A petty fixation XLIX

In 1997, I was incredulous when I heard a new radio station, WALC, i.e. "Alice at 104.1," say in its promos, "You might not have heard of the music (we play...)"  I thought, "These are major pop hits that other stations have played for years.  These songs are also heard frequently in stores and other businesses.  To even casual listeners, most of these songs should be familiar.  Maybe they wouldn't be if you've made a concerted effort not to hear any pop music for at least the past decade.  If that's the case, though, why would this station draw you in?" 

Sometimes, it doesn't take much to trigger my inner music snob.

Persistent earworm alert CDXXVII

Reading about tonight's debut of the United Kingdom's version of "Saturday Night Live" prompted me to check out bits of other international editions.  Since yesterday, I've come to like the opening theme of "SNL Arabia."  It sets the tone for a comedy show with a sunny melody that underscores footage of the cast dancing as a group and leaping into the air individually.  Essentially, it's Egyptian-style smooth jazz that captures a reach-for-the-stars quality suitable for opening credits.

Segue suggestion XIII

Usually, only noncommercial stations can pull off this kind of across-the-decades segue.  I'm not sure if anyone has ever paired these songs, but to my ears, "Daydream Believer" by The Monkees would flow well into Yo La Tengo's "I Can Feel The Ice Melting."  Lyrically and rhythmically, both songs share an earnest optimism, proving that certain sentiments that were valid in 1967 were also at home in 2015.

Online radio sampler highlights CCXCIV

Today's standouts:

KBMF (Butte. MT)

• Que Sera, Sera (Whatever Will Be, Will Be)-Sly & The Family Stone (I never thought I'd recommend any rendition of this tune, as it's usually cloyingly precious in the way "My Favorite Things" usually is.  However, by slowing the tempo way down and singing it as a blues-tinged  "Oh, well"  rumination on life, this is--dare I say it?--a pretty cool version.) 
• Orange Colored Sky-Nat King Cole (The carefree lyrics and rhythm would make this segue easily with "It's Only A Paper Moon.")

KNBA (Anchorage, AK)

• Speakers' Corner-Suzanne Vega (A timely reminder that we have freedom of speech and should use that power for good without spreading misinformation.) 
• Wise Up-Aimee Mann (Fitting lyrics for coming to terms with an uncomfortable truth in the middle of the night.) 

KVRU (Seattle, WA)

• Love Is Where You Find It-The Whispers (An easy to digest midtempo groove that could segue with Earth, Wind & Fire's "Can't Hide Love.")

WCLK (Atlanta, GA)

• Dance-Gino Rosaria featuring Phillip Doc Martin (A pleasant midtempo piano-and-saxophone smooth jazz groove, released in January.)

WCUW (Worcester, MA)

• Wade In The Water-Ellen McIlwaine (An unusual take on this tune, with acoustic guitar, percussion, and freewheeling vocals.  My two main go-to versions of this are by Ramsey Lewis and Eva Cassidy, but it's interesting hearing McIlwaine and company's offbeat interpretation.)

WDAV (Davidson, NC)

• Franz Joseph Haydn: Piano Concerto in F major: I. Allegro (Franz Liszt Chamber Orchestra; Emanuel Ax, piano) (This movement is stately and lyrical in equal measure.)

Enough wild weather

In a relatively short time recently, St. Louis has experienced wild temperature swings.  Temperatures have ranged from the teens to the 80s.

I concur with the Community Radio St. Louis DJ who said, "I'm ready for it to be Spring.  I'm not ready for it to be Summer."

Currently, it's 59 degrees, and that's just about right for me--neither broiling nor frigid.

SiriusXM highlights CLXIX (St. Patrick's Day edition)

Eight holiday-appropriate selections heard today:

St. Paddy's Day Essential Pub Mix 

• The Rocky Road To Dublin-The High Kings (A lack of coordination didn't stop me from doing a few subtle kicks in time to these forthright, uptempo vocals.  The Irish Descendants recorded a similarly strong version.)

St. Paddy's Day Radio 

• Piping Solo/Garret Barry's (Live)-The Bothy Band (A midtempo bagpipe melody segues into an impressively rapid reel, earning appreciative rhythmic claps and cheers from the audience.)
• Siesta Set-Dervish (Brisk, dexterous fiddle playing and top-notch synchronicity between all players.)
• Nancy Whiskey-Gaelic Storm (Vocally, this could segue with multiple versions of "Rattlin' Bog."  The instrumental portion, if looped, would flow well into Emerson, Lake & Palmer's version of Aaron Copland's "Hoedown.")
• The Stride Set-Solas (A strong showcase for the dexterity of the band's instrumentalists.  I reacted similarly to a live version of "The Wiggly Jigs.")

The Village Presents Celtic Twilight 

• Nine Apples Of Gold-Karan Casey (An endearingly sung portrait of someone with a generous spirit.  We should all aspire to this level of kindness.)
• I Would Bring You Ireland (Live)-Nanci Griffith (A touching show of affection across many miles.)
• Let The Circle Be Wide-Tommy Sands (A welcoming way to say, "You're among friends here.")

Persistent earworm alert CDXXVI

I'm not sure if the version of a 1982 hit inhabiting my mind this morning actually exists.  In the spirit of St. Patrick's Day, I've been imagining an easy listening instrumental version of "What About Me?" by Moving Pictures, with the tin whistle as the lead instrument.  I've always been indifferent to the original version but not surprised that it was a hit.  Although the lyrics nobly address not getting a fair shake in society, the vocals strike me as calculated and somewhat overwrought.  In the rendition I've envisioned, however, the melody works better as a Celtic instrumental.  At a minimum, it's a more natural fit than the tin whistle version of The Clash's "Should I Stay Or Should I Go?" I also imagined.

Segue suggestion XII

At this time of year, I like to segue "Play A Merry Jig" by Niamh Parsons with "Spring" by Cheryl Wheeler.  Both tunes share a seasonally appropriate optimism, compatible rhythms and vocals, and smooth, upbeat ways of welcoming St. Patrick's Day and the arrival of Spring.

A cross-cultural success

When I listen to Celtic music on or before St. Patrick's Day each year, "Fancy Waistcoat" by Niamh Parsons & The Loose Connections always makes my playlist.  Parsons sings it with the right amount of carefree joy, which is partially why it works so well.  The other essential ingredient is its blend of Celtic and Spanish styles.  Not every Celtic tune can pull off such catchy guitar, keyboard, and accordion backing.

I'm still looking for the right tarantella to segue with it, but until I find it, I'm content to hear "Fancy Waistcoat" as a standalone tune. 

Online radio sampler highlights CCXCIII

Seven standout tunes heard today:

KUPR (Placitas, NM)

• Cafe-Eddie Palmieri (Midtempo vocals, brass, and piano that could segue with various jazz renditions of "Mercy, Mercy, Mercy.")

KXLL (Juneau, AK)

• Raindrop Radio-Emily Wong (A relaxed piano groove set against a modern electronica backdrop with rain.)

WLUR (Lexington, VA)

• On A Bus To St. Cloud-Trisha Yearwood (The sentiments about which Yearwood sings tastefully here remind me of John Gorka's "I Saw A Stranger With Your Hair.")
• When You Say Nothing At All-Alison Krauss & Union Station (A perceptive tribute to the extent which nonverbal aspects matter in a relationship.)

WNMC (Traverse City, MI)

• See You Again-Rosie Flores & The Talismen (Earnestly sung heart-on-sleeve sentiments.)
• Bat Yam-Les McCann (This strong piano-anchored instrumental sports a solid, unhurried hook and plenty of room for the lead instruments to shine.  This is an ideal track for a late night slow dance jazz playlist.) 

WVEW (Brattleboro, VT) 

• Bumpin' On Sunset-Wes Montgomery (This sly, expansive instrumental is one of the best known jazz guitar melodies.  Brian Auger's Oblivion Express recorded a strong cover of it.) 

Segue suggestion XI

After iTunes shuffle mode insisted on playing "Carinval In Rio" by Judy Roberts for me twice in two days, it dawned on me how well it would segue with Average White Band's "Atlantic Avenue."  Both tunes feature vocalists singing about how pleasant the vacation destination of Rio de Janeiro is in a celebratory way without sounding too over-the-top.

