Persistent earworm alert CDXXIX

After seeing a strong live performance of it on "Saturday Night Live UK," Wolf Alice's "White Horses" has grown on me for three reasons:

• Rhythmically, it has a strong, driving energy reminiscent of various bands from the '90s.
• Having four vocalists reinforces the conviction of the lyrics.  Speaking of which...
• ...Lyrically, this is an impressive tribute to one's heritage, even when you're not sure of its components, and everyone in your life who means something to you.

I regret not knowing of this tune when it was released last year, but I've been making up for lost time in recent days. 

The allure of shuffle mode XCIV

I've had both of these songs in my library for years, but I never thought to segue them with each other until this morning.  iTunes paired "I Am The Mercury" by Jimmie Spheeris randomly with "Rainin' Inside" by The Trishas.  Thematically, that works, having a song about needed literal rain falling flow into a song about the cathartic metaphorical rain that results from listening to sad songs.

Well-played, shuffle mode.

A petty fixation L

KMOX has been simulcasting its longtime 1120 AM frequency on 104.1 FM for the past year.  Despite the improved FM sound quality, I almost always listen to KMOX on AM.  My AM presets have included KMOX 1120 AM for years, so that's what I reflexively think of as the station's default frequency.

When moving from the kitchen to the living room to hear Thursday's opening day Cardinal baseball game, however, I thought, "It isn't a Herculean effort to select 104.1 FM on the stereo.  Why not hear the rest of the game with the best sound quality option?"

After decades of hearing baseball games on AM stations, I finally listened to a game on FM.  

Inertia is a powerful force, but it's possible to overcome it.

An overlooked cover tune CXC

Kudos to KVMR for playing Alison Brown's version of Cyndi Lauper's "Time After Time" this morning.  I never imagined it as a banjo instrumental, but it translates easily.  Banjo tunes tend to be upbeat by default, but Brown shows that the instrument also conveys bittersweet sentiments effectively.

In memory of Dash Crofts

I was sorry to learn yesterday that Dash Crofts, half of the singer-songwriter duo Seals & Crofts, passed away.  In his memory, here are two Seals & Crofts album tracks and six of their hits that appeal most to me:

• Dance By The Light Of The Moon (It puzzles me that this wasn't a hit.  With such mass appeal sentiments and a hook so upbeat, it's immediately radio-friendly.  Despite this, I've only heard one commercial station, WFXB, play it during its AAA-format days as "The Fox.") 
• Desert People (This is a comforting way to envision a utopia where "even the desert will bloom.")
• Diamond Girl ("Diamond Girl" contains one of the most memorable, distinctive hooks of any '70s soft rock hit.)
• Hummingbird ("Hummingbird" has a somewhat unusual structure for a pop tune, but that's part of its appeal.  Its chorus, "Hummingbird, don't fly away, fly away," often comes to mind at unexpected moments.)
• I'll Play For You (Lyrically, this is a sunny, inviting way to start a concert and a smart way to get the audience on your side.)
• Summer Breeze (Lyrically, vocally, and instrumentally, "Summer Breeze" has held up strongly since 1972.  The relaxing images it evokes hold up in any era, accounting for its omnipresent place on oldies and soft rock station playlists.  Bob Baldwin, Bobby Broom, and The Isley Brothers have all recorded good covers of it.)
• We May Never Pass This Way Again-Seals & Crofts (This is my favorite Seals & Crofts song, as it's one of the best tunes about appreciating the best parts of life when they happen.  I've thought of it often when leaving homes, jobs, and schools.  Its lyrical sentimentality is appropriate in any era.) 
• You're The Love (This isn't usually played on the radio these days, and that's a shame; with its breezy hook, it's as accessible and easy on the ears as many of the duo's other hits.)

SiriusXM highlights CLXX

Thursday afternoon highlights:

Acoustic Guitar Instrumentals

• Found-Martin Gauffin (The echo on the guitar gives this comforting melody added gravity.)

