FM dial scan highlights CCCXVI

One Monday night and four Tuesday morning standout tunes:

WSIE 88.7 FM

• Strollin'-Cindy Bradley (Smooth, easy-on-the-ears trumpet playing that segues with...)
• Breezin'-Joe Bozzi (...this pleasant vibraphone take on the Gabor Szabo tune, best known to many listeners through George Benson's excellent guitar rendition.) 

KCLC 89.1 FM

• It Can Happen-Yes (I was glad that KCLC reminded me of this tune I hadn't thought about in years.  "Owner Of A Lonely Heart" was the deservedly big hit from Yes's "90125" album, but this track's solid hook and floating-in-space feel is another example of how well the group pivoted from a '70s prog rock ethos to a more mechanical-sounding '80s style.)

KWUR 90.3 FM

• When I'm Thinking About You-The Sundays (Sensitively written and sung.  It's easy to go overboard lyrically in this type of daydream-centered song, but that doesn't happen here; that's no surprise, given the strong consistency of The Sundays from album to album.)

WFUN 96.3 FM

• Keep On Keepin' On (Instrumental)-MC Lyte featuring Xscape (A steady, somewhat ominous sounding loop.  Rhythmically, it reminds me of Kam Franklin's version of "(No Place I'd) Rather Be," but slowed down.)

The allure of shuffle mode XCIX

iTunes paired two classy, elegant jazz piano instrumentals from my library together this morning.  I was pleased to hear Teddy Wilson's version of "I Get A Kick Out Of You" flow smoothly into Count Basie's "Moten Swing."  That's a segue I wish I'd thought of during my time at WEW.  I was glad to hear it today, though, as both tunes command the listener's attention without being any showier than they need to be.

Segue suggestion XXIV

One free-spirited, near-bluegrass guitar piece deserves another, so I recommend playing Chris Proctor's "Over The Pass" before Jorma Kaukonen's "Downhill Sleigh Ride."  To me, both instrumentals conjure up the image of someone chasing someone else while pretending to be angry or trying to catch up with a cart that comes loose from its latch and starts rolling down a hill.

How many other song pairings elicit those images?

The spirit of which season? II

I'm conflicted.  KEZK will switch to all Christmas music on Friday morning, November 13.  It's comforting to savor the warm glow that favorite carols elicit, but at the moment...I just don't know.  Granted, temperatures plunged into the 30s overnight, making it feel like the Christmas season.  Still, we've had an especially muted Fall--"Autumn Light," really, in terms of foliage and general temperature ranges since last month.  Looking out the window, there are still red, yellow, and orange leaves on the trees, though, and I'm not ready for them to depart. 

Maybe, though, by next Friday, a few listens of "There's No Place Like Home For The Holidays" will put me in a more positive frame of mind.  Besides, by today's standards, November 13 is a semi-restrained start date for a radio station to play only Christmas music.  

I'll see how I feel about all this in six days.

Online radio sampler highlights CCCXIII

Standout songs heard this morning:

KLZR (Westcliffe, CO)

• Indian Hills-New Grass Revival (This fast bluegrass instrumental features deft interplay between the guitar, banjo, fiddle, and bass.  Nickel Creek's "Ode To A Butterfly" could flow into this.)

KTAL (Las Cruces, NM)

• Kokopelli Wind-R. Carlos Nakai (Haunting solo flute playing.)

WNCU (Durham, NC)

• Red Planet-Marian McPartland (McPartland anchors this combo on piano in a cookin' rendition of a John Coltrane tune.)
• Sankofa-Cassandra Wilson (Captivatingly layered a cappella vocals.) 

WPRB (Princeton, NJ)

• Leave Us A Message-Antique Seeking Nuns (This type of guitar style often draws me into an indie rock track.  I hear elements of Rush and prog rock in this tune.)

WVVY (Tisbury, MA)

• The Sea Of Love-John Fahey (The Honeydrippers had a hit with this, but Fahey's understated guitar rendition deserves its due.)
• Look Up (a.k.a. Whenever)-Irma Thomas (Perky pick-me-up vocals and piano.)

Context? CDLXIX

Recently, an AM radio station caller told a program host on the air that he'd called the general manager but was a little irked that the g.m. didn't answer.  

"He needs to answer his phone," the caller said.  "That's part of the job."

The program's host reminded the caller that the g.m. was busy running a radio station and that he listens to all of his messages. 

You'd think that a caller would know that already, but as a former co-worker used to say, "Everything makes sense to someone." 

Persistent earworm alert CDLXIII

Thank goodness for last night's blue electoral tsunami!  It's such a relief to know that America is taking a sharp turn back toward compassion and humanity.  This morning, Beegie Adair's piano rendition of "Blue Skies" has been on my mental loop.  Adair plays it with a spring in her step, giving it the feel of a purposeful stroll that conveys, "Nothing can stop me today."

Context? CDLXVIII

A listener texted a radio station this morning, claiming not to have discriminated among the judges on the ballot because (s)he "voted them all out."

Granted, voters have the right to do that.  Still, I don't think that's wise when it's unlikely that most voters know enough about a judge to make an informed decision.  That's why I left that section blank when voting today. 

I did, however, vote on all of the other offices and issues on the ballot.  Here's hoping fervently that the forecast for a blue tsunami is accurate!

No rough-and-tumble brass here

It amuses me that iTunes placed a C designation next to Michael B. Nelson's "It Came Upon A Midnight Clear," indicating that it's a clean, non-explicit rendition.  It's a big band instrumental, though, so I wasn't expecting anything objectionable.  That C label, however, makes me wonder if there's an explicit outtake in which a trumpeter plays a wrong note, throws his horn across the room, and shouts, "@#&*!"

Persistent earworm alert CDLXII

What music goes with a cloudy, muted Fall morning just after Halloween?  After stepping outside today, I'm convinced it's The Mitchel Forman Trio-Squared's piano-centered instrumental, "Patience."  It has that grey day feel with a side of tempered optimism.  When the tune become more commanding, I remind myself that it eventually returns to its central theme, which conceivably could accompany one's solitary ice skating session.

Community Radio St. Louis highlights XVI (Halloween edition)

October 31, 2006: I like that all of these Halloween decorations I displayed 20 years ago have a certain friendliness and aren't intended to scare anyone.

One Halloween Eve and seven Halloween morning highlights:

Dangerous Curves 

• Haunted-Dusty Springfield (An energetic 1971 release with relatable lyrics about holding onto someone's memory, set to a '60s Motown-style beat.) 

Musical Merry-Go-Round 

• Sounds Of Halloween-Nathalia (This is a good summary of Halloween sights and sounds.  I can imagine The Wailin' Jennys singing this; in fact, their track, "The Devil's Paintbrush Road," could segue with this.)
• Ghostbusters-Andrew & Polly (This is a fun cover of Ray Parker, Jr.'s hit.  Polly's suggestions about who to call before ghostbusters are quite logical.) 

Move The Needle

• Haunted House Boogie-Jack Rivers (This is from 1951 but could pass for a '40s arrangement.  The catchy piano, fiddle, and guitar playing enhances the vocals.  If I had played this on WEW, I probably would have segued it with Louis Jordan's "Choo Choo Ch'Boogie.")
• That Old Black Magic-Sammy Davis, Jr. (To me, Louis Prima and Keely Smith sing the default version of this.  Davis's rendition shows that it also works as a self-assured lounge number, though.  The fake-out in the intro is an interesting choice, as it could easily make listeners think they're hearing the beginning of "Sabre Dance.") 
• The Great Pumpkin Waltz-Vince Guaraldi (Echoing what I wrote in yesterday's post, I'm glad I'm not the only one who thinks a set of Halloween music should end on a reassuring note.)

Full Circle

• Valley Of The Damned-The Budos Band (This 2019 instrumental pulls off the unusual trick of sounding haunting and Celtic.)
• The Twilight Zone-The Ventures (Eerie guitar.) 

Limited tolerance for frights

This morning, I listened to a decently written and performed CBS Radio Mystery Theater episode.  It was about a husband and wife who buy a grandfather clock that turns out to be a portal to Hell.  Even though it was fictitious, it left me with a creepy feeling at the end.

While that indicates how well the script was executed, I think I'll stay away from any further frights through Halloween.  Life, after all, gives people enough scares without having to seek out fictional ones.  

There's a reason, after all, that I always like to end Halloween on a positive note by making Vince Guaraldi's "The Great Pumpkin Waltz" the last song I hear.

SiriusXM highlights CLXXXI

Today's standout tunes:

Acoustic Guitar Instrumentals

• For You-Scuff Selam (This bittersweet melody could segue with "World Spins Madly On" by The Weepies.)

The Covers Channel

• Espresso-I'm With Her (Hearing this Sabrina Carpenter tune recast with these three voices in an acoustic, folkier arrangement made the tune more to my taste.)

Deep Tracks Just Music

• Driftwood-The Moody Blues (The passage of time is undeniably difficult to accept sometimes.)

Escape

• Sailing-Romantic Strings (This Christopher Cross hit--his best, in my opinion--is ideal for this type of easy listening instrumentation.)

Jam On 309

• Dreams-The Allman Brothers Band (This is some convincing bluesy rock emoting.  With its compatible organ playing, "I Love You More Than You'll Ever Know" by Blood, Sweat & Tears would flow well into this.)

Lo-Fi Cafe

• Alone Together-Jazzinuf (A warm piano part backed up with modern-sounding accompaniment.)

Real Jazz Just Music

• The Surest Things Can Change-Steve Wilson (Fanciful keyboard and saxophone with a mid '70s-to-early '80s vibe.)

The Verge

• Wheel-Living Hour (An honest acknowledgment of a relationship mismatch.  This is from 2025, but the guitar playing gives it a '90s grunge feel.)

Watercolors

• Dancing In The Sand-Steve Oliver/Peter White (Pleasant, upbeat smooth jazz guitar with vocal punctuation and a light tropical feel.)

Women Of Rock

• Talk Of The Town-The Pretenders (This isn't one of the most-played Pretenders radio tracks, but it should be.  Lyrically, vocally, and instrumentally, everything clicks.  A strong hook?  Check.  A sing-along chorus?  Check.  Lyrics that build well?  Check.  This should have been as big of a hit as one the band's other best tracks, "Back On The Chain Gang.")

Yacht Soul

• Breezin'-George Benson (One of the most refreshing, relaxing guitar instrumentals ever recorded and one of several reasons the "Breezin'" album has sold extremely well over the last 41 years.  Also recommended from the album: "This Masquerade" and "Affirmation.") 