I've never heard any radio station play either of these songs, so hopefully, this suggestion will nudge at least one noncommerical station programmer in the right direction.

FM dial scan highlights CCXCIX

Five selections that captured my attention today:

WSIE 88.7 FM

• Still Never Enough-Lisa Addeo (Bouncy smooth jazz piano with appealing saxophone punctuation.)
• Doodlin'-Horace Silver (One of the most memorable jazz hooks, with excellent synergy between Silver's piano playing and the rest of the ensemble.  Also recommended: Ray Charles's version.)

KCLC 89.1 FM

• Minor Inconveniences-Bebe Stockwell (This is about as universally relatable as song lyrics get.  Who doesn't experience irritants that are relatively trivial but vexing in the moment?)

KCFV 89.5 FM

• Cold Heart-Dua Lipa & Elton John (When hearing John's "Rocket Man" and "Sacrifice" in their original incarnations, I didn't imagine that they'd merge in a dance mashup decades later.  This reworking puts a fresh, modern sheen on both tunes.)

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

• Manuel de Falla: Nights In The Gardens Of Spain: I. En el Generalife (Orchestra de Paris/Daniel Barenboim, conductor; Martha Argerich, piano) (The strings, in particular, capture the tense, mysterious nature of this first movement.)

An overlooked cover tune CLXXXIX

After hearing Emily Scott Robinson's movingly sung "The Time For Flowers" on Community Radio St. Louis's "Backroads" show yesterday, I sought out other clips from her "Appalachia" recording.  One standout track from her January release, in addition to "...Flowers," is her cover of the traditional folk tune, "The Water Is Wide."  

Mary Black and Niamh Parsons sing two of my favorite versions of "...Water...," but I have yet to hear a subpar rendition.  Duncan Wickel and Robinson blend well vocally, and their subtle guitar and violin shadings enhance the melody appropriately.  Lyrically, the tune is idealistic and bittersweet--qualities readily apparent in Robinson's and Wickel's vocals. 

I'm not surprised that "The Water Is Wide" has survived in so many incarnations for centuries.  Its lyrics are universally relatable and timeless, and instrumentally, the melody is too heartfelt to be denied.

An overlooked cover tune CLXXXVIII

This will alienate a certain percentage of readers, but I don't care for most of Elvis Presley's music.  Three exceptions to this, however, are "Kentucky Rain," "Don't Be Cruel," and "Suspicious Minds."

Thanks to Community Radio St. Louis's show, "Backroads," I learned how well "Suspicious Minds" works as a guitar instrumental.  DJ Stacy began this morning's show with Laurence Juber's rendition, which stands up with his interpretation of Del Shannon's "Runaway." 

It doesn't surprise me that Juber captures the melody successfully on the guitar, as I've heard his graceful covers of everything from "The Tea Kettle Waltz" to various Christmas carols. 

It's said that there are Elvis people and Beatles people.  I am and always will be a Beatles person.  Nevertheless, I can still acknowledge a respectable song by an artist I mostly dislike--and a strong cover of such a song, as well.

On second thought... III

After hearing all the free associating Annie Lennox does at the end of the song, "Why," KNJZ's program director made the right call in asking DJs to fade out of the song early.  I used to be somewhat ambivalent about that, thinking that if we're going to play a song on the air, it ought to be played in its entirety.  While grocery shopping this morning, however, and hearing the "These are the contents of my head..." outro of "Why," I thought, "Yep, fading out before the end was the right call...Besides, KNJZ was a smooth jazz station, and 'Why' isn't a smooth jazz tune in the first place."

Can't hear everything II

Listening to Patty Larkin's "The Book I'm Not Reading" this morning reminded me that try as I might, I can't read everything I'd likely enjoy in this lifetime.  Similarly, it's impossible for me to hear every piece of music I might like.

This afternoon, however, another thought struck me.  I was listening to a station that was playing fairly decent singer-songwriter music.  After sampling multiple songs, however, I thought, "I don't dislike any of these songs.  Lyrically and melodically, they're all respectable.  None of them, however, are all that memorable."

I felt a little better, knowing that going back to sleep doesn't always mean missing out on the best music or books.  Sometimes, it just means missing out on some close-but-not-quite-compelling-enough-to-recommend efforts.

The allure of shuffle mode XCIII

When I want to hear music several hours before sunrise, I usually don't want to be startled with a barrage of high energy, manic tunes.  That's why I appreciated iTunes shuffle mode stringing these six songs together this morning, all taken from CDs I've bought over the years:

• I'll Come Over-The Kennedys
• The Week Before Easter-Martin Simpson
• Schlaff, Kindlein, Schlaff-Freyda Epstein
• Simple Gifts/Lovely Love-Barry Phillips & William Coulter
• One Place-Everything But The Girl
• Spring Can Really Hang You Up The Most-Jane Monheit

Tasteful, subtle vocals and instrumentals get the morning off to a positive start, so I'm thankful that leaving my segues up to chance worked in my favor.

SiriusXM highlights CLXVIII

Seven standout tunes heard this afternoon:

Chill 

• Paradox-Nina Young (A steady midtempo beat and compelling vocals with echo propel this track.) 

Luna 

• Sierra Madre-Dave Valentin (Vibrant, upbeat jazz flute.)

Mosaic

• Be OK-Ingrid Michaelson (A frank acknowledgment that life takes its toll on everyone, and sometimes, you're just trying to get through the day.)

Real Jazz

• Moanin'-Art Blakey & The Jazz Messengers (The compellingly sung Lambert, Hendricks & Ross rendition comes to mind first when I think of this tune, but this is Blakey's composition, which his band pulled off impressively.  The first 10 notes make up one of the most memorable jazz themes.) 

Smokey's Soul Town

• I'll Be Good To You-The Brothers Johnson (Instant atmosphere, from the opening notes.  Also recommended: "Strawberry Letter 23.")

The Village 

• Timberland-Tommy Emmanuel (A gripping downcast guitar instrumental.)

Watercolors

• Free To Be-Kim Scott (Sunny smooth jazz flute.)

Online radio sampler highlights CCXCII

Five standout songs heard this morning:

KCAT (Pine Bluff, AR) 

• Dry Your Eyes-Brenda & The Tabulations (Rhythmically and emotionally,. this 1967 R&B hit could segue with "It's Gonna Take A Miracle" by Deniece Williams.)

KCOU (Columbia, MO)

• Love Is Love-The Blackbyrds (The group's biggest hit, "Walking In Rhythm," has held up deservedly over the decades and is usually the track of theirs you're most likely to hear on the radio.  It was a pleasant surprise to hear this overlooked sunny keyboard/synthesizer instrumental for a change.) 

KUTX (Austin, TX)

• Major Tom-The Space Lady (Vocally and instrumentally, this is an impressively spacey rendition of Peter Schilling's 1983 hit.)

WAYO (Rochester, NY)  

• Molten Lava-Lord Echo featuring Leila Adu (An effective refrain, "walking by myself," anchors this well-sustained dance rhythm.)

WTJU (Charlottesville, VA)

• Big Earl's Last Ride-Jason Marsalis (This 2013 vibraphone track sounds like a throwback to a decades-earlier era of jazz.  Its compelling ending throbs.)

Context? CDXXVII

A radio commercial for a tuckpointing service touted its workers as "very polite, and they clean up after themselves."

I'd like to think that both of those of qualities would be a given in any business, but...

Only in college CXVIII

When I checked the office voicemail at KCOU, it was apparent that some students who could hear the station's Springfest '92 concert from their dorms weren't exactly fans.  Although we didn't get a ton of complaints, a handful of students left comments about the volume.

My favorite complaint was this one: "The one day a year I try to study, I can't because of your loud-@&&, crappy-@&& band!"

My unspoken reply: "Sorry if the concert prompted you to move your studying to the library or other campus venues for one day, but seriously, the one day a year you try to study...?" 

The pitfalls of shuffle mode XIV

Talk about a great pairing of high energy with ominous vocals.  Despite its discomforting lyrics about surveillance, I never tire of "Just A Job To Do" by Genesis.  It was only natural, then, that iTunes shuffle mode segued it this morning with...

...Peter, Paul & Mary's version of "This Land Is Your Land."  Who better to sing such inclusive, live-and-let-live lyrics than this noble folk trio?  I've always respected "This Land..." and play it on or before Independence Day every year.  It doesn't, however, mesh well with the gory bounty hunter scenario portrayed in "Just A Job To Do."

