds this fun tribute to Santa Claus compellingly, while the rest of the tune has a fun, uptempo feel.  Also, at just one minute and 35 seconds, the song doesn't wear out its welcome.)
• Sail On, Sailor (Anyone who had never heard "Sail On, Sailor" before probably wouldn't peg it as a Beach Boys song.  In my view, however, it's one of their best tunes.  The piano sets the mood, and Blondie Chaplin launches into the lyrics about life at sea.  The group's harmony on the chorus is among its most atypical--and best.)
• Sloop John B ("Sloop John B" sports another intro that draws the listener right in.  The lighthearted arrangement takes the edge off of grim folk lyrics.)

In memory of Sly Stone

Sly & The Family Stone's record-buying fans showed commendable taste in the late '60s and early '70s.  In my opinion, these are five of the group's best songs; not coincidentally, four of them were among their biggest hits:

• Dance To The Music (The immediate command to "get up and dance to the music" sets the mood and keeps it for the duration.  In addition to the studio version, the "Live At The Fillmore East" version from October 4, 1968 is also worth hearing; it's an expansive take, with resounding horns and vocals that live up to the studio rendition.  In either case, "Dance..." segues well with "Heavy Makes You Happy" by The Staple Singers.)
• Everyday People (These lyrics about coexisting peacefully are appropriate in any era.  The Savant Garde altered tapes rework version of Arrested Development's cover, "People Everyday," combines the Sly & The Family Stone influence with the feel of Bibio's "Lovers' Carvings" and Swing Out Sister.)
• Hot Fun In The Summertime (A well-done throwback pastiche that draws the listener in right from Stone's first note on the piano. Genesis uses a similar rhythm to propel the hit, "Misunderstanding.")
• Sing A Simple Song (One of the funkier call-and-response tunes of its time, or really any time. The beat and the unusual vocal structure make this possibly the group's strongest song.  The Meters covered it compellingly.)  
• Thank You (Falettinme Be Mice Elf Agin) (A strong rhythm section is crucial in pulling this off.  The Crusaders also do it justice instrumentally.)

Only in college CXI

An early '90s memory: After playing The Zawinul Syndicate's "South Africa" during KCOU's "Jazz Odyssey" program, the DJ praised the song's message, saying that we all have to live together in the same world.  He said we can't live in a world where our mindset is, "I'll take half, and you take half."

That idealistic outlook is admirable.  However, the way America is now, that goal has grown increasingly out of reach.  I wonder when--or even if--it will ever be truly achievable.

Persistent earworm alert CCCLXXVI

Thanks to today's persistent earworm, I remembered to buy two items at the grocery store.  While driving to the store, I sang, "Trash bags!  Nexium!"  Why I sang this in place of the exclamations, "Incense!  Peppermints!" in Strawberry Alarm Clock's "Incense And Peppermints," I'm not sure.

I still say it beats shopping with a list, though.

Context? CCCXC

While listening to an "American Top 40" countdown from December 1970 on SiriusXM recently, my brother found the stylistic clashes between songs amusing.  His amusement was well-founded, considering that Led Zeppelin's "Immigrant Song" and Perry Como's "It's Impossible" were in the same countdown that week. 

With such "Never the twain shall meet" conflicts on the chart, a generation gap was inevitable.

Family entertainment? II

What are the odds that I would happen to walk by the same outdoor venue twice within two years and hear two different bands performing "Psycho Killer" by Talking Heads?  This happened in 2023, and it happened again last night.

Is "Psycho Killer" now a Summer concert favorite, as "Surfin' U.S.A." was decades ago?

SiriusXM highlights CLVI

Thursday's highlights:

Acoustic Guitar Instrumentals 

• Remington-The Honey Dewdrops (The thoughtful nature of this melody could segue with "Sail On" by The Commodores.)
• Neanderthal-Kaki King (It's advisable not to relegate this track to background music.  Its increasing volume and just enough dissonance demand the listener's attention.) 

Luna

• Black Nile-Ray Vega (A simmering stew of trumpet and percussion.)

Real Jazz

• Chicago (Live)-Johnny O'Neal (The insistent piano part practically commands the listener to stand up and declare, "You're right!  Chicago is a toddlin' town, and I have no choice but to head there right now!") 

Women Of Rock

• Back On The Chain Gang-The Pretenders (How do you resume your everyday life after one or more tragedies?  Somehow, you just do it--while holding onto your memories.  Lyrically, vocally, and rhythmically, this has become one of my favorite songs over time.)