Only in college CXXI

During my senior year, the first week of the new school year was a bit of a free-for-all at KCOU.  Ostensibly, there was a clear dividing line between the Summer and first semester DJ schedules, but it wasn't followed completely.  As a result, even though I wasn't scheduled yet, I went in twice during the first week to turn on the transmitter and do two impromptu editions of "Jazz Odyssey."  Before going on the air the first day, another DJ, Randy, and I were perplexed that music couldn't be heard in cue through the station's sound board.  In retrospect, we should have called the chief engineer.  I put on some music to play in cue, and both of us started punching buttons and adjusting levers until an ear-splitting blast of sound rivaling this one came barreling out of the speakers.  Somehow, one or both of us stumbled onto the solution.  

The next day, however, I was faced with the same problem.  Neither Randy nor I could remember how we'd inadvertently gotten sound in cue the day before, so we tried our same semi-random procedure--and were nearly knocked backwards once again by a blaring cacophony of notes.

"We're going to go deaf if we keep doing this," Randy remarked to me. 

Fortunately, I never encountered that situation again.  It was worth the momentarily piercing sound, though, to actually hear the music I was going to play before it aired. 

The elusive Halloween song segue

Since first hearing and later playing 9353's "Spooky Room" on KCOU in the early '90s, I've always thought of it as one of the catchiest fit-for-Halloween songs.  Decades later, however, I still haven't found a suitable Halloween indie rock segue for it that I'd want to hear.

Halloween music is challenging that way.  There isn't as wide a selection of it as Christmas music, and a lot of it is mediocre.  Like most genres, indie rock isn't known for its vast selection of compelling, non-novelty Halloween fare.  Shivaree's "Goodnight Moon," for instance, is a well-structured and well-sung Halloween track.  I never tire of hearing it, but it could never segue rhythmically or atmospherically with "Spooky Room."

I'll keep digging, but for now, I'll just enjoy "Spooky Room" as a standalone track. 

Persistent earworm alert CDLXI

To my knowledge, "Kidney In A Cooler" by Keller Williams is the only song I've heard containing a surprisingly rhythmic lyric about someone with perpendicular teeth.  Sometimes, when I feel weary, I sing "Drained, depleted, and spent," to the rhythm in which Williams sings, "Perpendicular teeth."

The breezy way I sing it matches the way Williams somehow makes a refrain about perpendicular teeth sound catchy.  That juxtaposition between my state of mind and the easy-going rhythm reminds me that being drained, depleted, and spent is just a temporary condition.

Leave it to a quirky song that one could only write from personal experience to inspire a completely unrelated lyric from me with the same number of syllables.

Segue suggestion XXIII

As I listened to Bela Fleck's "Ireland" this morning, I was struck by the melody's common ground with "Jesu, Joy Of Man's Desiring."  Pete Kennedy's rendition of "Jesu..." would flow well into "Ireland," as it's one of the faster versions I've heard, and it matches the general impish spirit of "Ireland."

In this case, one acoustic instrumental begets another one justifiably.

Teaching my cat respect for music IV

Now that my cat, Collette, no longer has the David Crosby CD to scratch, she has turned to her next favorite musical pastime--pulling the jewel case of Kate Rusby's CD, "10," apart.

I'm choosing to believe it's because Collette can't wait to hear live, remastered, and other alternate versions of Rusby's songs, sung with her customary sensitivity.

Perhaps I'm being naively optimistic to think that way.  Actually, I'm being realistic, as I've moved the CD to another room.

Context? CDLXVII

When your full attention isn't on the radio station in the car, your mind sometimes fills in gaps strangely.  This morning, I thought for a moment that I'd heard a DJ say, "Have you seen those bundles of hate mail by the side of (the road)?"

I thought, "I wasn't paying complete attention, so I can't have heard that right."  Shortly after this, however, another DJ mentioned going on a hayride, so I realized, "Ah!  She said, '...bundles of hay bales...'  That makes much more sense."

My reflexive perception of society's divisive discourse is telling, considering my mind went initially to "hate mail." 

The allure of shuffle mode XCVIII

Until iTunes shuffle mode paired these songs together recently, I'd never thought of them as compatible: Hearing Frank Popp Ensemble's "The World Is Waiting" flow into Christopher Cross's "Ride Like The Wind," however, made me realize the people in both songs are well-advised to seek an escape from their current situations.  The degree of urgency, admittedly, differs.  In "The World Is Waiting," someone's life is stuck in a rut, while the person in "Ride Like The Wind" is trying to escape the long arm of the law.

Both songs prod their respective people to do what's needed to improve their situation, and both tunes have a captivating energy.

The pitfalls of shuffle mode XV

So...An endearing tune about the warmth of Christmas isn't really meant to slam into an angry, cathartic song about avoiding the general public due to its lack of civility.  Today, iTunes shuffle mode paired "Christmas Is My Favorite Time Of Year" by Kenny Rogers with Paramore's "This Is Why."  "This Is Why"'s central point about the deterioration of thoughtful discourse is well-taken, and I think of it often when I've read or watched a misguided screed about the state of the country or the world.  When I'm feeling disgruntled, "This Is Why" is one of my top go-to songs.  It isn't, however, best heard after thoughtful musings about the origin of Christmas.

Obviously, when I turn on shuffle mode, I expect any number of unlikely segues.  That one, however, prompted me to stop listening in random play and select songs that made musical and lyrical sense together.

The allure of shuffle mode XCVII

After hearing iTunes pair Crosby, Stills, Nash & Young's "4+20" randomly with Tommy Emmanuel's "Papa George" Sunday, I was struck by how well those songs mesh in a darkness-to-light progression.  After hearing Stephen Stills sing about how depression feels somewhat similar at age 24 and age 84, it's refreshing to hear "4+20" segue into Emmanuel's sunny guitar instrumental.  Despite their contrasting moods, the tunes have nearly identical beats per minute, which aids the smooth transition.

Context? CDLXVI

I was surprised to hear that a cigar store now sponsors a radio station's traffic reports.  I was only half-listening this morning, but I think the commercial's tag line was, "Choose your smoke.  Enjoy the moment."

To each, his or her own, I suppose.  I'll pass, though.  I've never seen the allure of smoking anything, and I can't see suddenly changing my mind on that at age 56.

Teaching my cat respect for music III

To follow up, I put the David Crosby CD in another room.  So far, it remains safe from Collette the cat's claws.  Perhaps I was paranoid to think that she'd saw the door down.  Still, she's pacing outside the door and has had plenty of time to think...

Persistent earworm alert CDLX

Since hearing FUTURENOT's "Be The Change" on WSIE earlier this month, it has been on my recurring mental loop.  I'm thankful, as it's one of the coolest blends of piano and horns I've heard in recent memory.  I was surprised to learn it was recorded in 2020, as it could pass for bumper music the Saturday Night Live band might have played in the '70s.

When musicians nail that type of throwback pastiche so convincingly, it's a win for the band and the listener.

"Concentrate on the magic. Concentrate on the magic..."

Around this time of year, I often start listening to various episodes of CBS Radio Mystery Theater.  I plan to do that this year, as well, but before I delve into an episode, I have to think, "Don't picture voice actors in a studio, or it'll compromise my ability to lose myself in the story."

Also, I try to forget that many of the conflicts in these stories could be resolved today with a cell phone or Google search.

In addition, I try to overlook that if a lot of these stories occurred in real life, people likely wouldn't launch into such melodramatic monologues that contain convenient swaths of exposition.

With those few disclaimers, then, I'm ready to enjoy some radio dramas from decades ago--I think.

Segue suggestion XXII

I was surprised that an Allentown, Pennsylvania station, WDIY, played "Walter's Theme" by R.E.M. today, as it's almost never played on the radio.  While listening, I thought, "This is how you maximize an upbeat guitar riff," and "I've never thought about this before, but Crowded House's 'Tall Trees' would segue well with this..."

...They would segue smoothly because both tunes share a similar driving energy.  Also, as catchy as their central riffs are, both songs are shorter than they deserve to be.

A function of age LV

Erin Bode knew her audience this morning.  Near the end of an enjoyable concert at Kirkwood Performing Arts Center this morning, she told us, "With Halloween coming up, if you want to be the coolest house on your street, you know what kids are into? CDs..."  She continued, "I know kids.  Forget the full size Snickers bars."

That's as good of a tongue-in-cheek prod as any to let people know you have CDs of your music for sale, and it earned a knowing laugh from the crowd.

2025 retcon II

After listening to Tristen's "Let Go" multiple times over the past week, I'm retroactively declaring it my second favorite song of 2025.  Its catchy rhythm, lyrics about resisting the pressure to conform, and well-executed vocals have held my attention, making each hearing of it as appealing as the previous ones.  As a bonus, it also segues well with my retroactive favorite tune from last year, Wolf Alice's "White Horses."

I wish I'd known about "Let Go" when it was released late last year.

Teaching my cat respect for music II

For weeks, my cat, Collette, has used David Crosby's "For Free" CD cover as a scratching post.  Regardless of where the CD is in the living room, she finds it and sharpens her claws on it.  I've told her she should respect Crosby's strong later work.  She should especially favor "River Rise," his duet with Michael McDonald that was one of my favorite songs of 2021. 

Actually, I don't think a lack of respect for Crosby's music prompts Collette to scratch the cover.  Most likely, it's because the cardboard packaging suits her claws better than typical plastic CD cases.

The obvious solution is to put the CD in another room.  Knowing Collette, however, she'll likely use a power saw to cut open the door, find the CD, and resume scratching it up.  

Not much gets past her.

FM dial scan highlights CCCXV

Sunday night standouts:

WSIE 88.7 FM

• Eyes For You (Ain't No Doubt About It)-Daryl Hall (The hint of the Hall & Oates chart-topper, "I Can't Go For That," drew me in, and Hall's smooth vocals sell this tune easily.)

KWUR 90.3 FM

• Savannah-Jensen McRae (The protagonist in this song made a wise choice in ending her relationship with the person about whom she sings.)
• All In Good Time-Iron & Wine featuring Fiona Apple (Endearing lyrics about having faith in the future, despite the knocks life throws at us.)

KWMU 90.7 FM

• We Will Meet Again-Herbie Mann & Phil Woods (Bittersweet, uptempo flute and saxophone, ideal for a late night playlist.)
• Moon Over Miami-George Shearing (Engaging pep on the vibraphone and piano from Marjorie Hyams and Shearing, respectively.  If I didn't know otherwise, I might have thought this was a Lionel Hampton & Count Basie collaboration.)

