Context? CCCLXVI

"I probably shouldn't say this on the radio," the talk show host said this morning,"but I frequently leave my key fob inside the car."

I agreed with his co-host that he shouldn't have said that on-air. 

Hopefully, he'll stay safe, and no harm will come to his car or him.

A petty fixation XXXVIII

Who among us hasn't thought after a long nap, "Why haven't I heard any station or stream pair Al Turner's 'Sunny Days' with George Benson's 'Never Give Up On A Good Thing?'  After all, they're rhythmically compatible tunes with similar sunny vibes."

You mean, you haven't thought that?  Sigh...I guess I'll just have to buy my own station and play those songs back to back.

On second thought, that's not realistic of me.  Although it isn't as satisfying, I'll just have to settle for being an ideas person.

Persistent earworm alert CCCLXIII

Once a whistled rhythm infiltrates my brain, it's difficult to shake.  Hence, "Georgy Girl" by The Seekers has stayed in my mind for at least a week.  It was a hit at this time in 1967 with self-improvement suggestions that you wouldn't hear in a pop hit today.

I remember in 2005, the thought of it being sung to my family's calico cat, Rosie, as "Hey there, Rosie girl; there's another Rosie deep inside," amused me.  Those lyrics are so not her.  Considering her commanding, regal presence and seemingly unlimited confidence, it's unlikely that she would have responded kindly to even friendly lyrics suggesting that she should tweak any aspect of herself.

As this photo I took on October 19, 2005 shows, Rosie projected an air of certainty:

She liked herself as she was, and so did we.  We all knew better than to offer her "Rosie Girl"-style advice.

What's their motivation? II

During the early '80s, when I called radio stations frequently and requested songs, I kept one strategy in mind: Usually, I'd call early in a DJ's shift, reasoning that if the DJ didn't play my song within a reasonable time, I could call and follow up while (s)he was still on the air.

That tactic didn't always work, but occasionally...

FM dial scan highlights CCLXV

Standout selections heard yesterday:

KDHX 88.1 FM

• Kyrie Eleison-Lydia McCauley (Haunting vocals with poignant acoustic instrumentation.)
• Kenny MacDonald's Jigs-Capercaillie (Since discovering that I'm 15% Scottish, I'm all the more pleased to know that this fun instrumental romp is part of my heritage.)

WSIE 88.7 FM

• Where Are We Going?-Donald Byrd (An appealing "Grazing In The Grass" feel.)
• Sunkissed-The TNR Collective (Warm, inviting smooth jazz piano and guitar.)

KWUR 90.3 FM

• Haven't You Heard?-Patrice Rushen (This 1979 dance track has a strongly sustained rhythm and a chorus that plants itself firmly in the listener's mind.)

KWMU 90.7 FM

• Sweethearts On Parade-Oscar Peterson & Count Basie (Spirited, jaunty playing from two jazz piano giants.)

KSHE 94.7 FM

• Everything's Coming Our Way-Santana (As with many Santana tracks, this has a fast, joyous, celebratory vibe.  The Quantic Soul Orchestra's "Paintings And Journeys" is rhythmically compatible with this.)
• Dance On A Volcano-Genesis (Proof, along with every other track on the band's best album, "A Trick Of The Tail," that Phil Collins hit the ground running as lead vocalist after Peter Gabriel's departure.  "Dance..." is also a strong example of how to build tension and maintain it, vocally and instrumentally.  Also recommended: Basically everything on "A Trick Of The Tail," but especially "Entangled," which features vocal harmonies and acoustic guitar stylings that aren't typical of Genesis.)

KLOU 103.3 FM

• I Still Can't Get Over Loving You-Ray Parker, Jr. (Parker avoids the trap into which many songs with such titles fall; he refrains from overemoting or promising to climb the highest mountain or swim the deepest ocean.  In essence he just says, "Hey, I miss you," and leaves it at that.  This was on the charts 41 years ago this week, as KLOU's rerun of "American Top 40" reminded me.  It's one of Parker's underrated tunes, and it was a bigger hit than I realized.)
• Owner Of A Lonely Heart-Yes (This was the number one song in the country this week in 1984, and it still leaps out of the speakers just as effectively.  It's a strong example of how a '70s prog rock band adjusted its sound for the more mechanized '80s pop scene.)
  

Context? CCCLXV

After hearing during a radio newscast this morning, "You'll have to pay to park at (a particular casino and amphitheater)," I growled.

Immediately, I thought, "Why did I react that way?  I don't go to casinos, so I've never been to that venue and will never go there.  This doesn't affect me."