That's what I get, though, for leaving my segues up to chance.

Context? CDXXVI

My sixth grade chorus teacher, Mrs. B., once asked the class to write down songs they'd like to hear her play on the piano.  I was surprised when one student requested "Stardust" by Artie Shaw.  Thanks to my interest in jazz from a young age, I'd heard of that song but wasn't familiar with the melody offhand.

"That's an old song," she told the student.  "I'm curious to know how you know it."

I don't remember the student's answer, but a parent's--or more likely, a grandparent's--influence probably led him to request that song.  It was unusual, to say the least, for a sixth grade student in 1982 to request "Stardust."  At the time, I thought, "Requesting 'Stardust' or any Artie Shaw tune at age 11 shows an open mind when it comes to music."

Eleven years later, someone else left a similarly open-minded impression. 

A murky verdict IX

I was impressed last night upon hearing Kurt Elling & The WDR Big Band's cover of Joe Jackson's "Steppin' Out."  However, I suspected that my brother's cat, Lily, was somewhat less sold on it:

Slowly but surely, though, Lily started to come around: 

I was glad to see that.  Vocally and instrumentally, Elling & company's reworking of "Steppin' Out" turns it into a solid lounge number.

FM dial scan highlights CCXCVIII

Thursday afternoon standouts:

WSIE 88.7 FM 

• Ca-Lee-So-Lee Morgan (Fun, infectious calypso-style trumpet with excellent piano backing from McCoy Tyner.)
• B'wana She No Home-The Carpenters (If you're expecting "Sing," "Rainy Days And Mondays," or "We've Only Just Begun," you're in for a surprise.  This cover of a Michael Franks tune, complete with jazzy piano and saxophone shows a fun, unexpectedly spicier side of The Carpenters.)

KCLC 89.1 FM

• In Your Ocean-Iron & Wine (An honest acknowledgment that while relationships can be rewarding, they're also sometimes exhausting.) 

KWUR 90.3 FM 

• Shaking As It Turns-Lula Wiles (Sadly appropriate lyrics for our current powder keg of a country.  Vocally and instrumentally, this reminds me of Sarah Jarosz.)
• Nothing's Gonna Happen (Demo)-The Staves (Sung with the group's trademark impressive harmony.)

Persistent earworm alert CDXXV

Martin Sexton's "Diner" is possibly the catchiest song about craving a late night meal that one could ever hear.  Once the rhythm enters my mind, it typically stays there for days.  That's the case this week, thanks in part to the return of the quirky medical sitcom, "Scrubs," tonight on ABC.  Since I first watched the original show, I've been impressed by the cast's easy chemistry, the show's graceful ability to pivot from humorous flights of fancy to serious medical situations on a dime, and the fact that "Diner," which isn't a well-known tune to most people, made it into an episode.

I expect that the "Scrubs" reboot will capture everything that made the first run appealing, including not-so-obvious music choices. 

A missed opportunity?

This morning, I Googled, "Did Lyle Lovett ever cover James Taylor's song, 'Traffic Jam?'"

Apparently, he hasn't.  After listening to Taylor's atypical, as-close-as-he-gets-to-scat-vocals track this morning and recalling Lovett's spoken sections of "Here I Am" and rhythmic chanting on "Church," it's not an outlandish possibility.

SiriusXM highlights CLXVII

Monday morning standouts:

'40s Junction 

• Stompin' At The Savoy-Georgie Auld (The type of classy, brassy swing I enjoyed playing on WEW.) 

The Bridge Deep Cuts 

• Come Down In Time-Elton John (Some of the most effective lyrics about the pain rejection causes.  Sting covers it effectively, as well.)

Coffee House Classics

• Telephone-Shelby Lynne (To me, this ranks second only to "Gotta Get Back" among Lynne's songs.  This is one of her best rhythms, and it's paired with frank lyrics about how sometimes, you don't really want to have a conversation with someone; you just want credit for making an attempt to call.)

Deep Tracks

• Themes-Anderson Bruford Wakeman Howe (If I didn't know otherwise, I might have thought the long, new age-ish keyboard intro was an extract from a Vangelis melody.)

Gas Station

• Take Me Home, Country Roads-John Denver (Longing for home, expressed honestly to a foot-stomping rhythm.)

The Groove 

• Ain't No Stoppin' Us Now-McFadden & Whitehead (Still one of the most positive anthems for anyone who feels overlooked or unheard.  Soccer fans might remember this as the theme song of the St. Louis Steamers.)

The Loft 

• Take The L-The Motels (This would have been a respectable follow-up hit after "Only The Lonely" due to its similar feel.)

Luna

• The Time Is Now-Eliane Elias (I've recommended many of Elias's vocal and piano instrumental tracks on this blog, but this one stands out for being atypically raucous.)

Real Jazz

• The "In" Crowd-Gregory Porter (Ramsey Lewis shows how cool this melody is, instrumentally.  Gregory Porter shows how cool it is, vocally.  Also recommended: Marshall Crenshaw's interesting midtempo cover.)

SiriusXMU

• What Do I Know?-Deep Sea Diver (Sometimes, it's difficult to accept that so many aspects of life are out of our hands.)

The Village

• If You Were There-Connie Kaldor (Even when you know you're in a great relationship, it's nice to hear your significant other say so.)

Yacht Rock Radio

• Sailin' The Wind-Loggins & Messina (As its title indicates, this is prototypical yacht rock subject matter--sung at an unhurried pace fit for sailing.)

Persistent earworm alert CDXXIV

When I wake up feeling groggy, I sometimes think of an early '80s TV commercial jingle for Downyflake waffles.  In the commercial, various family members wake up abruptly with huge smiles at the thought of eating such tasty waffles.  

As delicious as waffles are, I've never felt inclined to wake up smiling maniacally or sing the Downyflake jingle, "Wake up.  Wake up.  Wake up with Downyflake."  

However, the Downyflake jingle's lasting impression brightens my mood a tad on days when my disposition is sour.  Such is the healing power of waffles--and a peppy jingle.

STEAM over STEM

My school days ended decades ago, but it's still interesting to read now and then about what my local public school district offers students these days.  As I glanced over one recently mailed update, I did a double take.  At first, I thought the district was touting its STEM (i.e. Science, Technology, Engineering, and Math) offerings.  I looked again.  What was formerly STEM is now STEAM (i.e. Science, Technology, Engineering, Arts, and Math.)

Knowing that playing a musical instrument ranks with more technical fields in importance makes me think better of the district.  Hopefully, the district's increased prioritizing of the arts will resonate with other citizens and make them vote for school bond issues that accommodate student artists.

Context? CDXXV

Heard during a late '90s FM dial scan: "Hurry.  The 99-cent triple cheeseburger won't be around for long."

My response: "For those who crave triple cheeseburgers, that's a bargain.  That's way too much food, though, unless you've skipped at least one meal." 

Context? CDXXIV

Recently, a radio personality's closing pitch for using a particular heating and cooling company was, "All the technicians are happy to work there."

I asked the radio, "Did anyone survey them?"

Persistent earworm alert CDXXIII

Decades after graduating from college, the newspaper commercial jingle, "Wake up to The Missourian," still comes to mind at unexpectedly random times.  My frequent recall of it speaks to my desire to jump back into my past college life in Columbia, Missouri at times.  It also indicates my desire to go back to a time when more people read newspapers regularly to stay informed.

Sometimes, it's comforting to live in a world that feels less rushed--or to have the illusion, at least, that it's  relatively unhurried.

Persistent earworm alert CDXXII

Since hearing it on Community Radio St. Louis's "Move The Needle," I haven't been able to get Jesse Winchester's "Sham-A-Ling-Dong-Ding" out of my mind.  Somehow, this movingly written, sensitively sung track had eluded me until last Saturday.  If I'd never heard of the song or Winchester, I'd have guessed it was a Danny & The Juniors-style '50s dance tune.  Actually, it's a 2009 track with a convincing '50s doo-wop pastiche.  It's a fitting tune for Valentine's Day or any day you want to tell your beloved one how much she means to you.