KSHE 94.7 FM

• Heart Of The Night-Poco (A well-crafted immediate hook with a sing-along chorus.  "Heart Of The Night" and "Crazy Love" have held up deservedly well over the decades.)

Establishing a welcoming atmosphere

One of the hosts of last night's neighborhood cookout made a sound musical choice.  How, after all, can anyone walk into a cookout in a cross mood during a recording of "When Irish Eyes Are Smiling?"

You know you're tired when...

...you let out a two-octave yawn, as I just did, that could pass for the sound of a doorbell.

FM dial scan highlights CCCXIV

Thursday night highlights:

WSIE 88.7 FM

• Fields Of Gold-Sting (Lyrically, vocally, and instrumentally, this is still one of Sting's classiest, most contemplative hits.  Eva Cassidy sings an impressive cover of it, and Rachel Z honors the tune's spirit in her piano rendition.)
• California-The Olympians (This 2025 instrumental has a '60s throwback vibe in its melody for piano and horns.  It could segue with Keith Mansfield's "Funky Fanfare.")

KCFV 89.5 FM

• Don't Look Back-Boston ("More Than A Feeling," understandably, is Boston's default track in most classic rock playlists.  I always thought this was an honorable follow-up, though, as there's still complete commitment in the vocals and guitar.)

KWUR 90.3 FM

• Write Me A Letter-beabadoobee (This type of guitar intro usually sets the stage for a promising song, as do honest lyrics like these about being in a less than great state of mind.  This is one of the more earnest recent releases I've heard.  Speaking of recently released tracks...)
• Close-berryblue (...This October release's hypnotic dance beat sells this relatively brief tune effectively.)

Persistent earworm alert CDLIX

When I have a looming deadline or a metaphorical clock feels like it's ticking, Herb Alpert's instrumental, "Beyond," sometimes comes to mind.  Right from the intro, the tune has a need-to-get-there-before-it's-too-late urgency.  It's not unusual to for me to picture sands in an hourglass running out when I hear it.  It's tricky to pull off tuneful tension, but Alpert succeeds with "Beyond."

Retro FM dial scan highlights VII: 10/6/91

Sigh...Didn't I turn 21 just yesterday?  Well...No.  That was 35 years ago.  Today, as I turn 56, I'm looking back on my FM dial scan from October 6, 1991:

WFUN 95.5 FM

• The Magic Cookie-Cookie Monster (For those who don't know, WFUN used to have a "Planet Fun" format aimed at kids.  Cookie Monster sounds surprisingly subdued at first about the prospect of obtaining everlasting joy and happiness.  Unsurprisingly, his interest increases significantly when he's given the alternate option of a cookie.  I won't spoil the ending for you, but I suspect you can guess the path he chooses.) 

KRJY 96.3 FM

• Rhythm Of The Rain-Dan Fogelberg (Fogelberg's slowed down cover of this oldie by The Cascades is appropriate for lamenting a breakup.)

KHTK 97.1 FM

• Enjoy The Silence-Depeche Mode (The vocals and instrumental backing could easily pass for a 1984 new wave track, so I have to remind myself this song is from 1990.  Lyrically, this holds up as a reminder that silence truly is golden sometimes.) 

WFXB 101.1 FM and KFXB 105.7 FM

• Lake Shore Drive-Aliotta Haynes Jeremiah (The sing-along-on-a-road-trip vibe of this tune makes it a staple cut of album rock stations even now.  In 1991, it was simulcast on two frequencies during the mellow rock days of "The Fox."  Also recommended: "Slippin' Away.") 

KLOU 103.3 FM

• Come A Little Bit Closer-Jay & The Americans (When a member of the band is warning you to exit before the person inviting you to "come a little bit closer" gets her way, it's wise to retreat and avoid encountering her jealous ex.) 

KMJM 107.7 FM

• Emotions-Mariah Carey (Carey's strong vocals are in the glass-shattering stratosphere here.  Between the driving rhythm and her demonstrably wide vocal range, it's no wonder this was a chart-topper.) 

Online radio sampler highlights CCCXII

Today's standouts:

KEBF (Morro Bay, CA)

• Even The Sparrow-Kelly Hunt (An impressive blend of bluegrass and Classical influences in the instrumentation underscores these confidently emoted lyrics.)

KTRU (Houston, TX)

• Hello From Everywhere-The Drift (This is one instance in which a plodding rhythm isn't a bad thing.  The harmonica gives this deliberately repetitive instrumental riff some spice.  As I listened, I wondered what electronic effects The High Llamas might have added if they'd composed this.)
• Seoul-Amiina (A long, fanciful instrumental fit for an ambient music box.)

WCRI (Block Island, RI)

• Franz Schubert: Allegretto in C minor, D.915 (Alfred Brendel, piano) (Sorrowful and intense.)

WDCE (Richmond, VA)

• Last Train To London-ELO (Despite being ELO's best hit, in my opinion, this track barely grazed the charts in 1980.  The memorable opening hook and siren caught my ears immediately, as did the sing-along chorus when I first heard it.  Rhythmically, the tune is of its time in the best way, and yet, I've hardly ever heard it on the radio.)

WSGE (Dallas, NC)

• Maggie-Cassandra Coleman (Sometimes, friendships just fade with time, not because of anything someone did, but just because adulthood comes with a lot of time-sapping responsibilities.)
• Smokestack-Valerie June (Blistering blues-rock guitar and vocals.)

WZZJ (Pittsburgh, PA)

• Hittin' Twelve-Count Basie (This raucous big band arrangement could segue with Basie's "Jumpin' At The Woodside.") 
• Whispering-Nino Tempo & April Stevens ("Deep Purple" is this duo's go-to track, in my opinion, but this follow-up tune has a similar feel.)

Positive perspective VI

Following up on yesterday's free concert from a distance: I opened up a living room window to hear a couple of the bands performing at Kirkwood's Fall Fest yesterday.  For a moment, based on the semi-faint instrumental strains I heard, I thought a band was starting into one of ELO's best hits, "Can't Get It Out Of My Head."  I turned closer to the window when the vocals came in and recognized that it was actually John Lennon's "Imagine."

When only hearing muffled strains of a concert, it's likely the only time anyone would mistake John Lennon for ELO.  Since last night, however, I've realized that there's more common ground between those two melodies than I realized.

Positive perspective V

I'd forgotten that Fall Fest is today in downtown Kirkwood.  Several musical acts are performing, and I can hear them pretty well from where I live.  Some people might see this as a distraction, but to me, it's a free concert from a distance, and it sounds pretty good.  Time to open a window or step outside for a bit...

Persistent earworm alert CDLVIII

I haven't heard this late '80s hit recently.  Its subject matter has no relevance to my life.  It's a song I don't own and have never gone out of my way to seek out.  Why, then, is Martika's "Toy Soldiers" stuck so firmly in my mind this morning?  I like to know the logical thread between a song and how it got stuck in my mind, but in this case, I just don't know.  

I'll just have to endure the march-like rhythm of its chorus a while longer, I presume.

Community Radio St. Louis highlights XV

Seven Thursday morning standouts:

The Mix-Up

• Righteously-Anna Ash (A bass line this strong usually sets the stage for a solid groove.  Here, it's strong underpinning of confident lyrics such with quiet self-assurance.)
• Red Onion-Richard "Groove" Holmes (Holmes turns in reliably rhythmic jazz organ performances consistently, but every instrument is essential in giving this groove its funk.)

Memphis To Manchester

• Pin A Rose-Kim Richey (Good lyrics acknowledge that people sometimes pursue the wrong people for them--even when they've been warned.)
• Future 40s (String Of Pearls)-Syd Straw (This track has an appealing energy, and there's a nice vocal--including whistling--blend between Michael Stipe and Straw.)

Pop! The Beat Bubble Burst

• There's A Kind Of Hush-The New Vaudeville Band (I was surprised to hear the original version of this on crstl.fm--or anywhere, for that matter.  While this version is enjoyable, I hear why Herman's Hermits had the hit version of it.  Vocally and instrumentally, this rendition has more of a novelty lounge feel to it.  The vocal phrasings on the Herman's Hermits take are more natural and accessible, and the instrumentation has a more overt pop sensibility.)
• Frosty-Albert Collins (Ringing, upbeat blues guitar; that's no surprise for an artist who pulled off the impressive consistency of the "Truckin' With Albert Collins" album.) 
• This Lens-The Morning Line (This February release is one of 2026's stronger power pop tunes.  To me, a song is already halfway there with this jangly guitar style.  "This Lens" cements my approval of it with honest lyrics about how we sometimes hold onto rose-colored impressions of those we like.)

Only in college CXX

Practicing in the music building's double bass room was an especially comforting aspect of my freshman year in college.  College comes with its share of adjustments, but I always thought, "I've been playing the bass since 1983, and I know what I'm doing.  Even when other facets of college seem tentative or uncertain to me, I know I can spend time in this room, practicing pieces that the orchestra will play for the next concert, playing exercises for the next bass lesson, or going back to pieces I've played in previous years."

Not every piece of ground on which you stand in college is solid--but, at that time, that one was.  Other bassists in the orchestra apparently had the same routine.  When I'd call ahead to see if the bass room was in use, I always liked it when another bassist would answer the phone, "Good evening.  Bass room," or "Greetings from the bass room."  Even when it meant I had to postpone my practice time until a later time or a different day, I liked knowing that the other bassists also saw the room for the oasis that it was.

Context? CDLXV

Although middle school students are unpredictable, I was still surprised during seventh grade Speech/Drama class when a student suddenly burst into a verse of "A Penny For Your Thoughts" by Tavares.  It was a decently sung version, too, with a better grasp of the high notes than most people have.

I still wonder what prompted that in the middle of class.  He didn't sing it to anyone in particular but apparently felt inspired to suddenly entertain the class with a hammy but generally on-pitch rendition.

The spirit sometimes moves us to act in odd, unexpected ways, I suppose.

Persistent earworm alert CDLVII

Tonight, my mind apparently wants to wind down, as I keep thinking of "A Slow Song" by Joe Jackson.  It's one of his more overlooked numbers that doesn't typically get radio airplay.  The piano intro draws me in, as it sounds like Jackson is about to sing a freewheeling version of Procol Harum's "A Whiter Shade Of Pale."

Segue suggestion XXI

After hearing The Chieftains perform "The Raggle Taggle Gypsy" this evening, I'm convinced that Altan's "Beidh Aonach Amarach (There's A Fair Tomorrow)" should be played after it.  That way, the listener remains in the same ballpark rhythmically while the mood is lightened after such an intense rendition.