Yacht Rock Radio 

• Baker Street-Gerry Rafferty (Well-written, thoughtfully sung, and lyrically strong; the standout sax playing is a bonus.  Essentially, this is a perfect pop hit.  So is Rafferty's "Right Down The Line.")

Persistent earworm alert CCCLXXV

As much as I like the energy of "Dance To The Storm" by Hothouse Flowers, I wish it wasn't on my mind now.  We have had far too much stormy weather here since March--and there's more in store.

If I say much more about this, I'll start swearing and hurling heavy objects at the wall, so I'm ending today's post here.

Didn't play the melody, but...

...I played the tune on the bass with my high school jazz band, so it counts--or does it?  After listening to Sammy Nestico's ballad, "Samantha," yesterday, I thought, "The saxophone carries the melody here.  If I were to play the bass part out of context, it's unlikely that anyone could identify the tune.  For this tune, at least, I wish I played the saxophone."

I'm still not sure if that's narcissistic--or just human.

A linguistic irritant XXXVI

I used the word pitchy in the post I wrote two days ago.  I'm calling myself out on that because it's a grating way to describe someone playing or singing out of tune.  It's concise, admittedly, but it's not really a proper word in that context.  Off-key is a better linguistic choice.

Persistent earworm alert CCCLXXIV

When I first heard "What About Me?" by Kenny Rogers, Kim Carnes & James Ingram on the radio in 1984, I was surprised.  I still think as I did then, "That's an unusual blend of voices."  I was even more surprised when my high school jazz ensemble played it a few years later.  If I think about it long enough, I can hear the tune's jazz instrumental adaptability.  It's not the most natural fit for that genre, though.

I've never had strong feelings about either incarnation of the tune, nor do I ever hear it on the radio today, so I'm surprised by how often both renditions come to mind. 

Calibrated tactfulness? II

While listening to a top 40 station in college, my roommate suddenly felt the urge to sing along with Madonna's "Cherish."   Being conspicuously off-key didn't dissuade him.  Silently, I ran down the ways I could react.  I could have...

• ...left the room without explanation.
• ...started nodding my head slightly rhythmically, which might have made me look like a good sport despite my indifference to "Cherish." 
• ...announced, "I'm not a great singer, either, but that's...pitchy."
• ...turned toward the wall, pretending that the textbook chapter I was reading was so thoroughly engrossing that I wouldn't even think to notice my roommate's grating vocals or consider smiling or chuckling in response to them.

Those who know me well won't be surprised that I chose the fourth option.

Context? CCCLXXXIX

Recently, I heard someone say, "I heard on NPR, while it still exists, today..."

It's disturbing that it's necessary to include that qualifier.

FM dial scan highlights CCLXXVIII

Saturday through Thursday highlights:

KDHX 88.1 FM 

• Left Of Center-Suzanne Vega (A convincing argument for finding common ground with someone who's quirky and not so accessible.)
• Let It Be Me-The Everly Brothers (Timeless sentiments, appropriate for any era.  I used to play this when listeners requested it on WEW.)

WSIE 88.7 FM 

• (Fallin' Like) Dominoes-Donald Byrd (Could there be a funkier bass line to draw the listener in?  Between the bass, Byrd's trumpet, and the rest of the rhythm section, the tune is set in 1975 in the best ways.  There are lyrics, but the tune would be perfectly complete as an instrumental.)
• Seaside Story-Carol Albert (Pleasant piano fit for a smooth jazz or new age playlist.) 

KCLC 89.1 FM 

• Feeling-Billie Marten (This is one of 2025's low-key charmers, with its lo-fi vocals and acoustic instrumentation.) 

Persistent earworm alert CCCLXXIII

This afternoon, my cat, Collette, struck a pose while sitting in a cardboard box.  She looked as if she would advise anyone who sought her counsel.  As I ran to get the camera, I murmured, "Pure energy," to myself.  I never thought I would use the spoken word extract from Information Society's "What's On Your Mind" as motivation to grab a camera before a moment passed.  Inexplicably, though, I did.  Even more inexplicably, "What's On Your Mind" hasn't left my mind since then.

I'm pleased with how the photo turned out, though.

An overlooked cover tune CLXIX

In need of a song that will give you the boost needed to achieve a seemingly out-of-reach goal?  Try this: If you'd enjoy "The Impossible Dream" with vocals that are just dramatic enough, you might like how The Temptations recorded it.  Strings add gravity to the tune, but the instrumentalists and vocalists never cross the line into melodrama.

