Persistent earworm alert CDXLIII

I'm not sure what triggered Richard Marx's 1987 hit, "Don't Mean Nothing," to lodge itself in my mind tonight.  Soft rock stations played it frequently when it was a hit, but I don't hear it often today.  I'm not sure if I'm responding to the lyrics subconsciously about thinking in bottom line terms and not trusting anyone too easily.  Most likely, I'm just trying to stay alert by thinking of the tune's assertive rhythm.

An appealing directive

Dr. E., who administers botox injections in my vocal cords, told me recently that he'd spoken with a singer from the band The 11th Commandment.  He said that according to that singer, the 11th commandment is, "Thou shalt rock out."

I replied, "Considering that the actual 10 commandments are matters of common decency or common sense, it's refreshing to have one commandment that promotes self-expression."  

Context? CDXLIII

I did a double take after hearing a radio talk show host say recently, "Getting away from the topics of cheerleading and peaches..."

I suppose that's not unusual on a talk show, however.  With so much time to fill, hosts can easily drift from carpet cleaning to increased grocery prices to what it was like attending a baseball game.  Talk show topics are often derived from what's going on in the hosts' lives, after all, so you can't expect all topics to be related. 

A function of age XLIX

Twice in recent days, I've had the unpleasant experience of realizing that two cassettes are in precarious condition.  As the tape in one of them started wobbling recently, I thought, "Why is this happening?  This is a type IV metal bias cassette, which was the highest quality cassette one could buy--in 1991, just a mere 35 years ago."  Then, on a different tape recorder, it took forever to rewind a different cassette just so I could hear one song.  Eventually, I had to rewind the cogs by hand to get back to the song's intro.  I thought in jest, "Why is this tape so sluggish in its rewinding?  This album was just released on cassette in 1993.  Granted, that was 33 years ago, but it's more recent than 1991.  Oh, well.  It'll take about three days to rewind the tape if I ever want to hear this song again, but the sound quality has held up, at least." 

Not surprisingly, no one has accused me of recency bias lately.

Insufficiently enthused?

At a radio station where I worked, a person formerly connected with the station entered the studio and asked if the DJ on the air after me would run one of his commercials.

The DJ replied, "OK."

The visitor said dejectedly, "Well, if you don't want to run it, then...," and left the studio.

The DJ and I looked at each other, perplexed.

The DJ asked me, "Did I say I didn't want to run the commercial?"

I replied, "I'm not sure why (the visitor) reacted that way, either.  Maybe he expected you to do cartwheels or backflips." 

You'd think saying, "OK," would be an affirmative way of agreeing to run a commercial. 

In memory of David Clayton-Thomas

Since reading this afternoon about David Clayton-Thomas's passing, I've thought about how well his vocals sell various Blood, Sweat & Tears songs.  These are my favorites, three of which were big hits in 1969:

• And When I Die (Although I think Laura Nyro's original version deserves more acclaim than it often gets, Clayton-Thomas really commits to the inevitability of life ending for everyone.  He cuts loose particularly effectively during the "Here comes the devil..." passage.)  
• God Bless The Child (Over time, this has become my favorite Blood, Sweat & Tears track from the Clayton-Thomas era.  Many artists have covered "God Bless The Child," but this is one of the best versions I'll likely ever hear, due in part to how the vocals segue into an uptempo romp for the piano and horns.) 
• Spinning Wheel (This oldie still gets played today.  That doesn't surprise me, as it doesn't leave a listener's mind easily.  Lyrically, it's a good, eccentric reminder that bleak situations can change for the better.)
• You've Made Me So Very Happy (The effective, suspenseful instrumental opening leads compellingly into lead vocals that, by Clayton-Thomas's standards, are semi-subtle at first before becoming more assertive.  That buildup serves the song well and demonstrates convincing showmanship.)

Online radio sampler highlights CCCII

Today's recommended selections:

KBLU (Logan, UT)

• Letting Go-Angie McMahon (Admirable lyrics about figuring out how to end relationships gracefully and learn from one's errors.)

KRVM (Eugene, OR)

• All Those Years Ago-George Harrison (This wasn't usually played on the radio after it was a hit, given how of its time it sounded.  Lyrically and melodically, this 1981 tribute to John Lennon was one of Harrison's best solo efforts, however, and was deservedly one of his biggest hits.)

WAJH (Birmingham, AL)

• Canadian Sunset-Richie Cole & Tony Monaco (I always enjoyed playing Hugo Winterhalter's version of this on WEW.  Cole and Monaco jazz it up with an appealing bounce on saxophone and organ, respectively.)
• Impressions (Live)-Wes Montgomery & Wynton Kelly Trio (A steeplechase in the best sense, with brisk, energetic guitar work from Montgomery and piano playing from Kelly.) 