Context? CDLXIV

It was refreshing to hear a listener seeking an aquarium call a radio station this morning and specify to listeners, "You can reach me by phone, not text."

I'm ambivalent at best about texting, so it's good to know I'm not the only one.

Context? CDLXIII

Because my baffling tactic of saying, "Oom-pah-pah, Oom-pah-pah!" didn't prompt my cat, Collette, to move out of the way in the hallway, I tried another tactic when she started scratching the clothes hamper yesterday.  Instead of exclaiming syllables suitable for marching, I told her, "Collette, I'd rather you didn't do that."

Amazingly, she stopped scratching the hamper.  Lesson learned.  When my cat's behavior goes awry, imitating the sound of a tuba doesn't work.  Speaking respectfully to her as an adult apparently does.

At least, that's what I'm choosing to believe.

Context? CDLXII

Although my cat, Collette, doesn't speak or understand English, it would have been logical for me to say, "Collette, please move," when I was trying to pass her in the hallway.  Inexplicably, though, I said, "Oom-pah-pah, Oom-pah-pah!"

I'm still not sure why I thought imitating the sound of a tuba would make Collette step out of the way.

SiriusXM highlights CLXXX

Nine recommended tunes heard today:

'70s On 7

• Day After Day-Badfinger (Music reviewers frequently cite Badfinger as one of the most influential power pop bands.  Of the band's three best hits, "Day After Day" tilts most heavily toward the singer-songwriter side but is no less of a sing-along track than "No Matter What" or "Baby Blue.")

Acoustic Guitar Instrumentals

• Bicycle Day-A.B. Chediski (A melody fit for trundling aimlessly down a secluded road.  I'd play Davey Graham's "Forty Ton Parachute" after this.)

Alt R&B

• Sunshine-Jungle (This August release has an appealing '70s dance throwback feel.)

Luna

• War Of The Flutes-Frank Emilo (The piano is essential in keeping this melody percolating.)

Real Jazz Just Music

• Carefree-Billy Childs (A classy stroll of a piano melody.)

The Village

• Raised On Robbery-Twisted Pine (Vocally and instrumentally, this captures the energy and spirit of Joni Mitchell's original version.  It's fun hearing this melody with a bluegrass twist.)
• Snow-The Staves (Sometimes, relationships end...just because.)

Watercolors Instrumental

• High Heels-Lisa Addeo (Uptempo smooth jazz piano and saxophone synergy.)

Yacht Soul

• Got To Be Real-Cheryl Lynn (I've come close to including "Got To Be Real" in these highlights posts several times, so it's time I finally acknowledge how well this groove has held up since the '70s.)

Online radio sampler highlights CCCXI

Six intriguing selections heard today on five radio stations I haven't sampled before:

KBVR (Corvallis, OR) 

• Spring (Live)-Shaene Marie Pascal (Endearingly sincere, quiet vocals.)

KCWU (Ellensburg, WA)

• Shelter-Sadie (I don't always like it when vocals are manipulated with studio wizardry, but they work well with this beat.)

WBJC (Baltimore, MD)

• Claude Debussy: Suite Bergamasque: III. Clair de Lune (Jaime Laredo, violin; Margo Garrett, piano) (Both instrumentalists, especially Laredo, wring every possible drop of lyrical resonance from the melody in this rendition.)

WSRN (Swarthmore, PA)

• Going Home-Alice Coltrane (This dramatic instrumental underscoring is tense and heroic.  The harp and orchestral strings give the melody a reassuring undercurrent.)
• La ville, Pt. 2-Ahmed Malek (This '70s instrumental sports a "Theme From 'Shaft'" influence.  The saxophone stylings are avant-garde yet accessible.)

WUVT (Blacksburg, VA)

• Dusty Eyes-Bedouine (Sensitively written and sung lyrics about the impermanent nature of a meaningful relationship.)

A function of age LIV

When you record a fair amount of radio, not everything you preserve will stand the test of time.  One recording I have from over 20 years ago is labeled, "'Democracy Now'--General Wesley Clark rally."

When I unearthed that recordable CD, I remembered, "Oh, that's right.  General Clark ran for president in 2004."  Respect to him for running--but there's no urgent reason for me to listen to that edition of "Democracy Now" again.

Such is the temporary nature of radio.

Questionable inertia II

I have to remember that I'm under no obligation to leave the radio on the same station I heard during a previous meal.  Otherwise, I end up listening to a not terribly compelling program in which listeners call in and say, "I've got a Dagnabbit brand riding lawn mower for sale.  Two of its tires are missing, and it takes nine attempts on average to start it.  Aside from that, it works pretty well.  I'm asking three thousand dollars for it, and I can be reached at (this phone number.)"

I've spent more breakfasts than I want to admit listening to that program.  So far, I've justified it as an amusing study in human nature, but that excuse is wearing thin.

Persistent earworm alert CDLVI

While working recently, the rhythmic chorus of Neil Diamond's "The Boat That I Row" came to mind early in the shift and stayed there for the duration.  I'm surprised that didn't happen years earlier, as even on its best days, work carries the inevitable feeling of repetitive rowing with it.

FM dial scan highlights CCCXIII

Five recommended tunes heard today:

WSIE 88.7 FM

• Vertical Horizon-Carol Albert (Easy-on-the-ears midtempo smooth jazz piano and guitar.)
• Peculiar Situation-Earl Klugh (A brief mystical intro segues into a steady midtempo jazz guitar groove.  Klugh's career goes all the way back to the '70s, and he's one of the most consistent guitarists I've heard.  I have yet to hear a Klugh track that I dislike.)

KWUR 90.3 FM

• Paris-Feeble Little Horse (A brief, interesting dream pop interlude.)
• Angel-Lizzy McAlpine (As in "Older," there's an endearing sensitivity in McAlpine's lyrics and vocals.  This new track is one of 2026's more heartfelt releases.)

KPNT 105.7 FM

• The Unforgiven-Metallica (As these lyrics illustrate, it's possible to be too much of a conformist.)

Context? CDLXI

This morning, a fill-in radio talk show host read a listener's text on-air that asked, "When is (the show's regular host) coming back?  The show is boring now."

The host responded gracefully, "Tough but fair.  We take all kinds of feedback."

I'd like to think I'd have been equally diplomatic in that situation--but I wouldn't guarantee it.

Context? CDLX

Recently, a radio talk show host read a complaint from a listener, saying that the host allowed someone, most likely a caller, to "bloviate on topics he knows nothing about."

I joined in the host's chuckling when he asked the listener rhetorically, "Are you new to talk radio?"

If one thing is inevitable on talk radio, it's bloviating.

A linguistic irritant XXXVII

It doesn't happen that often, but it irks me just a little when radio personalities refer to their station's commercials as ads.  It's not technically incorrect, but I've always thought of ads as a term for print media and commercials as a term for radio and TV.

Admittedly, I could just as easily have written this extremely minor complaint as one of my "A petty fixation" posts. 

Segue suggestion XX

Whenever I got to choose the music for a radio shift, I liked to segue a familiar melody with an obscure, compatible one.  Thus, I recommend playing almost any version of "The Girl From Ipanema" before "Robin's Egg Blue" by Hot Club Of St. Louis; the rhythmic similarity between both tunes makes it a sound pairing. 

Linguistic bemusement XIV

As a DJ on former smooth jazz station KNJZ, I was required to say every so often, "You're in the middle of another extended set of today's smooth jazz."

I understood the business logic behind summarizing the type of music we played and reinforcing the concept that listeners were going to hear a lot of it.  I also thought, however, "Isn't this interrupting the musical flow by reminding listeners of this, using this exact phrasing, so frequently?"

Context? CDLIX

While sweeping the floor recently, a clump of dust kept evading the broom.  My reaction fell in an odd middle ground between anger and nonchalance.  It was mild irritation masked with an improvised rhythm.  To the tune of a made-up percussive beat, I sang to the dust under my breath, "Don't do that if I don't command it.  Don't do that if I don't decree it."

This middle-of-the-road approach worked.  The dust allowed itself to be swept up, thanks to my direct admonishment--and a made-up salsa rhythm to take the edge off.

25 years later

On September 11, 2001 and the days following it, I grappled with how to split the difference between watching, reading, and listening to news coverage of that day's atrocities.  At first, to grasp the severity of the attacks, it felt necessary to watch footage of them.  After seeing the same or similar footage multiple times, however, I thought, "It's really best to turn my attention to radio and newspaper coverage now."

I still think that was the right call.  When you see the horrifying footage of the attacks and their aftermath, it's too easy to be shocked and not absorb all of the information about them.  Listening to radio coverage and reading articles forces one to process the information without the distressing visuals. 

Persistent earworm alert CDLV

While reading an article yesterday about an Appalachian singer, my mind immediately called up John Denver's "Take Me Home, Country Roads."  That's a natural response, I think, to a song about West Virginia.  I also started stomping my foot in time to this mental soundtrack.  I didn't even realize it at first, and while writing this, the foot-stomping started again.

As much as I like "Take Me Home...," this foot-stomping is approaching Robert Klein's "I can't stop my leg" territory.  I'm fine with that, though, as this Denver hit warrants it.

Online radio sampler highlights CCCX

Six Wednesday morning standouts:

KALX (Berkeley, CA)

• Paris 1971-Suzanne Ciani (This instrumental's title puzzles me, as it conjures up images of floating in space.)
• Pollyanna-The Islanders (A simple vocals-and-piano number from 1959; this tune just aims to establish a jaunty melody, and it succeeds.)

KNTU-HD2 (Denton, TX)

• Escapatoria-Rodney Jordan (Jordan underpins this smooth, midtempo driving groove on the bass, with ample room for the rest of the ensemble, particularly trumpeter Melvin Jones, to leave their imprints.)
• Diana-Helen Sung Big Band (This fanciful rendition of a Wayne Shorter tune was released in June. Sung's keyboard playing here brings to mind Chick Corea & Return To Forever, and this track could segue with Flora Purim's "Dindi.")

WDSW (Philadelphia, MS)

• Hello Old Friend-Eric Clapton (These styles of guitar and organ playing seldom fail to draw me in.  Lyrically, this reminds me of "Lovely To See You" by The Moody Blues.  Given how upbeat this track is, I'm surprised I don't hear album rock stations play it often.)

WZRD (Chicago, IL)

• Marinier-Anne Marie Bernert (Sorrowful accordion underscoring for arduous, repetitive tasks.)