The principle of it explains my reflexive growling, I think.  Why wouldn't the thought of an irritating, mundane expense elicit a growl?

Context? CCCLXIV

"We can't see into the listeners' minds," a talk show host said this morning.  "So, we ask that they use their mouths to tell us what they're thinking."

That's a reasonable--but slightly odd--way of asking radio listeners to call in.

What's their motivation?

What must it feel like for a beginning band or orchestra director to return to class after hearing an exquisitely played St. Louis Symphony Orchestra performance or another professional ensemble's concert?  Are the class's wrong notes and off-the-beat rhythms all the more grating, or does the instructor take the long view by thinking, "It might not be obvious now, but a future St. Louis Symphony or Empire Brass member could be in this class?"

I would guess the answer is, "Both," but I'd be curious to know a rough percentage of both outlooks.

Online radio sampler highlights CCLX

Six standout selections heard today:

KCAT (Pine Bluff, AR)

• You'll Never Find Another Love Like Mine-Lou Rawls (Coming from a less capable or self-assured voice, these sentiments might sound cloying.  Coming from a voice this confident and rich, however, it's not surprising that this hit has held up since 1976.  I've always liked that George Benson's guitar instrumental, "Affirmation," has a similar melody propelling it.)
• Love Is The Message-MFSB (This 1973 instrumental has a similar danceworthy feel to the group's chart-topping hit, "TSOP.")

KPCA (Petaluma, CA)

• Lotus Blossom-Helen Sung (Melodic piano playing that's consistent with the rest of Sung's "Going Express" CD.)

WQED (Pittsburgh, PA)

• Celedonio Romero: Guasa (Dance) (Pepe Romero, guitar) (A brisk, lighthearted piece for nimble guitarists.)

WUSC (Columbia, SC)

• Questions In A World Of Blue-Julee Cruise (Reminiscent of Enya.)
• Cantalopah-Super Water Sympathy (Compelling, powerful guitar matches the vocals in this 2013 indie rock track.)
  

A function of age XXXVI

Internet access is so ubiquitous today that it's strange to remember a time when it wasn't.  Today, I listened to an August 1996 edition of "Computer Time" that aired on WEW.  The host, in response to a listener's question, said he didn't see any reason why people in their 60s, 70s, or 80s couldn't learn to use a computer.

Interestingly, however, he drew a line at age 90.

The host said his grandmother kept asking him, "Should I get a computer?"  He told her, "For 90 years, you've done without one.  I don't know what you'd use it for.  At this point, just stay out of it.  You'll get a headache."

I don't know if the host's grandmother ever got a computer, but I admired her for being open to using one nine decades into her life.

The power of suggestion VI

As I write, the temperature is a frigid three degrees.  Turning the heat up has helped, but for that extra psychological edge, I've listened to Larry Coryell & Brian Keane's guitar instrumental, "Warm Weather."  Hearing a pleasant tune with that title reminds me that these single-digit temperatures won't last forever.  

Fortunately, the extended forecast confirms this.

Persistent earworm alert CCCLXII

As I mourn the decline of reason and civility and dread the incoming presidential administration, one song looms larger in my mind than any other, and it isn't patriotic.  It's "I Wouldn't Want To Be Like You" by The Alan Parsons Project.  I can take comfort, at least, in knowing that at least 48.33% of the voters in last November's presidential election likely agree with me that those lyrics apply today.

An overlooked cover tune CLXI

Part of a jazz cover's appeal--for the musicians, at least--is introducing a familiar melody, putting a unique, funked-up spin on it, and then returning to the original melody.  Ramsey Lewis and his trio pull this off successfully on their cover of Stevie Wonder's "My Cherie Amour."  As much as the Valentine's Day sentiments of Wonder's lyrics have made "...Amour" one of his most enduring tunes, it's a blast to hear Lewis's hip interpretation of it for piano, drums, and bass.

Context? CCCLXIII

Heard yesterday on a low power FM station: "(An announcer who is coming up) has got some news.  He's got some weather.  But it's always mostly music on (our station.)"

That's one direct way to convey to another announcer that he has a function at a radio station--but not a core function.

Online radio sampler highlights CCLIX

Six standout tunes heard today:

KMSE (Rochester, MN)

• Oh, To Be Cool-Ber (A catchy way of admitting a type of envy that nearly everyone has, at least fleetingly.)
• French Horns-The Bad Plus (To me, this sounds like a John Scofield guitar piece with avant-garde twists.)

