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.