Persistent earworm alert CDLIV

Lately, I've been hearing my cell phone's default tropical melody ringtone subconsciously, even when the phone isn't ringing.  I think I'm resigned to the fact that no matter how many phone numbers I block, there will always be another spammer trying to reach me.

A petty fixation LIII

This afternoon, a radio station identification breaker played, and then---nothing.

"That's odd," I thought.  "The top-of-the-hour news isn't starting."

Then, looking at the clock, I saw that the top of the hour was still two minutes away.

After two minutes of silence, the news finally started.  In the grand scheme of things, this wasn't a big deal.  Two minutes of dead air feels like a long time, though, when it happens accidentally. 

International common ground

Whenever Casey Kasem said every week that "American Top 40" was "heard in the 50 states and around the world on great radio stations like...," I always wondered if he'd name the St. Louis station--KSLQ in the early years, or KHTR in later years--on which I heard the show.  

I also liked hearing the names of international radio stations that carried the countdown.  I especially remember Kasem mentioning Radyo Iloilo in the Philippines.  I just looked it up, and that station now has a news/talk format.  It's nice to know, though, that decades ago, people who lived so far away were enjoying the same music and musical trivia I was.  Here's hoping they enjoyed hearing Kasem's acknowledgment of Radyo Iloilo as much as I liked hearing the nods to St. Louis affiliates.

Persistent earworm alert CDLIII

Recently, an algorithm served up multiple online articles for me about forgotten and underrated sitcoms.  When reading about one such sitcom, I was transported back to 1987.  I only saw one episode of "Rags To Riches" when it aired originally.  I didn't dislike it, but I hadn't thought about the show since that airing.  I remembered it was about orphaned girls who lived with a benefactor and sang.  All I remembered about the episode was the last line of the theme song, "We'll get through it, hand in hand in hand," and that the girls sang a cover of "Little Bitty Pretty One."

Now, those two musical extracts are cemented on a mental loop--and it's helping to blunt the edge of present day reality, in which the news is less than great, to put it mildly.  I'm wary of AI and custom-tailored news,  but there are times when I like that an algorithm knows what I need--even when I wasn't aware that I needed it.

Context? CDLVIII

While driving yesterday, I was surprised when a radio talk show host mentioned on-air that he sees 14 doctors.  My reaction to that is the same for anyone in that situation: May you always get the health care you need, when you need it.

Context? CDLVII

Last night, a Classical radio program host informed his listeners of some proper etiquette.  He introduced a concert performance of a Strauss waltz by telling the audience, "You're not allowed to walk out, but you are allowed to get up and dance."

I complied with the invitation.  At two pivotal moments during the piece, I got up from the kitchen table and waltzed my cat, Collette, around the room in two 10-second intervals.  I figured that was as much dancing as she would tolerate without biting or scratching me--or at least fidgeting.

When the piece concluded, I told her, "Thank you for tolerating 20 seconds of waltzing." 

I'd like to think that both of us showed proper etiquette, within reason.

SiriusXM highlights CLXXIX

Standout tunes heard today:

1st Wave Deep Cuts

• Leave In Silence-Depeche Mode (Alas, some relationships are destined to fizzle out.)

'60s Gold

• Ain't That Peculiar-Marvin Gaye (Rhythmically and vocally, this 1965 oldie never wears out its welcome.  This is an excellent example of how to build to a chorus in a fast tune.) 

Alt 2K

• Brick By Boring Brick-Paramore (A compelling case for not living exclusively in one's own world, as understandable as it might be.)

Bakersfield Beat

• Come On Home-Mel & Carl (The vocal harmonies are reminiscent of The Everly Brothers.)

Escape

• Fields Of Gold-Brian Withycombe (A pleasant piano rendition of one of Sting's most compelling hits.)

Lo-Fi Sleep

• Midnight, Somewhere-Idealism (An endearingly halting piano melody anchors this instrumental.)

Real Jazz Just Music

• Fula (Live)-McCoy Mrubata (Rhythmically compelling bass and piano set the stage for expansive saxophone wailing.)

Watercolors

• Silver Lining-Andrea Lisa (This unhurried smooth jazz guitar groove sounds like it's going to lead into some '70s R&B vocals at any moment.)

FM dial scan highlights CCCXII

Today marks 12 years since I started this blog, and scanning the FM dial for compelling music is just as captivating to me as it was on September 1, 2014.  Here are five standout tunes I heard this morning:

WSIE 88.7 FM

• Digits-Clark Terry (An effective doubling up of a sunny melody from Johnny Griffin on saxophone and Terry on trumpet.)
• Bountiful-Kayla Waters (I'd play "Quiet Storm" by Ramsey Lewis before this because one pleasant jazz piano instrumental deserves another.)

KCLC 89.1 FM

• Black Is Black-The Verbs (This respectable cover of the 1966 Los Bravos hit, which used to be a staple cut of oldies stations, approaches the lyrics from a female perspective.)
• Get Down-They Might Be Giants (I never expected to hear this group's brand of cerebral rock detour into a '70s-style dance pastiche with horns, but it kind of works.)

KLOU 103.3 FM

• I Can See Clearly Now-Jimmy Cliff (As comforting as Johnny Nash's original version is, the backbeat on Cliff's faithful rendition gives the tune a bit more rhythmic vigor.) 

Persistent earworm alert CDLII

I have fewer ideas for blog posts some days than others.  When that happens, Pink Floyd's "On The Run" sometimes infiltrates my mind.

Even with a self-imposed deadline, a rhythm that indicates time slipping away can't help but motivate me to think of an idea and post it.

Persistent earworm alert CDLI

On sporadic Sundays, the Alan Parsons Project's "Don't Let It Show" enters my mind.  It has nothing to do with the lyrics.  No matter how many times I've heard the song, my brain hears the organ intro and thinks a hymn is beginning.

Even after decades of knowing otherwise, my mind still hears that intro and thinks, "This sounds fit for a church service."  I haven't been to church in years, but there's still the association that Sunday equals church.  I wonder if a church organist has ever played "Don't Let It Show" before or after Mass.  In my view, "Don't Let It Show" works as a warm-up instrumental or as leaving-after-Mass-ends music.

A function of age LIII

Recently, I listened to a radio air check tape I recorded 40 years ago.  It was a refreshing blast to hear various jazz and soft rock tunes played on a Friday in November 1986.  Although I enjoyed being reminded of various songs I hadn't heard in a while, I kept thinking, "November 1986...That was during my first semester as a high school sophomore.  So much had yet to happen in the world and in my life."

While I'd rather be an adult than the high school sophomore I was then, it was pleasant to think back to that Friday night decades ago.  So much of my life was still ahead of me--and that night, I was just focused on hearing the best music I could find.

Decades later, I still seek out the best music and radio stations I can find--but with more wisdom, I think, than I had 40 years ago.

Online radio sampler highlights CCCIX

Friday morning standouts:

KMMS (Bozeman, MT)

• Never Let You Go-Third Eye Blind (I appreciate the sing-along quality of the chorus more today than I did in 2000.  "Never Let You Go" was played frequently on the radio then, so I've come to like the tune more than when it was a hit.) 

KSBR (Mission Viejo, CA)

• Here's Where The Story Ends-The Sundays (To me, this has always been one of the more comforting, introspective songs about less than great times.  Harriet Wheeler's vocals waft over the guitar line effectively.  Thirty-six years after its release, I still like this song and its album as much as I did originally.)
• Cold April-Allison Russell (A heartwarming reminder to stay resilient during challenging times.)

WPKN (Bridgeport, CT)

• Flying Home-Illinois Jacquet (I'm used to hearing Lionel Hampton play this familiar melody on the vibraphone, but Jacquet shows how well it swings on the saxophone.)

WSMC (Collegedale, TN)

• Franz Schubert: Symphony No. 2 in B-flat major, D. 125: I. Largo-Allegro vivace (Dresden State Orchestra/Herbert Blomstedt, conductor) (This symphony's opening movement segues from a leisurely melody with trills suggesting birdsong into an invigorating steeplechase for strings.)

Context? CDLVI

This afternoon, a radio talk show host joked that "everything (played) on the banjo sounds like the theme from 'The Beverly Hillbillies.'"

Well...Not quite.  Granted, I might have thought so 40 years ago, but after years of listening to such artists as Bela Fleck, Tony Trischka, and Alison Brown, I'll admit that the banjo has more range than I realized initially.

Context? CDLV

I just caught the end of an underwriting mention on NPR today, so I'm not sure which sponsor thinks "AI should be optional," but I'm inclined to support them--whoever they are.

Persistent earworm alert CDL

Gambling strikes me as too risky, so I've always avoided it.  Inexplicably, though, despite never hearing it on the radio, "Go Down Gamblin'" by Blood, Sweat & Tears hasn't left my mind for the past week.

Now, I'm wondering.  Did I read about a gambling-related amendment recently?  Did an ad for a casino seep into my mind subconsciously?  Did I overhear part of a sermon about refraining from placing bets?

What might my ears have picked up that I didn't realize?

Community Radio St. Louis highlights XIV

Five standout tunes heard today:

Fresh Start

• Agitations Tropicales-L'Imperatrice (Instrumentally and vocally, this 2015 release pulls off a convincing '70s dance pastiche.)
• Carry The Weight-Beth Bombara (These reassuring, uplifting lyrics remind me of "Trouble Me" by 10,000 Maniacs and "I'll Come Over" by The Kennedys.)
• X-Ray Hip-Bona Fide (This uptempo smooth jazz/funk instrumental's catchy hook works equally well on the piano, guitar, and vibraphone.)

Backroads

• Black Pine Waltz-Doc & Merle Watson (This fiddle-and-guitar instrumental would flow well into various renditions of "Tennessee Waltz.")
• Ode To Earl-Bela Fleck (Spirited banjo playing and impressive mandolin playing with ample tremolos.) 

FM dial scan highlights CCCXI

Five recommended tunes heard today:

WSIE 88.7 FM

• Sincerely-Claudia Hayden (An uptempo smooth jazz flute number with a dash of mystery, released in July.)
• Francisco-Jackie McLean (McLean's dominant saxophone playing steers the course of this energetic Latin jazz-meets-bop track.  I'd segue this with Vince Guaraldi's "The Love Of A Rose.")

KSHE 94.7 FM

• It Wouldn't Have Made Any Difference-Todd Rundgren (This is one of Rundgren's softer, subtler tracks.  Alison Krauss covered it effectively.)
• Titles-Barclay James Harvest (The vocal harmonies and guitar strumming on this strung together list of Beatles song titles sounds like a group of friends playing around a campfire.  The Thorns would have sounded smooth covering this.)

