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.