KUVO (Denver, CO)

• Io's Orbit-Jocelyn Gould (This impressive combo of guitar, piano, bass, and drums kicks up some dust with this instrumental.  Gould's appealing cover of "It's All Right With Me" on the guitar has a similar energy.)
• There Will Never Be Another You-Cyrus Chestnut (Chestnut's approach to this standard on the piano reminds me somewhat of Chucho Valdes.)

WATQ (Chetek, WI)

• Galveston-Glen Campbell (An honest admission of how difficult it is to be apart from one's beloved when fighting a war.)

WROE (Roanoke, VA)

• My Hue And Cry-Cocteau Twins (Proof that a haunting instrumental doesn't always need to have a dirge-like tempo.)

FM dial scan highlights CCLXIV

Six of the better tunes I've heard today:

KDHX 88.1 FM

• Nice, Nice, Very Nice-Ambrosia (I've always liked the attitude of these lyrics--namely, that it takes a large variety of personalities and backgrounds for a society to function.)

WSIE 88.7 FM

• Do What You Wanna-The Ramsey Lewis Trio (A fun rhythm for piano, drums, and bass.  It's hard to resist clapping along with this 1969 track.)
• Patches' Groove-Les Sabler (A steady, driving, midtempo smooth jazz groove, which Sabler anchors on guitar.)
  

KCLC 89.1 FM

• Edges-Abigail Rose (This type of acoustic guitar line usually gets my attention.  Rose matches it nicely here with honest lyrics about how there will be clashes even in the best relationships.)
• In The Living Room-Maggie Rogers (A good lyrical reminder that even when a relationship ends, you still have your memories.)

KPNT 105.7 FM

• 1999-The Urge (A solid cover of Prince's hit with brass and a heavier, more prominent guitar part.)

Evil? Well...

I had a recurring routine with a co-worker when faced with arduous tasks at a previous job.  When I knew there was a difficult or tedious piece of work to complete, I would sometimes tell her, "I fear there can be only one inevitable outcome--to turn evil!"  She's respond, "No, Drew, fight the urge!"  "Yes!" I'd exclaim.  "Must turn evil!"  Then, I'd laugh diabolically.

I'd get the work done, but I always took satisfaction in pretending to turn evil.  I also knew I'd perfected my diabolical laugh when she said, "That laugh reminds me of (Michael Jackson's) 'Thriller.'"

Learning that my evil chortling was on par with Vincent Price's laugh at the end of "Thriller" made me think, "That's a talent I didn't realize I had.  Perhaps I'm more convincingly evil than I intended."

Context? CCCLXII

A radio personality said this morning that a new app lacked a certain je ne sais quoi. 

His observation reminded me of an old TV program excerpt I saw.  A man played the accordion while a woman danced stiffly in the background.  I thought, "Once upon a time, people watched this--not so much for its entertainment value but because it was televised."

Over time, however, the bar for entertaining TV shows--and apps--has gone up.  Although the radio host chuckled a little while using the French phrase, his observation showed that it's no longer enough for an app to just be functional; it has to excite its users, as well.

The pride of self-motivation

Our high school orchestra director, Mr. D., never told us this directly, but students understood intuitively that if they played at least reasonably well, they'd get an A in the class.  

I remember only having a music theory test once during my four years of high school orchestra, and if memory serves, I got an A-.  My A grade for playing the bass well was already secure, but I still wanted to do well on the test just for my own satisfaction.

Even if it doesn't count for much grade-wise, it's enriching to have an understanding of the music you're playing beyond just getting the notes right.

The allure of shuffle mode LXVIII

There's an interesting contrast in attitudes between two songs iTunes shuffle mode segued this morning.  Crowded House's "Fall At Your Feet" is a song about devotion, as is the song that followed it, "If I Fall, You're Going Down With Me" by The Dixie Chicks.  "Fall At Your Feet," however, emphasizes the by-your-side nature of a relationship while "If I Fall..." focuses on the precarious nature of staying with someone.

If I'd never heard either song, the placement of those titles next to each other would make me curious to hear them.

A function of age XXXV

I've written posts about how as you get older, something that happened 20 or 30 years ago often feels like it happened more recently than that.

The pandemic, however, strikes me as an exception to that.  As I told someone from work recently, "The way the pandemic messed with time, it sort of feels as if anything that happened prior to it should be underscored with ragtime music."

The person I spoke to then did his impression of a ragtime melody, which was pretty accurate.  I draw the line at looking back at everything in black and white or with a sepia tint, however.  That's just an odd, unrealistic quirk of some commercials.