KLOU 103.3 FM

• Dare Me-The Pointer Sisters (Rhythmically and vocally, this is one of the group's stronger hits.  I'm surprised that KLOU's 1985 rebroadcast of "American Top 40" marks the first time I've heard it in decades.)

SiriusXM highlights CLXXVIII

Saturday morning highlights:

The Elevator

• Up On The Roof-John Fox (This flute, guitar, and strings rendition of the classic Drifters hit slows the tempo down, giving it a tasteful, easy listening sheen.)

B.B. King's Bluesville

• Every Step Of The Way-Keb' Mo' (An honest acknowledgment that not every decision we make in life will be perfect, but what we learn along the way helps us navigate life more gracefully.)

Lo-Fi Sleep

• Over The Moon-Team Astro (A warm piano riff with crackling vinyl sound effects.)

Luna

• Brigas, Nuncas Mais (Fights Never More)-Antonio Carlos Jobim & Elis Regina (Rhythmically, these vocals and keyboard accompaniment could segue with various versions of "One Note Samba.")

Piano Instrumentals

• Changing Winds-Alexandra Streliski (Fit for a soap opera scene in which a character contemplates a major life decision.)

SiriusXMU

• Knocking At The Sky-The Last Dinner Party (For lyrical contrast, Samia's "Spine Oil" would be an interesting tune to segue with this.)

Spectrum Discovery

• Haunted-Phoebe Bridgers (How do you regroup and soldier on after a setback, especially when it's one that's not visible to others?  This new release ponders this thoughtfully and takes a one-foot-in-front-of-the-other attitude toward recovery.) 

Stevie's Coolest Songs

• Casablanca-Susanna Hoffs (Hoffs has maintained an earnest sincerity in her vocals over decades, as this new release illustrates.) 

Online radio sampler highlights CCCVIII

Today's standouts:

KAFM (Grand Junction, CO)

• Dance Floor-The Apples In Stereo (I'm guessing that one or more band members intended to channel ELO here.  Also recommended: "Tidal Wave.")

KCSM (San Mateo, CA)

• My Whole Life Through-The James Carter Organ Trio (A slow, relaxed melody with prominent saxophone over a backdrop of organ.)
• Dolphin's View-Alex Sipiagin (The piano underscores Sipiagin's trumpet playing compellingly, giving the tune some dark turbulence.)

WQED (Pittsburgh, PA)

• Felix Mendelssohn: Paulus (St. Paul), Op. 26, MWV A14: Overture (City Of Birmingham Symphony Orchestra/Edward Gardner, conductor) (I'd like to have played any of the stringed instruments on this recording so I could say I pulled off the piece's inherent tension and its ultimately heroic conclusion.)  

WRUJ (Richmond, VT)

• I Know But I Don't Know-Blondie (This track has more of a freewheeling, punk rock vibe than the group's hits.)
• Burning Out-The Linda Lindas (As this June release conveys, we all have our going-through-the-motions days.)

A petty fixation LII

In retrospect, it amuses me how seriously I used to take radio station format changes.  In 1985, I thought, "A new soft rock station is making its debut.  I'd better listen to it often for at least the first week."

As I listened, I thought, "This is a pleasant selection of soft rock hits, but it's also a rather safe, predictable playlist.  The DJs sound alright, but there's nothing particularly innovative or unique about what they're doing.  This is a paint-by-numbers soft rock station in a city that already has multiple stations with this format."

I kept listening throughout the station's first two months, though, because it was new.  Initial curiosity doesn't guarantee that an audience will stay with a station, but it often gets them to give the station a chance, however short-lived.

Community Radio St. Louis highlights XIII

Wednesday morning standouts:

Feel Like Going Home

• See You Later, I'm Gone-Whitney (The subtle arrangement of this vocals-and-guitar track, released in May, makes its lyrics sound all the more sincere.)
• Rockets & Flowers-The Bamboos (This new release has a pleasant '70s R&B feel that could segue with  Greenflow's "I Got'cha'.")
• Beyond That Moon-Madison Cunningham (One of 2026's more heartfelt singer-songwriter tracks.  Cunningham's vocals acknowledge how painful the end of a relationship is when it's not your desired outcome.)
• Human Mind-Mavis Staples (Lyrically and vocally, "Human Mind" works on two levels; it speaks to the resilience one needs when grappling with a personal setback or loss and also to the coping mechanisms people need as a collective during unjust times.) 

Shady Grove

• Blue Moon Waltz-Roger Netherton (This tasteful fiddle piece could segue with Gloria Attoun's "Barefoot Waltz."  I'd be curious to hear Nickel Creek cover this.)
• Salt Spring-John Reischman (A sunny, steady mandolin melody.)

An atypical standout XVII

It escaped my notice for the longest time that Patty Griffin is the singer behind "One Big Love."  When I think of Griffin's singer-songwriter material, I typically think of such tracks as "Rain," "Making Pies," or "The Wheel."  Generally, her songs make the listener lean in and ingest the discomforting or heart-wrenching topics about which she sings.

Yesterday, I wrote about being reminded that Donna Summer sang "Love Is In Control."  As with "...Control," I remembered the rhythm of "One Big Love" for years without recalling its lyrics.  Given its fun, upbeat vibe, I was surprised to learn it was Griffin's song--and that I already own the CD that includes it.

It's amazing what you find when you delve into your own music collection thoroughly.

Persistent earworm alert CDXLIX

While listening to KLOU's August 21, 1982 rebroadcast of  "American  Top 40" yesterday, I exclaimed, "So, that's what that song is!"

I'd forgotten all about Donna Summer's "Love Is In Control."  I remember hearing it on KMJM when it was a hit but not after that.  Admittedly, I'd never paid much attention to its lyrics; after not hearing it for decades, I just remembered the rhythm of its fast chorus.  I've been making up for lost time, though, by thinking of the song frequently since Sunday. 

It's puzzling how only the rhythm of a song sometimes sticks with you over the years.

Persistent earworm alert CDXLVIII

During Thursday night's power outage, the first three words of Crowded House's "It's Only Natural," played on a mental loop for me.  I kept thinking, "Ice will melt," repeatedly.  

That earworm stopped when I realized that I would lose hardly any perishable food.  Ever since a three-day power outage 21 years ago, I've been careful not to get too far ahead on perishable food.  During a storm in 2005, I lost 90% of the perishable food I'd just bought, and I resolved not to let that happen again.

"I thought, 'Ice will melt?'  Ice cube trays can always be refilled," I reasoned Thursday, "and all I'm really losing while the electricity is out is two sticks of butter." 

Context? CDLIV

Recently, I heard an opinion expressed on AM radio that some amusement parks should be dinged for not having a running theme.  

How important is that?  When I went to Six Flags as a kid, I didn't think there needed to be any common thread among the attractions.  I just thought, "I look forward to going on the Log Flume and the Scrambler and tasting the mustard-based potato salad at a particular restaurant."

As with most high school yearbooks, I'm not sure a theme matters all that much to most customers.  Disney, for some reason, is an exception to that for people, but otherwise...

Context? CDLIII

Yesterday, a radio talk show host said that when he retires, it will be a true retirement.  He won't go on the radio again, even in a reduced capacity.

He clarified that he'll likely talk about what it was like to be in radio with people at a coffee shop, but he doesn't intend to broadcast again,  He reasons that by then, he'll have said everything he intends to say.

His logic is understandable.  Even when you enjoy broadcasting, it's a relief not to have to fill airtime.  Here's hoping he has a relaxing time away from the microphone--whenever that turns out to be. 

Context? CDLII

Yesterday, a radio personality made a sound case for being the narrator in a play, reasoning that "all you have to do is read, and you're paid handsomely for it."

If you never have to appear on stage while narrating, I'd contend it's even more appealing.  

Spoken like someone who prefers the contradictory known-yet-anonymous aspect of radio fame...

FM dial scan highlights CCCX

Six recommended tracks heard this morning:

WSIE 88.7 FM 

• Sky High-Donald Byrd (A sunny, joyful groove for trumpet, flute, and rhythm section.  The vocal punctuation is icing on the cake for this 1973 tune.  Also recommended: "Where Are We Going?")
• El Fuego-Althea Rene (Pleasant, upbeat smooth jazz flute and guitar, with a kick.)
• Paris-Janet Evra (The synergy between the vocals and piano is particularly appealing.  This relaxed rhythm could segue with multiple versions of "The Girl From Ipanema.")

KCLC 89.1 FM

• We Should Talk-Bleachers (Lyrically, this is a sad reminder that people you once knew well will drop out of  your life not out of animosity but because your life trajectories are radically different.)
• Paranoid-Hippo Campus (Are you on the right path?  Yes.  Or no, maybe.  Sometimes, the answer isn't immediately obvious.)

KCFV 89.5 FM

• Promise Me-Badflower (A discomforting warning, even more so than "We Should Talk" by Bleachers, that it's sometimes too late to get back in touch.)  

A sad sign of the times II

About 12 years ago, I visited an independent bookstore.  I found the quiet atmosphere welcoming, and the store's tasteful selection of reading material in a small space impressed me.  As I stepped up to pay for my purchase, I saw the wide selection of music magazines offered near the register.  I thought, "I really hope this store succeeds.  With this selection and friendly service, it deserves to make it."

Then, reality crept into my thoughts.  "Not many people buy magazines these days," I thought.  "Most likely, only a small fraction of this inventory will sell.  As much as I'd like to believe that hordes of customers will stop in and pick up the latest issues of magazines specializing in folk music, music critics' reviews of new releases, and various instruments, that probably won't happen."  

The optimism that the music magazines represented reminded me of the unexpectedly large selection of greeting cards I saw at a small pharmacy that opened around the same time as the bookstore.  I thought, "People still send greeting cards in some cases but not as often as they used to, and this won't likely be the first place where they'll select them.  Most of these cards will probably remain unsold." 

Unfortunately, the bookstore and the pharmacy are no longer in business.

Context? CDLI

During an FM dial scan in 1997, I heard a DJ say, "Isn't that about obnoxious?  But it's got to be done, in case the Russians are--No, forget it.  Let's get a look at traffic..."

Presumably, the station had just run a test of the Emergency Broadcast System.  I still wonder how the DJ would have completed his thought if he hadn't censored himself.