An overlooked cover tune CLXVIII

"Alexander's Ragtime Band" isn't a tune I would think to seek out regularly but after hearing Beegie Adair's version on the piano, I'll admit that it underscores a brisk stroll cheerfully.  While fading out at the end would have worked just fine, the definitive hard stop brings the tune to a satisfying conclusion.

A petty fixation XLI

Years ago, I used to listen every Memorial Day weekend to KSHE's "Rock And Roll 500" countdown.  I was always curious to see where the album rock tracks I liked most would fall in their rankings.  It always bothered me slightly, however, that I never heard any of the DJs announce directly how the rankings were tabulated.

"Did the station poll its personnel to come up with these rankings?  Did the program director determine them?  Did the station's listeners fill out surveys with lists of their favorite songs?  Just tell me," I thought.

The closest thing to an explanation I heard from a DJ was when he hinted on-air, "That's the key (to these rankings)--research outside the radio station."

I thought that was a cryptic yet slightly informative way of telling listeners, "Enjoy the music, and don't get too caught up in the numbers."

Persistent earworm alert CCCLXXII

It puzzles me that I've posted every day on this music blog for over 10 years, and yet, it took all that time for the chorus of "I Can Hear Music" by The Beach Boys to enter my mind and stay there.

How to explain this?  My mind just took a detour into more obscure territory for the answer.  I just started singing, "The obvious escapes me, The obvious escapes me," to the tune of Adam Hucke's "The Vegetables Are Singing." 

"Good music ahead--with an asterisk..."

Yesterday, I heard a DJ close his show by inviting listeners to stay tuned for the next DJ's show.  He said, "(The next DJ) might not have as (much) good taste in music as I do, but it's pretty darn close."

I wonder what the next DJ thought.  After all, how do you follow a compromised compliment?  

Online radio sampler highlights CCLXX

Seven standout tunes heard today:

KRFF (Fargo, ND) 

• Flying-Moon Duo (Spacey instrumentation, soft, buried vocals, and a hypnotic vibe; if this track had existed in the early '90s, I'd have played it on KCOU.)

KRSM (Minneapolis, MN) 

• Riders Of The Moon-Arc De Soleil (The guitar underscoring the vocals on this new release reminds me of early '70s, Bob Welch-era Fleetwood Mac.)
• Get Yourself Together-Young Disciples (A compelling blend of modern-for-the-time, i.e. 1991, vocals and early '70s jazz/R&B-style flute and strings.  Also recommended "Freedom Suite," which I heard in its entirety on KDHX, coming home from work one night in 1993.  It was thought-provoking underscoring for a night drive.)

WSLR (Sarasota, FL) 

• Night Train-Amina Figarova (This is not the famous Jimmy Forrest-penned melody that Oscar Peterson and many other jazz artist have performed.  It is, however, warm, inviting, uptempo piano jazz.)
• Don't Misunderstand-Eric Alexander (Smooth, uptempo sax-led jazz with a strong rhythm section.)

WVMO (Monona, WI) 

• Song For A Sucker Like You-Ben Sidran (This is about the catchiest way to tell someone not to be so gullible.  It was a pleasant surprise to hear any station play this 1977 track, which has a great jazz piano bounce underscoring Sidran's vocals.)
• August-Noeline Hofmann (A well-blended merging of folk and country styles in Hofmann's singing and guitar playing.)

Calibrated tactfulness?

After a broadcasting school production class, I talked with the instructor briefly about the rock station where he worked.  He caught me off guard by asking, "What did you think of (a particular shift on the station) when I was doing it?"

I hadn't heard a ton of his on-air work, but what I'd heard sounded...fine.  Not outstanding, not terrible, but simply decent.  It would have been churlish to say his DJ patter sounded serviceable or workmanlike, though, so I said, with not quite enough conviction, "Sounded great."

"Interesting observation," he mused.

Apparently, my poker voice wasn't quite convincing. 

The allure of shuffle mode LXXIX

Today, iTunes shuffle mode paired two songs about relying on a higher power for strength when you feel weary.  Fittingly, Ebba Forsberg's "Carried" segued into "He Leadeth Me" by Sara Watkins.  Regardless of one's belief system or lack of one, both tunes stand up on their own merits lyrically and musically.  It impresses me when songs that are spiritual at heart have easy secular appeal.