A petty fixation XXXVII

During the first semester of seventh grade, a student was about to move to another state with his family.  The school he was about to attend asked him to fill out a form with the classes he was taking that semester, a signature from each teacher, and the grade he had earned up to that time.

Upon seeing that the chorus teacher, Mr. B., had written down a current grade of B, he said, "Aw, Mr. B...."

I thought but didn't say, "I know it's disappointing to receive a B when you were expecting an A, but a middle school Chorus class glade isn't likely to compromise your academic record or success in life that much, if at all."

When you're only 13, though, it's not surprising that you'd think, "I'm getting a B?  That's not catastrophic--but it's not quite excellent, either."

Persistent earworm alert CCCLXI

This is one earworm I welcome.  I never tire of the instrumental version of "Stranger In A Strange Land" by The Byrds.  It's a great of-its-time jam for guitar, bass, and drums.  Frequently, when I hear it, I picture credits for a sitcom set in the late '60s in which an artist, using stop motion, forms each cast member's likeness on a canvas from grains of colored sand.

I can't think of any other song that elicits that reaction from me.

Online radio sampler highlights CCLVIII

Wednesday highlights:

KELS (Greeley, CO)

• Spanish Flea-Herb Alpert & The Tijuana Brass (You might not know this upbeat instrumental by name, but if you're my age or older, you've probably heard it in a game show, movie, or store.  This 1966 hit has a fun way of imploring listeners, "Whatever happens here, try not to take it too seriously.")

KMUC (Columbia, MO)

• J.S. Bach: Jesu, Joy Of Man's Desiring (Daniil Trifonov, piano) (This is the ideal tempo at which to play this piece.  The decrescendo near the end leads the piece to a subtle, effective close.)

KSDS (San Diego, CA)

• Fire And Rain-Avery Sharpe (This is the James Taylor hit remade as a bouncy instrumental for a jazz combo.  Sharpe anchors the expansive proceedings on the bass, with Onaje Allan Gumbs carrying out the melody compellingly on the piano.)

WAKT (Toledo, OH)

• Right As Rain-Chloe & The Steel Strings (A well-constructed acoustic number with reassuring lyrics about being on the right path after some missteps.  Also recommended: Chloe's endearing rendition of "Have Yourself A Merry Little Christmas.")

WIUX (Bloomington, IN)

• Cosmic Love-Florence + The Machine (This group consistently pulls off grandiose arrangements of their vocals and instrumentation.)

WZNC (Bethlehem, NH)

• Face Up And Sing-Ani DiFranco (A direct way of conveying, "Thanks for agreeing with my perspective, but it would mean even more if you'd join me in stopping boorish behavior that shouldn't occur.")
  

Context? CCCLXI

Years ago, a radio personality was about to announce his guest when she decided to sing her name.

"Ann Hamp-ton Call-a-way!" she sang before asking the host, "Would you sing that?"

"No," the host deadpanned. 

Kudos to him for knowing his limitations--and not crossing his threshold for mortification.

FM dial scan highlights CCLXIII

Noteworthy tunes heard yesterday:

KWMU 90.7 FM

• Western Rebellion-Eric Reed (Cookin' uptempo piano.)

KSHE 94.7 FM

• Light Shine-Jesse Colin Young (This version was released in 1974, but the lyrics have a refreshing late '60s idealistic vibe.)
• On The Loose-Saga (Arena rock fit for revving up an audience.  I've always thought that the intro primes listeners well for the theatrical vocals.)

WFUN 96.3 FM

• W.O.W. (Walk On Water)-Lena Byrd Miles (A strong lyrical motivator for powering through challenging times.)

KLOU 103.3 FM

• Out Of Touch-Daryl Hall & John Oates (KLOU played "American Top 40"'s 1985 year-end countdown Sunday.  In retrospect, there were some scattered gems, but '85 wasn't the best year for pop music.  "Out Of Touch," the sixth most popular song of the year, however, holds up.  Of all the Hall & Oates hits, it has one of the most ear-catching instrumental buildups to the vocals and one of the best choruses.)

The allure of shuffle mode LXVII

Yesterday, I was pleased to hear iTunes shuffle mode pair two songs from my library that fit together thematically.  Lyrically, Laura Nyro's "Save The Country" and "The Long Way Around" by The Dixie Chicks are about truth tellers who show the courage of their convictions.  "Save The Country" focuses on the satisfaction of working for causes that make life better for people, and "The Long Way Around" is about grappling with the fallout that sometimes comes from expressing a justified opinion that not everyone likes.  Both tunes are especially relevant for this divisive time, particularly in light of the disturbing presidential administration that will take office later this month.

