FM dial scan highlights CCLXXXVII

Today's highlights:

WSIE 88.7 FM 

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

KCLC 89.1 FM 

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

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

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

The allure of shuffle mode LXXXIII

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

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

The foot-biting default option XXVIII

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

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

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

What's in a (DJ) name?

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

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

Context? CDVI

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

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

Online radio sampler highlights CCLXXXI

Today's highlights:

KJMS (Memphis, TN) 

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

WTUL (New Orleans, LA) 

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

WWCF (McConnellsburg, PA)

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

A petty fixation XLIII

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

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

(Pause to rectify this grievous error)

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

Persistent earworm alert CCCXCVI

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

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

An overlooked cover tune CLXXVI

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

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

SiriusXM highlights CLIX

Sunday morning standouts:

The Coffee House 

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

Escape 

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

Lo-Fi Cafe 

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

Queens Of R&B

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

Real Jazz

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

SiriusXMU Discovery 

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

The Village

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

Yacht Rock Deep Cuts 

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

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

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

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

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

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

FM dial scan highlights CCLXXXVI

Late Thursday night/Early Friday morning highlights:

WSIE 88.7 FM 

• Come Rain Or Come Shine-Art Pepper (Smooth sax tone and subtle, tasteful rhythm section accompaniment on this standard.)
• Not Me No Way-Rebecca Jade (Refreshingly honest lyrics that argue convincingly against making New Year's resolutions.)

KCLC 89.1 FM 

• If I Want In-Imogen Clark (An appealing driving energy and resolute vocals; both ingredients serve these frank lyrics about feeling stuck in a city with limited opportunities effectively.)

KWUR 90.3 FM 

• I Won't Last A Day Without You-Sheena Ringo & Hiraku Utada (An endearingly sung cover of the 1974 Carpenters hit.)

WFUN 96.3 FM

• Back To Life-Soul II Soul (I'm curious to know how many readers, upon seeing this song title, started singing, "Back to life, back to reality..."  With such a solid hook, I'm not surprised that this 1989 hit still gets airplay.)

Online radio sampler highlights CCLXXX

These are five of the best instrumental selections I've heard today:

KAOS (Olympia, WA) 

• Harvest-Yasmin Williams (Beautifully intertwined acoustic guitar and violin that remind me of Nickel Creek.)

KCUR-HD2 (Kansas City, MO) 

• Sergei Rachmaninoff: Polichinelle in F-sharp minor, Op. 3, No. 4 (Kathryn Stott, piano)  (A brisk, dramatic reading.)
• W.A. Mozart: Horn Concerto No. 3 in E-flat major, K.447: III. Allegro (Havana Lyceum Orchestra/Jose Antonio Mendez Padron, conductor; Sarah Willis, horn)  (Spirited call-and-response between the horn and strings.)

WDNA (Miami, FL) 

• If I Were A Bell (Live)-Mulgrew Miller (Not just anyone can cook on the piano to this extent.  Stretching a standard out for over 11 minutes this skillfully warrants respect.)
• Pups-Lemon City Trio (Forthright trumpet over a Pat Metheny-style backdrop.) 

Priorities in the right place XI

As I started watching "13 Reasons Why" in 2017, did I focus on the unraveling mystery, dark themes, or compelling acting?  Yes.  My initial thought, however, was, "If this series had aired 35 years earlier, 'Mammagamma' by The Alan Parsons Project would have been an appropriately grim theme song for it."

Perhaps I don't consume TV shows exactly how everyone else does.  I still think that instrumental fits the general mood of the series, though.

The pitfalls of shuffle mode XII

Sometimes, iTunes shuffle mode insists on making listeners stay in a particular mood.  Today, it paired these two songs in my library:

• Forever Blue-Swing Out Sister
• Blue-The Jayhawks

KNJZ used to play "Forever Blue," and WVRV played "Blue" frequently.  Despite the obvious similarity in song titles, I've never thought to play them back to back.  Both tunes are well-crafted, but if you're feeling down about people who are no longer in your life, this isn't a segue for you--unless you're prepared to wallow in your grief.

Persistent earworm alert CCCXCV

Thanks to a neighbor's mention of it yesterday, Three Dog Night's "Never Been To Spain" has been stuck in my mind.  I'm fine with that, though, as oldies stations don't play it often these days.  Lyrically, it makes a fair point; it can  be a hassle to travel, so if you can't do that, you can still enjoy the music of a particular culture.

Persistent earworm alert CCCXCIV

Sometimes, when life feels rather heavy, my mind craves a song just for its fun, quirky rhythm.  Today, my mental jukebox landed on Julian Lennon's "Say You're Wrong," which I've never heard a radio station play after it was a hit.

I don't doubt that at least a few listeners have attempted to make their cars sway in time to that rhythm.

Only in college CXVI

On my way to class in the early '90s, I passed by three women singing and playing guitar outside the music building.  As the trio sang Tracy Chapman's "Talkin' Bout A Revolution," I thought, "A college campus is exactly the setting where you'd expect people to sing about how the deck of life is stacked against some people for no good reason."

I have no idea who the singers were or if they were even university students.  While thinking about that song today, though, I wondered if any of them turned their passion for music into professional careers.

Regardless of whether they did, I hope their idealism remains intact. 

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.)