The allure of shuffle mode XCII

iTunes shuffle mode cultivated a fun 1940s vibe yesterday during two back-to-back instrumentals.  "Twice Shy" by Hot Club Of St. Louis flowed into Jon Rauhouse's version of Louis Jordan's "Choo Choo Ch'Boogie."  "Twice Shy" is from 2024, but the fiddling wouldn't have been out of place 80 years earlier.  Rauhouse then built on "Twice Shy"'s rhythm with a strong, uptempo guitar rendering of "Choo Choo..."

I wish WEW still played nostalgic music so I could segue both tunes on the air as a DJ--or request them as a listener.

The allure of shuffle mode XCI

One of iTunes shuffle mode's most valuable attributes is showing listeners how songs they've enjoyed separately can be paired in not immediately obvious segues.  That happened for me today when Natalie MacMaster's "Paddy LeBlanc's Set" ended up before "Afternoon In Paris" by Rebecca Coupe Franks.  I wouldn't have thought to pair Celtic fiddling with swingin' jazz trumpet, but to my ears, "Afternoon In Paris" builds on the energy of "Paddy LeBlanc's Set."

Persistent earworm alert CDXXI

If you prefer to acknowledge Valentine's Day without being overly syrupy, I recommend "Valentine" by The Elvis Brothers.  As I've written before, the band's name is misleading, as their sound is actually Beatles-influenced power pop.  "Valentine" is a high energy track suitable for cranking up while driving.  I used to play it on KCOU and have never heard it anywhere else.  Lyrically, it's a sound way of being direct with someone by saying, "Baby, let me be your valentine."  That directness, fortunately, doesn't have the melodrama that ballads often have.  It's an uptempo, forthright way of conveying, "Hey, I like you, so what would you think of us being together?"

A function of age XLV

Recently, a radio talk show host mentioned how strange he felt having guitar lessons with a 24-year-old instructor.  I understood what he meant.  Logically, if someone has a skill you don't have and is able to teach it well, that person's age shouldn't matter.  In an awkward way, it does, however.  A few years younger isn't a big difference, but when the teacher is decades younger than you are, it feels odd to regard that person as an authority figure. 

At age 55, this perspective is inevitable, I think.

Online radio sampler highlights CCXCI

Seven standout selections heard today:

KMFA (Austin, TX) 

• Robert Schumann: Cello Concerto in A minor, Op. 129: I. Nicht zu schnell (Royal Scottish National Orchestra/Scott Yoo, conductor; Bion Tsang, cello) (A lyrical, somber interpretation.)

KQAL (Winona, MN)

• My Heart Is Full-Norah Jones (The echo on Jones's vocals and replication of a heartbeat give the song appropriate gravity, especially during its crescendos.)
• Too Late To Turn Back Now-Cornelius Brothers & Sister Rose (I've always liked this oldie, as the lyrics express sentiments appropriate for Valentine's Day in a classy way often missing from today's pop hits.)

KUVO (Denver, CO)

• Sandu-Freddie Hubbard/Woody Shaw (A cool walking rhythm and excellent synchronicity between the trumpet and saxophone.)

WCBN (Ann Arbor, MI)

• Perdue A Paris-Clare And The Reasons (Unusual vocal harmonies, a swirling instrumental backdrop, and an unconventional use of trumpet make this indie rock track stand out.)

WUSC (Columbia, SC)  

• After All You Put Me Through-Joyce Manor (There's nothing like power pop guitar stylings to take the edge off of negative lyrics.)

WXNA (Nashville, TN)

• Slide-O-Mike Barone Big Band (The brass, winds, and piano swing the rhythm appealingly.)

Community Radio St. Louis highlights VII

Wednesday morning highlights:

Feel Like Going Home 

• Sadness As A Gift-Adrianne Lenker (A painful, realistic acknowledgment that a relationship has reached its end.)
• Work-Thelonious Monk (Proof that a jaunty melody on the piano doesn't have to be consistently sunny; with the right melody, there's room for dissonance.)
• Sunday-Yuck (Tuneful power pop with quietly confident lyrics about winning someone back.)

Shady Grove

• Look Down That Lonesome Road-Laurie Lewis & The Right Hands (One of the interesting tricks bluegrass music pulls off is pairing sorrowful lyrics with lighthearted instrumentation.  Somehow, that combination gels appropriately here.)
• Cricket On The Hearth-Bryan Sutton (If you're a guitarist who can stay in tune and in time at this brisk tempo, you ought to clean up financially as a session musician.  Fast instrumentals such as this are this genre's main appeal to me.)

Context? CDXXIII

In recent weeks, I've heard multiple live and recorded radio commercials for Collette, the travel company.  I keep hearing announcers saying things like, "Collette will take care of everything," and "Collette will handle all the arrangements."

Then, I look at my cat, Collette, who doesn't suffer fools gladly, and imagine a commercial in which the announcer says, "If everything isn't to your satisfaction, Collette will bite you."

It's probably best that my cat isn't a travel company employee.

Persistent earworm alert CDXX

I haven't heard it on the radio since it was a hit, and I haven't seen "Footloose" since the '80s, but "I'm Free (Heaven Helps The Man)" by Kenny Loggins is on my mind this morning.  I haven't thought of that song in decades, but it's one of Loggins's somewhat underrated hits.  Right from the intro, "I'm Free" conveys urgency and longing convincingly, builds to its chorus well, and has a respectable hook.  Its dramatic structure is rooted firmly in 1984, and that's to its credit.

Community Radio St. Louis highlights VI

Saturday morning standouts:

Family Reunion 

• Barrett's Privateers-Stan Rogers (This isn't a happy tale, but just try not to get into the story once you start listening.  The Irish Descendants recorded the best version of this, but this original version by Rogers is strong in its own right.)
• Amelia Earhart's Last Flight-Plainsong (This is a tragic tale, as well, but it's a dignified tribute, sung with Crosby, Stills & Nash-style harmony.)

Songwriters Showcase 

• Morning-Sarah Jarosz (As often as I've praised Jarosz's music on this blog, this is one song I've overlooked.  I plan to listen to it more often, as comparing a great blue heron to a significant other is one of the reasons these lyrics are endearing.)
• The Dutchman-Steve Goodman (I was pleased to hear the opening guitar part of this tune, as it's one of Goodman's best recordings.  Lyrically, it illustrates the "in sickness and in health" vow that couples make when they marry.  I first heard "The Dutchman" on KDHX's "Blue Highways" in the early '00s, and it became a favorite Goodman track immediately.) 
• Years-Beth Nielsen Chapman (Even if you're relatively happy with your life as it is, reflecting on the people and places that were once central to your life might make you understandably wistful.)

Only in college CXVII

An early '90s specialty show on KCOU that I had difficulty describing was "Gardening At Night."  A key element of it, however, involved crafting sound collages consisting of live or recorded spoken words paired with musical backdrops.

One night, Robi, the DJ hosting the show, and I started talking, and he recorded part of our conversation.  Later in the show, he asked me, "(Does this) sound familiar?"

It did sound familiar, as he had put a portion of our chat on a tape loop and was playing it on the air backwards over music.

Where else can you do that on the radio?

Community Radio St. Louis highlights V

Thursday night/Friday morning standouts:

Heaven's Library 

• Brighten Your Night With My Day-James Taylor (It's interesting to hear early, i.e. 1967, James Taylor.  As my brother noted, the instrumentation differs from that of a typical Taylor tune.  I think it would work as a commercial jingle.)
• Gentle Wave-Hiromasa Suzuki (This throbbing, jazzy, spacey instrumental combines John Klemmer's and Chick Corea & Return To Forever's styles.) 
• Dream-Ryuichi Sakamoto (This short, celestial-sounding instrumental could segue with "Gentle Wave.")

Next Exit

• Going Places-Lewsberg (An immediately catchy guitar/bass/drums rhythm with a nice contrast between the two lead singers.)

Sweet Inspiration

• None Of Us Are Free-Solomon Burke (Alas, these lyrics are "quite fitting for the times," as DJ Spencer said.)
• Song Of Love-Stephen Stills (This 1972 track about standing on the side of what's humane and just is also sadly appropriate for our current climate.  Playing Midnight Oil's "Sometimes" after it was a lyrically compatible choice, although "My Country" would work equally well.)
• Fool No. 1-The Mavericks (Lead singer Raul Malo really sells this tune that sounds like a late '50s doo-wop ballad.  I think it could have worked as underscoring for a "How I Met Your Mother" episode.)
• Paintbrush-All The Days (Endearingly, sensitively written and sung.)