The Bridge Deep Cuts

• Another Rainy Day In New York City-Chicago (This is one of Chicago's underrated hits.  Despite its title, the vibe in the vocals and horns is encouragingly sunny.)

Carolina Shag Radio

• Give Me Just A Little More Time-The Chairmen Of The Board (I've always liked the general attitude of these lyrics, as it's a realistic way of saying, "Not every decision we make as a couple will be perfect, but we'll have a bright future together.")

Happy Dance

• Strike It Up-Black Box ("Strike It Up" and Black Box's other two dance hits, "Everybody Everybody" and "I Don't Know Anybody Else," have all held up equally well.  Since 1991, all of them have likely been played at wedding receptions.)

Happy Oldies

• Dance With Me-Orleans (I've never tired of hearing this 1975 oldie.  Its sentiments are appropriate in any era, and the opening guitar lick draws me in every time.  Also recommended: "Love Takes Time," which the radio overlooks these days, and Earl Klugh's pleasant guitar instrumental cover of "Dance With Me.") 

Indie 1.0

• Chicago-Sufjan Stevens (Lyrically, this is an honest accounting of how the world can seem wide open to you in your early 20s and that at least a few miscues are inevitable.)

Lo-Fi Cafe

• The Artist Weeps-Daryl Donald (It wouldn't be much of a stretch for Michael Franks to record a similar version of this track.)
• Cali Bossa-luv pug/Sweeps/CMJ (Warm bossa nova guitar against an unobtrusive beat.)

The Village

• These Times We're Living In-Kate Wolf (Less than great times for the world should make all of us more thankful for everyone in our lives who means something to us.)

Watercolors

• Meet Me In Malibu-Pamela Williams (Upbeat smooth jazz saxophone.)

FM dial scan highlights CCC

Five Wednesday afternoon standouts:

WSIE 88.7 FM 

• Working Day And Night-Big Mike Hart (This infectious mostly instrumental cover of a Michael Jackson track is one of my early 2026 favorites.  Hart nails the tune's feel adroitly on the electric bass.)
• Chillax-Norman Brown (An aptly titled smooth jazz guitar melody.)

KWUR 90.3 FM

• Scottish Tea-The Amboy Dukes (I was surprised to hear this on KWUR.  In fact, I'd be gobsmacked to hear it on any station or stream these days, as this 1968 melody fit for bagpipes, transformed into a guitar-led instrumental, isn't an obvious playlist pick these days.  Also recommended: "Journey To The Center Of The Mind.")
• Please Come To Boston (Live)-Joan Baez (Baez's soprano fits this version of the Dave Loggins hit perfectly.)

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

• Ludwig van Beethoven: Symphony No. 6 in F major, Op. 68, "Pastoral": III. Scherzo Allegro-Trio-Tempo I-Presto (Columbia Symphony Orchestra/Bruno Walter, conductor) (The strings convey an inviting dance compellingly before the stormy fourth movement, Allegro, crashes in.)

Persistent earworm alert CDXXVIII

Now, this is a great rhythm to have stuck in one's mind.  I don't know how this tune escaped my notice in 2016, but since hearing "Everyday" by Sacred Paws on Community Radio St. Louis last night, I've marveled at how integral the drums and guitar are in underscoring the catchy vocals.  I've had similar reactions in past years to "Nothing But Flowers" by Talking Heads and Poi Dog Pondering's "Circle Around The Sun."  All three songs share a somewhat exotic vibe in the same general ballpark.

You know a rhythm is strong when it seems reasonable to hire a cadre of fans to lead audiences in clapping along with it.  The tune runs just over three minutes, but I'd welcome a version at least twice as long. 

Context? CDXXVIII

In July 1997, a commercial on WEW began, "Are your current ways for attracting business not working?  Perhaps you should consider one of the most effective forms of visual advertising--signs."

The announcer then touted the benefits of having Signarama create signs for one's business.  Hearing that ad on tape recently made me think, "Have I heard any commercials for sign-making businesses since then?  I'm not sure I have."

Sign-making is an obvious idea for a business.  Ironically, though, it's one of the least-advertised ones I've ever heard. 

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.