WHDD (Sharon, CT)

• William Bolcom: Tabby Cat Walk (John Murphy, piano) (A self-assured ragtime melody.  I can imagine my tabby cat, Collette, washing her fur in time to this.) 

WMWV (Conway, NH)

• Yes To You-Susan Werner (Empowering lyrics against a backdrop of upbeat, bluesy instrumentation acknowledge that some relationships are best left dissolved.) 

Segue suggestion XVII

While listening to Downy Mildew's "Left Foot Down" yesterday, I had an epiphany.  I don't know how I didn't think of it earlier, but "Left Foot Down" would flow well into "Anywhere" by Ratboys.  The songs have compatible lyrics about pursuing someone rather insistently, set to catchy, uptempo rhythms.

One could argue that both sets of lyrics aren't far removed from stalking, but I'm choosing to overlook that and just enjoy the tunes. 

A function of age XLVIII

Although it doesn't affect the sound of the record, I was puzzled to see that the cover of my LP containing two Mendelssohn symphonies looked more worn and scuffed than I remembered.

I thought, "How can this be?  I just bought this album in--um, well, 1986--a 'mere' 40 years ago.  Actually, that's only recent geologically speaking." 

Context? CDXLII

I find it amusing and refreshingly honest that there's a radio retirement planning program called "Keep What's Yours."

It would amuse me even more if the show used "I Me Mine" by The Beatles as its theme song.

FM dial scan highlights CCCVII

Today's standouts:

WSIE 88.7 FM 

• Snake Bone-Lou Donaldson (This is one of the hippest late '60s instrumentals I've heard, and not just because of Donaldson's saxophone playing.  Charles Earland's organ playing is also essential in maintaining the groove, and every instrumentalist contributes something noteworthy to this tune's mood.)

KCLC 89.1 FM

• Don't Get Me Wrong-The Pretenders (Still one of the classier ways to say that someone has caught your eye.  The Pretenders have had a consistently impressive track record, which is why I've recommended them many times.)

KCFV 89.5 FM

• AA Is For Quitters-From Mars To Venus (I paid less attention to the lyrics and more attention to this tune's general vibe as I listened.  This is indie rock with an ear-catching Celtic swing.)

KWUR 90.3 FM

• Freda Swain: Concertino For Clarinet and String Orchestra. "Lumine naturi:" III. Allegro assai (London Mozart Players/John Andrews, conductor; Peter Cigleris, clarinet) (Impish, fluttering clarinet trills give way to gripping drama.  This is a compelling blend of clarinet and strings.)
• Alexander Scriabin: Piano Sonata No. 2 in G-sharp minor, Op. 19: I. Andante (Daria Vasileva, piano) (Lush and lyrical.  This movement is subtle initially but demands the listener's attention during its forceful passages.  Sidebar: I was disappointed to see that I was the only person listening online during this portion of "Musica esoterica."  The announcer said he was about to play some requested selections for another listener, though, so I trust that she was listening to the radio.) 

SiriusXM highlights CLXXV

Today's standout tunes:

'60s/'70s R&B Hits

• It Only Takes A Minute-Tavares (The subject matter of "...Minute" differs considerably from "Back Stabbers" by The O'Jays, but those songs are rhythmically compatible.) 

Country Coffee House

• Conversations With The Moon-Kitty Coen (Modern-sounding low-pitched vocals against a backdrop not unlike many '50s doo-wop songs.)  

B.B. King's Bluesville

• Mind Your Step-Laura Chavez (Electric guitar stylings with considerable grit, fit for hitting the open road.) 

Luna 

• Teach Me Tonight-Tito Puente (This instrumental's cha-cha rhythm makes it easy to segue with Les Brown's bossa nova version of "Begin The Beguine.") 

Real Jazz Just Music

• The Song Is You-Pat Bianchi (Bianchi's lightning fast organ playing serves this standard well.)

SiriusXM Love

• (Your Love Has Lifted Me) Higher And Higher-Rita Coolidge (Jackie Wilson had a big hit with this in 1967.  Ten years later, Coolidge had an even bigger hit with it.  Coolidge's vocals, and a slower yet still energetic tempo, made this an especially strong remake.) 

Watercolors

• Carmel-Joe Sample (This has a bit more bite than I'm used to in Sample's solo piano recordings.)

Yacht Rock Deep Cuts

• Little Darling (I Need You)-The Doobie Brothers (A perfect cover; Michael McDonald handles lead vocals with his customary force.  The instrumental interlude from 1:40 until 2:08 is one of the most infectious I've heard, as it builds upon the momentum of McDonald's preceding vocals.  How was this not a hit?)