Community Radio St. Louis highlights IV

Six of the more appealing tunes played this morning:

The Mix-Up 

• Who Will Comfort Me?-Melody Gardot (Rhythmically, this reminds me of Peggy Lee's "Fever.")
• Hippy Skippy Moon Strut-The Mighty Show Stoppers (A catchy, rhythmic, organ-propelled instrumental that could segue with "101" by The Smuggler Brothers.)

Memphis To Manchester

• You're No Good-Betty Everett (The majority of listeners are probably most familiar with Linda Ronstadt's excellent version, but Everett's 1963 vocals and the appropriately melancholy piano backing deserve their due.)
• Two Of Us-Aimee Mann & Michael Penn (Fine vocal harmonies on this cover of a Beatles tune from two artists who deserve more commercial success.  Credit to DJ John for following this up with Mann's "That's Just What You Are," which should have been a hit.)

Pop! The Beat Bubble Burst 

• I'm So Happy Now-The Rascals (These simple lyrics say all they need to say.)
• Stay Fabulous-Marshall Crenshaw (Now, this is a music bed.  If I played guitar for a living, I'd use this instrumental as my sound check.  Its midtempo rhythmic self-assurance made it one of my most played songs in iTunes for years.)

FM dial scan highlights CCXCVII

Five tunes that caught my ear today:

WSIE 88.7 FM 

• Prototype-Robert Glasper featuring Norah Jones (This track has an appealing throwback Quiet Storm vibe in its vocals and instrumentation.)
• Wish You Were Near-Acoustic Alchemy (Since I first heard this on former smooth jazz station WSSM, I've always thought it could segue with "Shuckatoom," the "American Top 40" closing theme from the late '70s and early '80s.  It might be the group's catchiest rhythm, as it shows how a brass arrangement coalesces successfully with the acoustic guitar.)

KCLC 89.1 FM 

• Rock The Casbah-The Clash (One of the most memorable earworms from the early '80s.  The union between the piano and vocals in the chorus makes the tune, in my opinion.) 

KWUR 90.3 FM 

• Popsicle-Juliana Hatfield (This was just released in December, but if I hadn't known that, I would've thought this was one of Hatfield's early '90s efforts.  Her youthful voice and crunchy guitar playing are largely the same today.)

WARH 106.5 FM

• Burnin' For You-Blue Oyster Cult (One of the best album rock tracks for days when your mood is dark.) 

Community Radio St. Louis highlights III

I'm continuing to enjoy KDHX's online successor station, Community Radio St. Louis.  Here are two more impressive songs from yesterday that deserve acclaim:

Backroads 

• I Want To See The Bright Lights Tonight-Dori Freeman (I've always found this Richard & Linda Thompson song interesting; on the surface, it sounds like a resolution to set aside one's woes for a while and just enjoy life. Listen more closely, however, and you'll hear that the lyrics are meant to be ironic.  Freeman captures the song's spirit commendably while adding just enough of a twang in the vocals to make it her own.)
• Pot On The Stove-Erin Corday (I've thought about this tune often since yesterday, thanks to its fun, calypso-style rhythm.  Vocally and instrumentally, this is a clever way to mimic food cooking on a stove.)

Now, here are five more standout songs I heard this morning:

Hip City  

• Loving You Is On My Mind-The Meters (You can pick any song by The Meters, and you'll hear the same great consistency in the rhythm section.  I can imagine this tune being cross-faded smoothly with Steely Dan's "Rikki Don't Lose That Number.")
• Bird Of Beauty-Stevie Wonder (This is one of Wonder's more overlooked tunes, but it's a pleasant invitation to take a break from the everyday realities of life.  The descending pattern in the backing vocals punctuates Wonder's lead vocals effectively.)
• Look Around The Corner-Quantic & Alice Russell with The Combo Barbaro (This is a nice, unusual blend of Brazilian, Classical, jazz, and R&B styles.  A cool descending bass line underscores the vocals.)
• Melting Pot-Orgone (For some tunes, a rhythm section is all you need.  That's the case with this excellent cover of a 1971 Booker T. & The MGs instrumental.  This well-sustained eight-minute groove approximates how The Allman Brothers Band might have sounded as a jazz or R&B band.)

Boogie On Down 

• Rockhouse (Parts 1 & 2)-Ray Charles (I'd segue this hip-in-any-era piano rhythm with Stanley Turrentine's "Walkin'.")

Community Radio St. Louis highlights II

Monday morning highlights:

Fresh Start 

• Do You Think We'll Last Forever?-Caroline Rose (I noticed a Prince vibe immediately in the rhythm and vocals.)
• Radio Protector-65daysofstatic (The placid piano intro eventually morphs into a dramatic piano-and-drums instrumental.)
• Cars In Space-Rolling Blackouts Coastal Fever (This rhythmically propulsive power pop track from 2020 sounds like it's from the '80s.)

Backroads 

• Hard Times Come Again No More-Mike Dowling (This pleasant guitar instrumental sounds at various times as if it's about to detour into "Auld Lang Syne." "Backroads" was one of my favorite shows on KDHX, so I'm jazzed about its return to CRSTL.  It continued the spirit of its predecessor singer-songwriter show, "Blue Highways," and this track was a fine way to kick things off.)
• Feeling Good-Nina Simone (DJ Stacy chose this appropriate set of lyrics to acknowledge the joy of launching CRSTL...)
• Listen To The Radio-Nanci Griffith (...as well as these appropriate lyrics.)
• How'd You Know?-Hudson & Franke (Lyrically and vocally, this reminds me of Carrie Newcomer's music, which is always a plus.)

Community Radio St. Louis highlights

One year after live broadcasts ended on KDHX 88.1 FM, a new incarnation of the station is now broadcasting online at crstl.fm.  CRSTL caught me off guard this morning by going live before its advertised starting time of 12 p.m.  Nevertheless, it's great to have a new station that essentially is KDHX.  Most of the programs and DJs on CRSTL originated on KDHX, so it's a pleasure to hear them again on their new home.  Here are some of the first day highlights:

Songwriters Showcase 

• All The Way Around-Kris Delmhorst (This was the first song I heard this morning on a sans DJ edition of "Songwriters Showcase."  Despite its melancholy bent, these are hopeful lyrics about finding your way back to someone.)
• Shotgun Down The Avalanche (Acoustic Edition)-Shawn Colvin (From the first time I heard "Shotgun Down The Avalanche," I was impressed by Colvin's committed vocals.and lyrical metaphor for a rickety relationship that sounds as though it should end.  This acoustic version retains the spirit of the original version.  I also recommend her acoustic and original versions of "Diamond In The Rough.")
• Peace March-Bruce Cockburn (I remember first hearing this appealingly upbeat guitar instrumental on KDHX's "Backroads" in 2006.  I'm glad it made the transition to CRSTL 20 years later.)

The Snappy Lunch  

• Time To Get Into The Change-Jeremy Garrett (Impressive bluegrass pickin' and fiddlin', and a lyrically appropriate way of officially kicking off the new station.  Kudos to hosts Walter and Willa Volz for choosing many similarly appropriate tracks that capture the KDHX to CRSTL transition metaphorically.)
• California Traveler-California (Fast fiddling requiring considerable dexterity.)
• Phoenix Arise-Becky Buller (As I said about Jeremy Garrett's "Time To Get Into The Change...") 

No Time To Tarry Here 

• Blarney's Ghost Medley: Rights Of Man/Old French/Battle Of Aughrim-Hank & Shaidri Alrich (At first, I thought I was going to hear "Bring A Torch, Jeanette Isabella" in a minor key.  The transition from somber to spirited to somber is an interesting one.  This Celtic medley has a nice blend of violin and guitar.)
• Make Me A Pallet On Your Floor (Live)-Mississippi John Hurt (An appealing guitar hook underscores lyrics about feeling weary and needing a good night's rest.  I'd be curious to hear Taj Mahal cover this.)

Persistent earworm alert CDXIX

I'm sure I'm far from the only person who has thought of the Hayley Williams song, "Simmer," frequently this month.  Boiling rage over the appalling situation in Minneapolis is challenging to channel into only legally permitted means, but as peaceful protesters have shown us, it needs to be done.  Instrumentally and vocally, "Simmer" reminds listeners that there are times when rage is absolutely justified--but the ways in which it's expressed need to be appropriate.  