Context? CDL

A '90s memory: I'd been asked to read a critic's review of a rock concert for our company's information-by-phone service.  Ordinarily, I did voiceovers for events-around-town listings, business updates, and instructions for users on how to access various features.  I'd never read a concert review for that service before.  I read the review, I thought, with appropriate enthusiasm and gravity.  It struck me as slightly odd, however, that the reviewer referred to the band's performance as "a Dionysian delight."  I read it just as he'd phrased it while thinking, "That might be perfectly accurate, but Dionysian?  Why not just say the performance was emotive, passionate, or refreshingly unstructured?"

"The artist's work is an amalgamation of gourds and seed pods," from an events-around-town promotion, was the most offbeat sentence I ever read while recording voiceovers.  I never recorded a remotely comparable sentence during voiceover sessions again.  Similarly, I never expected to refer to anything as Dionysian, and not surprisingly, that review was the only voiceover I recorded containing that word.

Segue suggestion XIX

I'm going to surprise myself today by recommending a Dolly Parton solo track as part of a graceful segue.  For years, I've thought that Parton's voice works best in the context of backing vocals on "Creepin' In" by Norah Jones or with Linda Ronstadt and Emmylou Harris on their cover of Neil Young's "After The Gold Rush."

However, despite not hearing Parton's solo hit, "Here You Come Again," in many years, I've realized this week how well it could segue with Sheena Easton's "Morning Train" or Natalie Cole's "This Will Be."  All three songs have compatible bounces suitable for oldies station segues. 

SiriusXM highlights CLXXVII

Standout songs heard today:

Acoustic Guitar Instrumentals

• Renaca-Nicola Cipriani/Brad Myrick (A somewhat bittersweet midtempo melody.) 

The Big Easy

• Right On-The Dirty Dozen Brass Band ("Use Your Brain" is my go-to track from this band, but this could be effective underscoring for a turbulent scene.)

The Coffee House

• I Thought I Saw Your Face Today-She & Him (Lyrically and structurally, this sounds like a Carpenters song to me.)

North Americana

• The Returner-Allison Russell (I don't always agree with the expression, "That which does not kill us makes stronger," but Russell's lyrics make a solid argument in its defense.)

Piano Instrumentals

• Between Raindrops-Joshua Zimmerman ("After Hours" by Rickie Lee Jones could segue with this, as there's a compatible delicacy between both tracks.)

Real Jazz

• Baby Elephant Walk-Ted Nash (It impresses me that this version of a distinctive Henry Mancini tune sounds like it might swerve into Herbie Hancock's "Cantaloupe Island" at any moment.)

The Village

• Hymn For The Unholy (Live)-Emily Scott Robinson (A well-written, sincerely sung acknowledgment that much of life is uncertain and a certain resilience comes with surviving the curves it throws you.)

Watercolors Instrumental

• Lifted-Phil Denny (A steady, easy-on-the-ears smooth jazz saxophone groove.  I would segue this with Freddie Ravel's "Sunny Side Up.")

Community Radio St. Louis highlights XII

Seven recommended tunes heard today:

The Mix-Up 

• Any Old Fool-Thee Sacred Souls (This April release has appealing throwback R&B stylings in its vocals and instrumentation.)
• You're Never Around-Lake Street Dive (This tale of a dysfunctional relationship is set to a great driving beat.  Rachael Price's vocals pack an effective punch here, and this July release makes its point forcefully in just two and a half minutes.)

Memphis To Manchester 

• Sweet Sixteen Bars-Ray Charles (This classy piano instrumental could stand in for "Saturday Night Live"'s closing theme.)
• These Days-Glen Campbell (When covering this Jackson Browne song in concert, Erin Bode praised Browne for penning such grown-up sentiments at a young age.  Campbell's version, recorded late in his career, shows the gravity these lyrics carry with age.  Thematically, "These Days" pairs well with...)
• Reminder-Margaret Glaspy (...this new lyrically brave release, which acknowledges that some of our decisions will be missteps, but that shouldn't stop us from making the effort.  Sometimes, we have more agency to make people's lives better than we think.)

The Now Sound

• Universal Heart-Beat-Juliana Hatfield (There's an appealing energy in this tune about the inevitability of heartache in everyone's life.  If I'd been at KCOU in 1995, I would have played this on the air.)
• Lifetimeline-The Spongetones (If you're going to remind listeners that a lot of life involves just holding on and riding the waves, it's refreshing to sing about it as The Spongetones do here--in a way that's truthful without being heavy-handed.)

Online radio sampler highlights CCCVII (International edition)

Today, I decided, "Why limit the radio stations I sample for this blog to just American ones?"  Hence, my first international edition of Online radio sampler highlights.  These are seven standout tunes I've heard today:

CJRT-FM (Toronto, Canada) 

• Follow You, Follow Me-Chester Thompson Trio (Thompson's drumming underscores this pleasant jazz piano-led version of one of the best Genesis hits.)

Connemara Community Radio (Connemara, Ireland)

• The Wedding Jig-Gerry O'Connor (I'm always up for this type of spirited, uptempo fiddling.)

FIP (Paris, France)

• I Can't Turn You Loose-Otis Redding (Rhythmically and lyrically, this would segue easily with "I Can't Help Myself" by The Four Tops.)
• Confusion Song-Luna Li (Swirling, celestial instrumentation augments the endearing dream pop vocals compellingly.)
• Melanie-Gary Burton (Warm vibraphone jazz with just enough dissonance to keep things interesting.)

Tilos Radio (Budapest, Hungary)

• New Day (Quentin Harris Remix)-Atelewo (Sometimes, with techno music, less is more.  When you have a beat that works, why not stay with it and keep it relatively undistracted?)
• Relics-Studio Pressure (This track illustrates how critical percussion is in underscoring certain techno arrangements.)

Context? CDXLIX

As I drove to my polling place this morning, a newspaper reporter said on the radio, "You can't be too cynical when it comes to politics."

That's generally true, unfortunately.  A vote for someone is a leap of faith that the candidate is seeking office for noble reasons and aims to make people's lives better.  That's why I always look forward to voting in every election.  When my preferred candidates and propositions prevail, I'm proud of helping to make that happen.

As contradictory as it sounds, I'm an idealistic, jaded cynic.  I'll continue to cast my ballot every chance I get.

A studio fit for a polar bear

In retrospect, I'm surprised that the DJs were allowed to control the thermostat in one particular studio.  I was one of at least two DJs who liked the studio freezing cold, so in the later months of my employment there, I set the temperature to near David Letterman studio levels.  While I still like a cool residence or office on a hot day, I've never set the thermostat anywhere near that low in my own home.

It's interesting how your definition of a comfortable temperature changes when you know you'll have to pay the electric bill.

FM dial scan highlights CCCIX

Sunday morning standouts:

WSIE 88.7 FM

• South Of The Border-Lou Donaldson (To me, this uptempo sax number's joyous spirit reminds me of the standard, "Cheek To Cheek," performed at a faster-than-usual tempo.) 
• Magic In Your Eyes-Earl Klugh (The pace and mood of this upbeat guitar track make it segue well with Al Jarreau's "Rainbow In Your Eyes.")

KCLC 89.1 FM

• Different Kind-Kathleen Hoye (Hoye's vocals really sell these lyrics about a relationship falling apart.  "Different Kind" isn't far removed from the blues, actually.) 

KSHE 94.7 FM

• Peace Of Mind-Loggins & Messina (Not all friendships are built to last, as these lyrics acknowledge.)
• People Of The South Wind-Kansas (This somewhat overlooked Kansas track doesn't get a lot of radio airplay these days, unfortunately.  It's a measure of how well-structured the song is that the guitar, keyboard, and vocals are equally integral to the melody.)

KLOU 103.3 FM

• Alibis-Sergio Mendes (I was pleased to finally hear "Alibis" on the radio again, thanks to an "American Top 40" rerun from 1984.  I've listened to this tune fairly often over the years, and I've always thought it deserved to be a bigger hit.  Joe Pizzulo nails the vocals, which make the lyrics about suspecting that your significant other is cheating on you sink in effectively.) 
• I'm Free (Heaven Helps The Man)-Kenny Loggins (I have nothing against Loggins's "Footloose" title track, but I've always found "I'm Free..." more compelling due to its urgency and sense of risk in the lyrics.  Another "Footloose" soundtrack highlight, Karla Bonoff's "Somebody's Eyes," deserves attention, as well; it always puzzled me that it wasn't a hit.)

Context? CDXLVIII

Yesterday, a radio announcer admitted not knowing a particular R.E.M. song that another staffer referenced.  His explanation: "I'm a hits kind of guy, and that's a deep cut."

Most of us, if we're honest, are in that same boat when it comes to certain artists and bands.  Sometimes, surface level appeal is enough when a particular genre isn't one of your favorites.  Also, there's only so much time, even for music fans like me, to hear all the music you want to hear.  Inevitably, there will be artists whose familiarity to you doesn't extend past the hits--and that's understandable.

The foot-biting default option XXXIII

If I've learned one thing over the past several years, it's not to be late when feeding my cat, Collette.  If I wait too long, she'll sing, "If I scratch you and I bite you, I'm more than just a little justified."

I didn't realize that Collette had internalized her own meaning of the Kacey Musgraves song, "Justified," but my feet have suffered the brunt of her wrath.

Persistent earworm alert CDXLVII

A 1981 album title track I haven't thought about in decades has been on my mind for the past week.  The Allman Brothers Band's "Brothers Of The Road" obviously wasn't intended to be a hit.  As the album's leadoff track, it essentially conveys, "Listeners, this band has been through a lot over the years, but we're back with this new song and this new album.  We've had some challenges thrown our way, but we're not giving up."

That's a reasonable way to start an album, and it reminds me of the spirit Chicago exhibited in the song, "Alive Again." 

Online radio sampler highlights CCCVI

Standout tunes heard today on six radio stations that haven't been featured in Online radio sampler highlights posts before:

KALA (Davenport, IA)

• Butterfly Lullaby-Swing Out Sister (A chill instrumental reprise of "Butterfly," which I'm surprised isn't a smooth jazz radio staple.  Its encouraging lyrics and vocal hook should have guaranteed that.)
• Reaching Out-Kim Waters (This uptempo smooth jazz saxophone melody is fit for a brisk run--or possibly a stakeout.)

KNMC (Havre, MT)

• I Want You Back-Hoodoo Gurus (I played a bit of this band on KCOU in the early '90s, but I wish I'd thought to play this 1984 melodic power pop track.  It's worth learning to play guitar so one can master this song.)