FM dial scan highlights CCLXII

Standout selections heard yesterday:

KDHX 88.1 FM

• Can't Find My Way Home-Haley Reinhart (A strongly sung cover that's true to the spirit of Blind Faith's original version.)
• Midnight Driver-Minako Yoshida (An appealing 1980 dance track with a well-sustained rhythm and vocals.)

WSIE 88.7 FM

• Summit-Blair Bryant (Upbeat smooth jazz with a prominent underpinning of bass.)
• Rack 'Em Up (I Told You So)-Hard Bop Messengers (A sizzling Tito Puente-style melody in which each lead instrument gets to shine.  The piano underscoring is also impressive.)

KCLC 89.1 FM

• Rodeo Clown-flipturn (A current track with '80s sensibilities in its vocals and instrumentation.)

KCFV 89.5 FM

• I'm Not In Love-10cc (This 1975 hit holds up well.  To its credit, by contemporary hit standards, it sounds relatively subtle.  The floating effect on the keyboard and echo on the vocals give the tune a celestial feel.  I remember soft rock stations playing this fairly often during the '80s.  Unfortunately, I rarely hear it today.)

KWUR 90.3 FM

• Maurice Ravel: Piano Trio in A minor, Op.67: II. Pantoum (Trio Metral) (Impressive precision and deft handling of dynamic contrasts in this energetic movement for piano, violin, and cello.)

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

• Robert Schumann: Kreisleriana, Op. 16 (Radu Lupu, piano) (Stirringly lyrical during its subtler movements.)

Context? CCCLX

Last night, while listening to a rebroadcast of a talk radio morning show, I heard the host say that Christmas decorations in the house just look wrong on December 26.

"No, they don't," I told the radio.  "Christmas Day has passed, but it's still the Christmas season."

I'm guessing that host probably wouldn't have liked that all Christmas music was still playing in the grocery store yesterday.  As I finished my shopping, I was pleased to hear Percy Faith & His Orchestra's triumphant-sounding version of "Joy To The World."

Long live Christmas, I say--not just in spirit but in decorations and music, as well.

Online radio sampler highlights CCLVII

Sigh...This happens every year.  No matter how much music I listen to from a particular year, there are always a few missed opportunities, i.e. good songs that I don't hear until the year after they're released.  Three such songs from 2024 are among today's six Thursday afternoon standouts:

KCSB (Santa Barbara, CA)

• Venus In Cancer-Robbie Basho (A pleasant, lengthy guitar instrumental, which was a suitable backdrop for DJ Clementine's thorough back announcing.)

KMMS (Bozeman, MT)

• Ah, Mary-Grace Potter And The Nocturnals (Potter's forthright vocals fit the lyrics about the pitfalls of a power-mad country effectively.)

KTSU (Houston, TX)

• Gulf Coast Breeze-Cory DuJuan (Uptempo smooth jazz with nice harmony between the saxophone and piano.)

WMNF (Tampa, FL)

• Hold Me Up (Thank You)-Khruangbin (The echo effect on the vocals serves this ear-catching dance groove well.)

WUMB (Boston, MA)

• Over And Over-Shelby Lynne (The unusual brassy opening drew me in, and just the right amount of emoting in Lynne's vocals kept me listening.  "Gotta Get Back" and "Telephone" are still my two favorites of hers, but I have yet to hear a track from her that I dislike.)

WYML (Ingleside, IL)

• Fight The Good Fight-Triumph (The first words that come to mind after not hearing this 1981 album rock track for many years:  High energy, guitar-heavy, and no-holds-barred vocals.  Lyrically, it's an apt metaphor for what many of us will need to do when the new vexing presidential administration takes over.)
  

A superbly constructed bridge

In my Favorite music of 2024 countdown, I praised Kate Clover's song, "Damage Control," for the catchy power pop aspects of its vocals and guitar playing.  Since then, the song has grown on me all the more. It's a testament to its construction that I can never listen to it just once.  Every time I've heard it, I've repeated it anywhere from 2 to 10 more times.  It's also impressive that it's over four minutes but feels like it zooms by in about half the time.

One of the song's best attributes, however, is its bridge.  Halfway through the song, the key changes, the tension builds, and Clover's vocals come in confidently during a bridge that's every bit as strong as the verses and chorus.  The tune then glides smoothly back into its central theme before reaching a satisfying conclusion.

That's how you build a bridge--and keep listeners coming back.