Online radio sampler highlights CCXC

Six noteworthy selections heard today:

KQAC (Portland, OR) 

• Percy Grainger: Molly On The Shore (Rachel Barton Pine, violin; Matthew Hagle, piano) (A brisk, spirited romp.)

WEMU (Ypsilanti, MI)

• Moanin'-Christian McBride Big Band featuring Jose James (An impressive, expansive version of the Lambert, Hendricks & Ross tune that lets James drive home the "Woe is me" aspects of the lyrics and gives the instrumentalists a chance to show their chops.)
• Soul Perspective-Joey DeFrancesco (Technically impressive, fanciful organ and saxophone playing.)

WUMB (Boston, MA)

• Sooner Or Later-Eliza Gilkyson (Disturbingly appropriate for today's political climate.  Rhythmically, this could segue with the "Godspell" soundtrack's "Turn Back, O Man.")
• Sad And Beautiful World-Mavis Staples (This is also lyrically appropriate for the current political climate, as it speaks to the weariness it elicits.)

WVUD-HD2 (Newark, DE)

• SoundByte-Math & Science (Ben Folds Five meets Beck?)

SiriusXM highlights CLXVI

Today's standout selections:

The Bridge Deep Cuts 

• I Can See Everything-Poco (Brave lyrics acknowledge that your significant other might decide to end your relationship--and that you might be at least partially responsible for it.)

Chill Instrumental

• Forever-Rytes (An optimistic vibe and a steady beat fit for pedaling a bike.) 

Classical For Sleep

• Beethoven: Symphony No. 2 in D major, Op. 36: II. Larghetto (Academy Of St. Martin In The Fields/Sir Neville Marriner, conductor)  (This Beethoven symphony is the least familiar one to me, so it was refreshing to hear its second movement without any preconceived notions. The strings and winds rise to the occasion here, displaying lyrical delicacy and swelling heroically when appropriate.)

The Coffee House 

• Rather Be-Jasmine Thompson (This endearing acoustic guitar and vocal version does Kam Franklin's song justice, giving it less of a dance vibe than Franklin's take.  Instead, Thompson's interpretation brings to mind the spirit of Vanessa Carlton's "A Thousand Miles.")

Coffee House Classics

• Diamond In The Rough-Shawn Colvin (It isn't easy to admit that some of life's situations won't play to your strengths, but these well-written lyrics of one of Colvin's best songs are an injection of confidence for those who need it.)

Indie Sleep  

• Life Is-Jessica Pratt (The echo on the vocals serves the contemplative lyrics well.  Lyrically, this is in the ballpark of Shawn Colvin's "Diamond In The Rough.")

Piano Instrumentals

• Twilight Movement-Fiona Joy Hawkins (Not every artist can pull off intense yet warm crescendos, but Hawkins does here.)

Real Jazz

• Sunday-Oscar Peterson/Ben Webster (The upbeat, joint-is-jumpin' vibe in the piano and saxophone would have been exhilarating to hear live.)
• One For Grew-Robert Glasper (I'm primed to like any contemplative jazz piano track with this type of midtempo-to-fast rhythm.)

Spa 

• Longing/Love-George Winston (Winston's entire solo piano album, "Autumn," is worth hearing in its entirety.  "Colors/Dance" is my favorite track, but this track also has a strong hook and a melody fit for a solo trek through the woods or soap opera underscoring.)

The allure of shuffle mode XC

Today, iTunes shuffle mode strung these three songs from my library together:

• Day's End-Jim Chappell
• Jesu, Joy Of Man's Desiring-Herb Alpert & The Tijuana Brass
• Festival Waltz-Al Petteway

All three songs work equally well as station sign-offs, as each one has a "day is done, and what a positive day it was" vibe.  Who doesn't want to leave listeners with that feeling before the next broadcast day?

Context? CDXXII

Yesterday, I turned on the radio in the middle of a newscast in which the announcer said, "The college was closed today due to ice."  I didn't know which college he was referencing, so I held my breath.  Then, he elaborated on the Winter storm conditions in much of the country, and I exhaled.

If it hadn't been for that follow-up, one could have thought that the newscaster meant ICE instead of ice.

What a harrowing time in which we live now. 

Context? CDXXI

Credit for honesty to the college radio DJ who said on-air yesterday, "I'm not required to do this show today, but it's a great motivator for me to get out of bed."

It's understandable that a college station wouldn't mandate its student DJs to trek through the snow, ice, and bitterly cold temperatures just to enter the studio and play music.  College stations and noncommercial community stations are two of the only places where attendance is at least occasionally optional and where you can level with listeners to that extent.  When you show up under less than ideal conditions, why not mention it on-air, at least briefly? 

FM dial scan highlights CCXCVI

Sunday morning highlights:

WSIE 88.7 FM 

• Gentle Thoughts-Herbie Hancock (Thumping bass, a sunny keyboard hook, and a vibe that reminds me of "Lovely Day" by Bill Withers...How could I not like this 1976 instrumental?)
• Lush-Kayla Waters (This upbeat, piano-centered smooth jazz track maintains its pleasant, energetic groove for the duration.) 

KCLC 89.1 FM 

• The Bridge-Bahamas (A relaxed, welcoming groove reminiscent of '70s flute-based jazz underpins the vocals.)
• Wreck-Neko Case (An honest way of conveying, "You might think I'm kind of a lot, but we'd still make a good match.")

KWUR 90.3 FM

• Dog Show-Patchymate (This new indie rock track has a fun, carefree vibe, with a fit-for-a-carnival rhythm and lyrics that invite listeners to escape the grim reality of the world and just enjoy a dog show.)

KSHE 94.7 FM

• Your Own Special Way-Genesis (Lyrically, this is a precursor to the sentiments the band would later convey on "Follow You Follow Me.")
• Wasted On The Way-Crosby, Stills & Nash (Although the lyrics are about squandered opportunities, the trio sings them with encouraging optimism, suggesting that there's still time to pursue at least some of your prospects.)

WARH 106.5 FM

• Suicide Blonde-INXS (The opening harmonica lick drew me in each time when this was a hit.)

Persistent earworm alert CDXVIII

Whew!  My latest worknight was one of the busiest ones I've had in a while.  Given the bad, widespread Winter storm forecast, though, I expected to field a lot of calls.  Because I couldn't preface each call with the disclaimer, "This is a hectic, taxing night, so bear with me," I attempted to extract politeness from every caller by sounding like one of the most professional, courteous workers who ever lived.  To stay in that mindset, I kept thinking of the 1966 oldie, "The Pied Piper" by Crispian St. Peters.  Keeping that song in mind was my way of willing callers to be patient and respectful--and it worked!  The callers refrained from sounding disgruntled, and so did I.

I'll likely try that tactic again soon.  If "The Pied Piper" wears out its welcome, I'm not sure what song I'll use next to keep things civil.  "Green Tambourine" by The Lemon Pipers, maybe?

The foot-biting default option XXXI

My cat, Collette, was getting impatient.  She'd already had her first meal of the day, along with snacks, so I hoped she understood it would be a while before she received more food.

She didn't understand--or, rather, she understood that but still didn't want to wait.  After biting my feet a few times, she walked off singing, "I haven't got time now to wait," to the tune of Carly Simon's "Haven't Got Time For The Pain."

"Haven't got time to wait?" I asked her.  "Your life revolves around eating and sleeping.  You have plenty of time to wait."

Collette bit my feet again.  Reluctantly, I gave her a small snack. 

Admittedly, my behavior reinforcement tactics with Collette aren't where they need to be.

SiriusXM highlights CLXV

Standout songs heard today:

'40s Junction 

• Let's Take The Long Way Home-Jo Stafford (I'm pretty sure this is one Stafford number I didn't play on WEW, but I would have if I'd known of it.  This is a classy, respectful way of saying, "We're a good match, so let's build on that.")

'50s Gold 

• Endlessly-Brook Benton (See my review above of Jo Stafford's "Let's Take The Long Way Home.")

Acoustic Guitar Instrumentals 

• Ahead-Andrew Gialanella (The optimism of this instrumental would have worked as underscoring in multiple episodes of "This Is Us.") 