KSCU (Santa Clara, CA)

• Quand Vas Tu Rentrer?-Melody's Echo Chamber (The vocals float compellingly over a hypnotic, festive-sounding keyboard hook.)

WJCT-HD4 (Jacksonville, FL)

• Pick Yourself Up-Oscar Peterson (Wow...I thought the Carolbeth True Trio zipped through "The Way You Look Tonight" at a breakneck pace.  This, hands down, is the fastest version I've ever heard of this standard.  Peterson zooms through it adroitly on the piano.)
• I've Got You Under My Skin-Charlie Parker Quintet (Parker carries the melody of this standard prominently on the saxophone.)

WSPJ (Syracuse, NY)

• Caught In A Dream-Alice Cooper (I haven't listened to Alice Cooper's music that often, so I forget sometimes that it goes beyond "School's Out."  This is pretty accessible, actually, and fit for a road trip playlist.  Rhythmically, it could segue with Lynyrd Skynyrd's "What's Your Name?")

WTTH (Atlantic City, NJ)

• Tell Me If You Still Care-The S.O.S. Band (This is how to stay on point when requesting a relationship status update.)
• Sir Duke-Stevie Wonder (Whose day doesn't "Sir Duke" brighten, considering its appreciation for how music appeals to our common humanity?)

Shameful, shameless, or neither?

In Sunday's SiriusXM highlights post, I considered writing this entry--just for a moment:

Happy Oldies 

• Play That Funky Music-Wild Cherry (Does this tune move me the way heartfelt lyrics about social justice do?  Is it thought-provoking and deeply contemplative?  If I could only hear one song for the rest of my life, would it be this one?  No, in all three cases.  For what it is, though, it's catchy--and that's all that's really required of it.)

I chose to leave it out.  This morning, however, I heard an AM talk station use KC & The Sunshine Band's "Boogie Shoes" as bumper music.  As I listened, I thought, "After hearing 'Boogie Shoes,' which I would never seek out, any shame I have about including 'Play That Funky Music' as a highlight has vanished."

So be it.  Not every song I recommend has to be cerebral.  Sometimes, an ear-catching hook is enough. 

Didn't seek this out, but...

To my surprise, an out-of-town radio station recently played "Don't Say You Don't Remember" by Beverly Bremers.  Upon hearing it, I thought, "That's interesting.  Aside from replays of 1972 'American Top 40' shows, I've never heard any radio station play that song.  Granted, I'm largely indifferent to the tune and wasn't clamoring to hear it, but since this station plays that, they must play other forgotten songs that appeal to me more."

That's one benefit of a station with an expansive playlist.  You won't love every song you hear, but if you listen long enough, you'll likely hear gems that have been largely lost to time. 

SiriusXM highlights CLXXVI

Sunday morning standouts:

1st Wave

• Middle Of The Road-The Pretenders (Starting a road trip or leaping into some other unpredictable adventure?  Let this be your leadoff track.) 

Acoustic Guitar Instrumentals

• Tree Circle-Isato Nakagawa (A bittersweet, contemplative melody.)

The Blend

• Shining Star-The Manhattans (I'm glad this 1980 hit still gets airplay today.  Lyrically, it's a thoughtful without being overblown way of saying, "I'm glad we're together."  Rhythmically, it's a comfortable midtempo groove.  Also recommended: "Crazy.") 

Carolina Shag Radio

• You Keep Telling Me Yes-Cannonball (Musically, this has a "How Sweet It Is To Be Loved By You" feel, but lyrically, its outlook is much more tempered.)

The Coffee House

• Galileo-Indigo Girls (A well-written acknowledgment of delayed justice, with a strong chorus.)   

Deep Tracks Just Music

• 5D (Fifth Dimension)-The Byrds (Rhythmically, this segues well with Donovan's "Catch The Wind.")

Indie 1.0

• I Am A Scientist-Guided By Voices (What better way is there to find out who you really are than trying on different personalities?) 

Indie Sleep

• No One Noticed-The Marias (A quiet, subtle way of admitting that a relationship isn't meant to last.)
• Sonora-Hermanos Gutierrez (This short, downcast guitar interlude would work as a prelude to "Because It's There" by Michael Hedges.)

Lo-Fi Cafe

• Tropical-jjobenn (An aptly titled lighthearted instrumental.) 

Siriusly Sinatra

• A Nightingale Sang In Berkley Square-Nat King Cole (With Cole's elegant vocals and strings for added gravitas, how could there be a batter version of this tune?) 

Smokey's Soul Town

• Flowers-The Emotions (How was this inviting groove not a top 40 pop hit in 1976?) 

Dibs II

Feel like hearing an LP, 45, or CD in Watchcat Collette's assigned sector?  Watchcat and music coordinator Collette will play it for you--as long as it's a selection she also wants to hear:

Watchcat Collette, guarding the music library on February 20, 2026.

Only so much space II

Due to the limited number of characters permitted in a playlist's song title column, Vince Guaraldi's "Cast Your Fate To The Wind" became "Cast Your Fate To The Win" on one radio stations's website recently.

The loss of one letter changes the song title's implied attitude considerably.  To me, "Cast Your Fate To Win" suggests, "Be prepared to cope with the loss of anonymity if you win the lottery." 

Online radio sampler highlights CCCV

Thursday morning highlights:

KDVS (Davis, CA)

• How It Started-Holly Palmer (Interesting, spacey vocal wizardry and a solemn piano backdrop.)
• Jardim-The Echocentrics (A captivating echo obscures the vocals against a turbulent beat.) 

KONA (Kailua-Kona, HI)

• King's Serenade-Keola Beamer (This pleasant guitar instrumental could segue with Nashville Mandolin Ensemble's "Frangenti" or Ken Bonfield's "The Passing.") 

KOTO (Telluride, CO)

• Rainy Day-America (The melancholy feel of this early vocals-and-acoustic-guitar America track would make it flow well into Bernie Leadon's "Glass Off.")

KRTU (San Antonio, TX)

• Sugar-Stanley Turrentine (Ron Carter's cool walking bass line underscores this expansive groove.  Freddie Hubbard has ample room to soar on trumpet, George Benson has plenty of space to stretch out on guitar, and Turrentine has 10 minutes to do the same on tenor sax.)

WMST (Mount Sterling, KY)

• Perfidia-Linda Ronstadt (What listener of taste could resist this emotive, skillfully played and sung middle-of-the-night bolero?)

WZLY (Wellesley, MA)

• Lagoon-Dora Jar (An admirably frank way of being at peace with knowing that no one understands you completely.)

An atypical standout XVI

When I think of the classic Beatles album, "Rubber Soul," I usually think first of my three favorite songs from it that fall right in a row--"I'm Looking Through You," "In My Life," and "Wait."  In recent years, however, I've gained more of an appreciation for "What Goes On."  While Lennon & McCartney compositions were the group's default setting, "What Goes On" is a Lennon, McCartney & Starr-composed tune with Ringo Starr singing lead.  Starr's influence gives the tune a lighthearted bounce despite the lyrics accusing a woman of telling lies.  My favorite part of the song is during the last chorus, however, when Paul McCartney underscores the lyrics assertively on the bass, making me want to have that portion on a loop.  I nearly always turn that final chorus up and think, "That's how you finish strong--and walk the line of being assertive without being aggressive."

Once cutting edge, now common

When it was released in 1980, Pat Benatar's "Hit Me With Your Best Shot" impressed me by sounding both catchy and edgy for its time.  It amuses me now to think that back then, it was relatively edgy and would only be heard regularly on St. Louis's two album rock stations, KSHE and KWK.

A few mornings ago, "Hit Me With Your Best Shot" was played on three stations here, including one generally described as a hot adult contemporary station.

These days, so-called adult contemporary stations have room in their playlists for Pat Benatar, Prince, and even certain Aerosmith ballads.  That would have been unthinkable in the '80s.  Hearing "...Best Shot" so frequently decades later is a reminder that what was once edgy eventually becomes mainstream.

Context? CDXLVII

A radio announcer who accidentally gave the wrong time and said it was May instead of July admitted that he was in "a different temporal space today."

That's a classy, honest way of saying, "I goofed." 

Once a DJ, always a DJ? III

When most people see that the current temperature is 77 degrees, they probably think, "It's feeling kind of warm."  When I see a temperature of 77, however, I immediately think or sometimes say, "The first voice in St. Louis, 77 WEW."

That slogan I used to say on the air is still a strangely entrenched habit with me 30 years later.  I don't know if I expect the station's former studio to appear or a Nat King Cole song to start playing when the slogan comes to mind, but 77 will always be associated with that radio station for me.

FM dial scan highlights CCCVIII

Five recommended tunes heard this morning:

WSIE 88.7 FM

• Sooner Or Later-Nyah Grace (Easy-on-the-ears vocals and instrumentation suitable for late nights--and equally at home in a smooth jazz or R&B playlist.)
• Summer Cruise-Dee Brown (A sunny, uptempo smooth jazz guitar groove with saxophone enhancement.)

KCLC 89.1 FM

• I Feel Hope Coming-Alabama Shakes (A lyrically sound wish for a fairer world, set to a relaxed dream pop backdrop.)
• Time Is A Bomb-Metric (An honest admission that a relationship is one-sided.)

KEZK 102.5 FM

• Dreams-The Cranberries (Dolores O'Riordan's lyrics and vocals from 1993 still hold up.  This is still a great song for driving, and it's one of the highlights of the CD, "Everybody Else Is Doing It, So Why Can't We?"  Also recommended: "Linger" and "Wanted.")

Context? CDXLVI

This morning, an interviewer on a news/talk radio station asked his guest, "So, the moon is hollow.  Have you given any more thought to that?"

Before switching stations, I thought, "That's a question I haven't heard anyone ask before.  It's the middle of the night, though, so why not ask that if you think your guest has a reasonably thought out answer?" 

A function of age LII

I was glad to hear KTRS play "W*O*L*D*" as bumper music this morning in memory of Harry Chapin.  Chapin passed away on this day 45 years ago, and it was refreshing to hear announcer Carl and listeners on the text line praise Chapin's insightful singer-songwriter abilities.  I wasn't surprised that Carl cited "Cat's In The Cradle," as it's Chapin's biggest hit and one of his best songs, but I was startled that he mentioned "Flowers Are Red" as a favorite song.  Lyrically, "Flowers Are Red" is a clever reminder not to be too rigid in one's thinking, so I was pleased to hear it referenced unexpectedly.

Now, let's also give "Sunday Morning Sunshine" and "Tangled Up Puppet" their due.