One blessing counted

My perspective 30 years ago: When I worked part-time as a DJ on smooth jazz station KNJZ, I felt fortunate just to be there.  While I thought my voice was appropriate for the format, and I was able to share some of my musical knowledge on the air, I thought, "I know I'm low in the pecking order here, but there are only nine DJs on this station--and I'm one of them."

At age 24, that wasn't a bad place to be.

No profane outbursts here

On the first day of eighth grade chorus class, the teacher, Mr. B., told us, "Just so you all know, the administration came up with a new list of offenses over the Summer that can now get you a 'yellow' (discipline slip that requires the offender to go to the principal's office.)"

He said one offense that would result in a yellow was using profanity in class.  

"Some of you all curse bad," he elaborated.  "Like sailors."

Despite Mr. B.'s generalization, I don't remember anyone being cited for using profanity in chorus class.  In fact, I don't remember anyone ever swearing in that class.  The class was an elective, so the students in it presumably wanted to be there.  Also, it was a relatively small class with no major personality conflicts between students.  Besides, everyone in the class already had an interest in music, and the teacher had a laid-back demeanor, so why would we have cursed?  Temporarily forgetting the name of a treble or bass clef note on a flashcard doesn't usually elicit expletives from students, after all. 

SiriusXM highlights CLV

Saturday's highlights:

1st Wave 

• Once In A Lifetime-Talking Heads (This is still one of the band's best builds to a chorus.  Kermit The Frog sang a credible rendition of it, as well, on the '90s "Muppet Show" reboot, "Muppets Tonight.")

The Coffee House 

• One And Only-Michael Kiwanuka (Well-written, realistic lyrics acknowledging that any relationship comes with at least minor bumps in the road.)

Escape 

• Baby Come Back-Lex DeAzevedo (This 1977-'78 Player hit lends itself easily to an easy listening arrangement, especially in the piano and strings.)

HBCU 

• Can't Get You Out Of My Head-Incognito ("After The Fall" is still my favorite Incognito instrumental, but these vocals are equally at home in a smooth jazz or R&B playlist.)

The Loft 

• Bullseye-Shootouts (A Grand Ole Opry-style guitar instrumental.  Tommy Emmanuel would likely cover this effectively.)

Piano Instrumentals 

• Frangenti-George Winston (If I programmed an acoustic music show, I'd play the guitar instrumental, "Jessica," by Dave Evans before this rendition of a Massimo Gatti piece.  The trills that Winston plays mimic a mandolin convincingly, so multiple Nashville Mandolin Ensemble tracks could segue with this.)

Real Jazz 

• Chasin' Kendall-Stefon Harris/Blackout (The sunny mood of this vibraphone-anchored instrumental reminds me of "Groovin'" by The Rascals.)

SiriusXMU 

• Appropriate Emotions-The Bug Club (I like the amusingly clinical, tongue-in-cheek lyrics of this new release.  I can imagine a couple who appreciates this style of humor giving each other deliberately restrained greeting cards with inscriptions such as, "To my favorite carbon-based life form," or "To an endearing amalgamation of atoms..."  I'd be curious to hear Tennis cover this track.)

Symphony Hall 

• Maurice Ravel: String Quartet in F major (Musicians from the Marlboro Music Festival) (This composition's warmth and depth struck me immediately, but that's no surprise, coming from Ravel.  The drama of the fourth movement made me want to scamper down a hillside to keep up with the finale's energy.)

The Verge 

• People Pleaser-Gabrielle Shonk (Good lyrics about resolving not to be treated like a doormat.)

The Village 

• Gypsy Rose-Tracy Grammer (The Kennedys sing my favorite version of this, but Grammer's subtler acoustic-guitar-and-vocals rendition is strong, as well.)
  

The allure of shuffle mode LXXVIII

This morning, thanks to iTunes shuffle mode, two of the warmest tunes in my library ended up back to back; Oscar Peterson's sublime version of "Away In A Manger" flowed into "Merry Christmas Darling" by The Carpenters.  The piano and flugelhorn carry the Christmas warmth instrumentally in "...Manger," while Karen Carpenter conveys equal warmth vocally.

I never mind hearing Christmas tunes that convey the warmth of the season--even in May. 

Context? CCCLXXXVIII

"(This news event) happened, but I don't want to talk about that..." a talk radio host said this morning.  He then added, "...unless you're dying to talk about it."

Admittedly, some news events may be consequential, but when opened up for public discussion, they just lead to predictable, repetitive calls.  Nevertheless, radio is for the people, so if it's reasonable for people to want to discuss something in the news, it's wise for the host to acknowledge that.