Bluegrass Junction

• Family Tree-Della Mae (A frank admission that your view of the world won't necessarily match that of all your relatives.) 

Escape

• Summer Samba-Richard Clayderman (I always enjoyed playing Walter Wanderley's ballpark organ-style version of this on WEW.  The melody works just as well on the piano, as Clayderman demonstrates.) 

North Americana

• Robin's Egg-Iron & Wine/I'm With Her (A vocally strong collaboration.  Lyrically, this is an appealing way of saying that you know you've found your match when you can be yourself with that person.  If I'd known this had been released as a single in 2025, it would have been in my Favorite music of 2025 countdown.  Luckily, I'll have a second chance to include it in a countdown, as it'll be on Iron & Wine's new release next month.)

Real Jazz 

• Bouncing With Bud-Bud Powell (Cool bouncy piano and call-and-response patterns between brass players.) 

SiriusXMU 

• Bite The Hand-Julien Baker, Phoebe Bridgers & Lucy Dacus (A reasonable reminder that just because you're a fan of someone's music doesn't mean you're that artist's close friend.) 

Spa

• Reflect-Monster Taxi (One of the more modern-sounding piano-anchored new age instrumentals I've heard; this could fit fairly easily into a smooth jazz playlist.)

The Verge 

• Trick To Happy-Bahamas (At first, I thought, "I'm not sure about this song.  The vocals are a tad too slick for me." I'm glad I stayed with it, though, because it presents an advisable way to approach life; when you're fully present for life's subtler moments, it makes you more appreciative.) 

Watercolors

• Bright-Peter White (Pleasant, upbeat smooth jazz guitar.) 

Yacht Rock Radio 

• Please Come To Boston-Dave Loggins (A wistful acknowledgment that a long distance relationship can't work when partners can't agree on where to live.  The Pacific Pops Orchestra recorded a pleasant easy listening instrumental cover of this.) 

The pitfalls of shuffle mode XIII

Recently, iTunes shuffle mode jolted me from early morning contemplation to a too-early-for-such-a-commanding-rhythm state.  "At The Chime Of A City Clock" is one of Nick Drake's best songs, in my opinion.  The guitar opening gets my attention every time, and lyrically, I like how it observes that you can be caught up in the hustle and bustle of a crowded city but still feel alone in the world.  I enjoyed playing it in the middle of the night on KCOU decades ago.  I also played the track iTunes chose next on KCOU.  While I'm not a huge rap fan, Urban Dance Squad's  "Deeper Shade Of Soul" is one of the smoothest blends of rap and sampling I've heard.  Rhythmically, it's a well-executed track--but not ideal for a segue after "...Clock," or really, any other Nick Drake tune.

Persistent earworm alert CDXVII

This is one of the more obvious posts I've written.  Nevertheless, I'm sure I'm one of a great many people whose most frequent earworm this month has been the David Bowie/Pat Metheny Group track, "This Is Not America."

No further explanation is necessary. 

FM dial scan highlights CCXCV

This morning's noteworthy selections:

WSIE 88.7 FM 

• Straight, No Chaser-Thelonious Monk (Monk penned a captivating hook here, and it's interesting hearing Charlie Rouse on tenor sax and Monk on piano start along parallel tracks and then diverge into their own tangents.)
• The Night Fantastic-Grover Washington, Jr. (There's a reason why Washington, Jr. is one of the most popular smooth jazz saxophonists, and his signature sound here exemplifies it.  Also recommended: "East River Drive" and "Summer Chill.")

KWUR 90.3 FM

• How-Eliza Edens (Thoughtful vocals and acoustic guitar convey well-written lyrics about how challenging it sometimes is to forgive someone.)

KEZK 102.5 FM

• Something About You-Level 42 (Mark King doesn't always get his due in the states for his strength as a vocalist and bassist.  As strong of a hit as this was, it's puzzling that such tuneful, radio-ready songs as "Children Say," "Play Me," "Romance," and "Billy's Gone" didn't hit similar heights on the American charts.)

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

• Manuel de Falla: 7 Popular Spanish Songs: 7. Polo (La Pieta) (Convincing tension between the piano and strings.)

Online radio sampler highlights CCLXXXIX

Saturday and Sunday standouts:

KRSM (Minneapolis, MN) 

• When The Mornin' Comes-Marcus Roberts (Segues in and out of a cha-cha impressively.  "Big Chief" by The Neville Brothers would sound good before or after this.)
• This Could Be The Start Of Something Big-Count Basie (There's no shortage of pep in this strong piano-and-horns arrangement.)

KZSC (Santa Cruz, CA)

• La Cancion Es Protesta-Yorka (Timely, uncomfortably appropriate sentiments for this moment in American history.)

WBQA (Augusta, ME)

• Jean Sibelius: Concerto For Violin and Orchestra in D minor, Op. 47: III. Allegro, ma non tanto (Staatskapelle Dresden/Andre Previn, conductor; Anne-Sophie Mutter, violin)  (An interesting juxtaposition of lighthearted dance passages with stormy, intense, presumably challenging-to-play octave leaps.)

WXRT (Chicago, IL)

• Mary Anne-Marshall Crenshaw (It's puzzling that such a hook-laden, radio-friendly power pop wasn't a hit.  "Whenever You're On My Mind" and "You're My Favorite Waste Of Time" also deserved to be pop smashes.)
• Steppin' Out-Joe Jackson (Still Jackson's best hit and one of his best uptempo efforts.  Also recommended: "Breaking Us In Two," "Nineteen Forever," "One To One," and "You Can't Get What You Want.")

The allure of shuffle mode LXXXIX

I was pleased two days ago when iTunes shuffle mode paired two of the more thoughtful ruminations on the passage of time from my library.  "Yesterday Once More" by The Carpenters flowed into "Who Knows Where The Time Goes?" by Fairport Convention.

That's a bittersweet but classy segue.

Persistent earworm alert CDXVI

Apparently, there's something comforting about a routine designed to make me feel better.  I've gone to the same office to have botox shots for dysphonia long enough that I could probably walk from the waiting room to the shot-giving room with my eyes closed.  I know that when I leave the waiting room, I'll walk down the hall, turn left, and go into the same room where I always have my shot.  Just as I'm about to round the corner, Creedence Clearwater Revival's "Up Around The Bend" often comes to mind; I like how the tune's lyrical optimism parallels my turn around the corner each time, so I hope it continues to be my earworm during subsequent appointments.

A function of age XLIV

Yesterday, a radio personality admitted to a singer that she was "showing (her) age" by asking her if she had to audition with "another number" besides our country's national anthem.

I think it's fine to refer to a piece of music as a number, as long as you don't call it a ditty.  That's where the line is--or where it should be, at least.

FM dial scan highlights CCXCIV

This morning's highlights:

WSIE 88.7 FM 

• Sir John-Blue Mitchell (Swingin' trumpet and rhythm section.  Thank goodness for WSIE, as I've never heard any other station or stream play Mitchell's music so frequently.)
• City Walk-Carol Albert (Uptempo, easy-to-digest smooth jazz piano that's not too far removed from the new age genre.)

KCLC 89.1 FM 

• Won't You Speak Your Mind?-Whitney (This was released in 2025 but has a throwback '70s soft rock feel.  Lyrically, it's a sound reminder that people aren't mind readers.)
• Another Life-Alabama Shakes (For times when closing the door on someone might be best reconsidered.)

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

• Virgil Thomson: Symphony On A Hymn Tune: III. Allegretto (Monadnock Festival Orchestra/James Bolle, conductor)  (Heroic-sounding strings, winds, and brass.)

Context? CDXX

Heard on a recent radio newscast: "Four monkeys and a goat are on the loose in St. Louis City..."

I'll be gobsmacked if I ever hear that exact sentence again in any newscast.  Here's hoping the animals are enjoying their newfound freedom, though, and stay safe.  If they're musically inclined, I hope they form a string quintet and master Boccherini's Guitar Quintet No. 1 in D minor.  I'd be impressed by any animal ensemble who could pull off the lyricism of the Cantabile movement or the tense drama of the Allegro assai finale.

Linguistic bemusement XIII

Last week, a radio sports commentator kept referring to the Jacksonville Jaguars football team as "the Jag-wires."  I've heard others mispronounce it that way, also.  This puzzles me, as I'm not sure why the "uars" syllable in Jaguars would lead people to pronounce it "wires."

After all, we don't typically ask if a lifegwired is on duty or go to the store for a qwiret of milk.

Persistent earworm alert CDXV

If you have a casual familiarity with the band Asia, the first song that probably comes to mind is either "Heat Of The Moment" or "Only Time Will Tell."  Largely forgotten to many listeners is the group's modest 1983 hit, "The Smile Has Left Your Eyes."

I'm not sure what triggered my memory of it after not thinking about it for decades.  It's fitting, though, that such downcast lyrics would spring to mind during January, often the least appealing month of the year.  "...Smile..."'s outlook dovetails well with these two other '80s tracks that are well-crafted but depressing.

Context? CDXIX

While flipping past an AM station recently, I heard someone, presumably a restaurant owner or chef, say, "lobster, which is one of our popular dishes..."

I thought, "No, thank you," and turned off the radio.  I've never eaten lobster.  Maybe it would be delicious, but I can't bring myself to look at a tank of live lobsters and say, "Kill that one." 

SiriusXM highlights CLXIV

Ten of the better selections I've heard today:

The Big Easy 

• Summertime-Preservation Hall Jazz Band (The clarinet and piano nail the essence of this Gershwin standard.) 

The Coffee House Discovery 

• Sleeping-Gigi Perez (Here's why it's important to reach out when people lose a loved one.) 

The Elevator 

• Sweet Caroline-Chet Atkins (The orchestra and Atkins on guitar capture the general spirit of this Neil Diamond hit.) 

Escape 

• Rhinestone Cowboy-James Last (A respectable harmonica-and-strings rendition of the Glen Campbell hit.) 

Iceberg

• Help Me-Joni Mitchell (Some of the most honest, forthright lyrics from the perspective of someone who fears she's smitten.  This hit also contains one of Mitchell's most appealing hooks.  If you like the general feel of the tune, you'll probably also like "Free Man In Paris" and "In France They Kiss On Main Street.") 

Piano Instrumentals

• Christian's Workshop-Heidi Breyer (Understated piano playing fit for a lullaby.)  

Real Jazz 

• People Make The World Go Round-Nat Adderley, Jr. Trio (Strong, rhythmic piano propulsion.)

SiriusXM Pops 

• Franz Schubert: Symphony No. 9, "The Great," in C major, D.944: IV. Finale, Allegro vivace (Arnhem Philharmonic Orchestra/Martin Sieghart, conductor) (A triumphant conclusion to a symphony, rivaling the finale of Mendelssohn's fourth symphony.)  

SiriusXMU 

• Transmuted Matter-Stereolab (Lyrically this could pass for a mid '60s pop hit.  The modern instrumental backing reminds me it's from 2025.)

Watercolors 

• I Will Be Here For You-Al Jarreau (One of many songs with heartfelt sentiments from Jarreau's best album, "Jarreau."  Also recommended: "Mornin'," "Step By Step," "Save Me," and "Love Is Waiting.") 

Segue suggestion X

Styx's "Mademoiselle," which rarely gets radio airplay today, came up during an iTunes shuffle mode session recently, which made me think, "I've never heard any radio station play Queen's 'Killer Queen' before or after 'Mademoiselle,' but surely, some station has segued those two songs.  Both tunes have similar rhythms and attitudes, so it's a natural pairing for album rock stations."

After knowing both songs for over 40 years, I'm puzzled that this revelation just struck me.  "Mademoiselle" deserved to be a bigger hit, I've always thought, though, so perhaps if it had been, I'd have thought of this segue back in the '80s.

Online radio sampler highlights CCLXXXVIII

Six standout songs heard today:

KELS (Greeley, CO) 

• You Should Hear How She Talks About You-Melissa Manchester (This energetic track from 1982 was Manchester's biggest hit but hardly ever gets radio airplay today.  That's a shame because it's rhythmically strong, and Manchester's vocals command attention.  If you choose to sing it, however, it's wise to match Manchester's energy without sounding, as one chorus teacher did, like you're a dot matrix printer.)

KOSU-HD2 (Stillwater, OK) 

• The Middle-Kaitlin Butts (I hadn't expected to hear this Jimmy Eat World tune redone in country crossover style, but it translates well.)

WBGO (Newark, NJ) 

• The Song Is Ended-Gene Harris Quartet (A graceful, unhurried stroll of a piano melody.)
• Loran's Dance-Grover Washington, Jr. (Smooth sax and guitar that would flow well after "Love Song" by Ramsey Lewis.)

WUDR (Dayton, OH)

• Mont Blanc Massif-We Met In Paris (Soaring energy in the guitar and vocals that demands to be turned up.  This is one of the rhythmically stronger indie rock tracks I've heard in recent years.)
• I'll Change Your Mind-Kate Miller-Heidke (Lyrically, this walks an interesting tightrope between infatuation and stalking.)

A function of age XLIII

While perusing a list of albums to be released in 2026, I thought, "Oh, good.  Squeeze, Blondie, and Joe Jackson all have new releases due out this year."  Then, I thought, "That really indicates that I'm 55, doesn't it?  The three artists on this list whose forthcoming albums intrigue me most are artists who had commercial success in the late '70s and/or '80s."  

Immediately after that, I reasoned, "There's nothing wrong with that."

There isn't anything wrong with that, actually.  Why not anticipate the releases of quality artists with proven track records?

Persistent earworm alert CDXIV

January and February have never been two of my favorite months.  They've always struck me as relatively bland, unappealing, and cold.  Despite that, I've been feeling cautiously optimistic this morning, largely because of the better-than-usual Winter temperatures predicted here for the next several days.

In the back of my mind, however, I'm still hearing Pierce Pettis's version of "In The Bleak Midwinter."  I'm still relatively optimistic--but concerned that the song is looming so large in my mind well before Winter's midpoint.

Persistent earworm alert CDXIII

I haven't thought about the song on the flip side of Fats Domino's "Blueherry Hill" 45 in decades.  Surprisingly, though, "Bo Weevil" has been on my mind for the last four days despite not having heard it anywhere recently.  Lyrically, it has no connection to my life, so I wonder if I heard a song with a comparable rhythm recently without realizing it.

I can't imagine why, after all this time, my subconscious mind has zeroed in on lyrics that use an insect as a metaphor for a lackadaisical person.

Context? CDXVIII

Decades ago, I worked with someone who had a generally relaxed work ethic.  Frequently, this co-worker would draw out tasks that others would complete in half the time or give speeches about being dedicated to the work before actually doing said work.

One night, I thought, "Why does (this person) do this so often?  What's with all the metaphorical throat clearing and the compulsion to give the history of the company to people who call in?  How about just doing the work?"

As this co-worker continued expounding upon this supposed dedication before eventually falling asleep and deciding to come back the next day, I imagined Led Zeppelin singing, "Prattle on!" to the tune of "Ramble On."   

I thought, "I'm doing a ton of work well into the night here, and it would be helpful if (this co-worker) would do the same.  I don't have control over that, though, so I can at least amuse myself by imagining how it would sound if Robert Plant screeched, 'Prattle on!' at (this person.)" 

Context? CDXVII

I'm not sure what year it aired, but I ran across an air check of a former KWMU announcer who promoted the singer-songwriter program, "The World Cafe," this way: "No cover charge and no crowded rooms when you hang out at 'The World Cafe...'"

Those are two valid excuses for staying home and listening to the radio, as far as I'm concerned.

Countin' 'em down--again

Because I wasn't able to listen to all of WSIE's Top 88 Songs Of 2025 countdown last night, I appreciated general manager Jason Church doing something I'd never heard another DJ do: After the number one song concluded, he reread the titles, artists, and countdown placements of all 88 songs on-air.  I was on my way home at the time and sat in my parking lot until I'd heard all the placements in order, from number 88 to number 1.  

Thanks to Church's recap, I learned that two of the songs I'd chosen for my Favorite music of 2025 rankings, Butcher Brown's cover of "Dinorah Dinorah" and Dw3 featuring Peter White's cover of "Ventura Highway," made it into WSIE's countdown.

I appreciated the summary of the station's top jazz tunes for last year, and I'm thankful that WSIE 88.7 FM remains a well-programmed local source for jazz and other compatible formats.