The challenge of being in the background

Recently, I listened to Porcupine's self-titled CD, which I hadn't heard in a while.  As I listened, I thought, "There's a pleasant consistency to these tracks--appealing smooth jazz with easy-to-digest keyboard parts, sunny saxophone, and a good undercurrent of bass.  I wonder why I've never heard this group's music on the radio."

I knew the answer, though.  When your music is consistent but consumed largely as background accompaniment, it's easy for it to get lost in the shuffle of similar-sounding artists.

Such is the challenge smooth jazz and new age artists face.

Persistent earworm alert CDXLII

The electricity has gone out five times today.  The first four times, the power outages only lasted, at most, about as long as Chopin's "Minute Waltz."  The fifth power outage, however, lasted over 20 minutes.

It's interesting to ride out a power outage with "Minute Waltz" playing on a back-of-the-mind mental loop 20 times.  Who knew that such a fast piece could have such a calming effect?

Online radio sampler highlights CCCI

These are six of the more interesting tunes I've heard today:

KBZR (Baker City, OR)

• 'Til You Know-Slippers (This new release's catchy jangly guitar power pop underpinning takes the edge off of lyrics about a relationship that probably can't be salvaged.)

KVSF (Santa Fe, NM)

• Come Rain Or Come Shine-Milt Jackson Quintet (Jackson's mellifluous vibraphone and the piano playing on this rendition conjures up the feel of many Bill Evans piano recordings, which I always consider a plus...)
• Too Blue-Victor Feldman (...Feldman, on the other hand, captures a different mood on the vibraphone here throughout this sly walk of a melody.) 

WSUM (Madison, WI)

• Why Try To Change Me Now?-Fiona Apple (Apple's low-pitched vocals and sublime piano playing fit this Cy Coleman-penned standard perfectly.  I'm not sure how this version escaped my notice until now.)

WTIP (Grand Marais, MN)

• Mandarin Moon-Pearl & The Oysters (The '70s-style flute and keyboard stylings. in conjunction with endearing vocals, give this May release a surprisingly sunny vibe.  That's not what I'd expect from a song about the harrowing subject of surviving a fire.  Rhythmically, this could segue with EchoWave's "Sad Dream.")
• Red Sun-Big Wild (The captivating midtempo dance beat serves the vocals well.  If this tune had existed in the early '90s, I would have played it on KCOU.)

Reassuring continuity

I graduated from college over 30 years ago, so it's not surprising that most of the music department instructors during my time there have retired.  It's nice to see that a few of them still teach there, though.  

I know that the passage of time is inevitable, but I'll take all the links to my years there that I can get.

Underscoring the thrill of the chase

While listening to Sammy Nestico's "Dark Orchid" yesterday, I wondered if the tune had ever underscored a chase scene in a TV drama or movie.  It should, as that instrumental conveys a tense, suspenseful vibe while falling somewhere between a Chuck Mangione track and the Isaac Hayes classic, "Theme From 'Shaft.'"

Context? CDXLI

An AM radio caller said this morning, "Of the Three Stooges, my favorite is..."

...And, that was my cue to change stations.  Although it has been about 45 years since I last saw anything they did, I'm certain their comedy isn't for me.  I know they had a long career and people still watch them today.  The appeal of their humor just eludes me, though.  Even as a 10-year-old, I thought, "This is a form of entertainment?  Really?"

No law requires every form of humor has to be cerebral, but...

Persistent earworm alert CDXLI

Although it was a relatively big hit in 1978, I've almost never heard Atlanta Rhythm Section's "I'm Not Gonna Let It Bother Me Tonight" on the radio.  Until today, about the only part of the song I'd remembered was the title being sung in the chorus.  After looking up the lyrics, they're a lot darker than I realized.  I'm choosing to ignore that, however, and focus on the bounce in the rhythm that reminds me of one of the band's best earlier songs, "Angel."

FM dial scan highlights CCCVI

Five of the better songs I've heard this morning:

WSIE 88.7 FM

• Hey, Western Union Man-Grant Green (A cool, expansive instrumental take on the Jerry Butler hit.  There's great interplay between the guitar, organ, and tenor sax.  Even after seven minutes and change, I wouldn't have minded hearing this continue.)
• What Is Meant To Be-Lindsey Webster (There's a general consistency in Webster's emotive vocals that I like.  This pleasant blend of R&B and jazz is ideal for a late night playlist.)

KCLC 89.1 FM

• Same Stars-The Vindys (This March release has a compelling vibe, a solid hook, and good synergy between the vocals and keyboard.  Makar's "I Can't Tell You To Stay" wound sound right to me before this, and "Domino" by Nicole Atkins could follow it.)

KCFV 89.5 FM

• I'd Like That-XTC (Just when you think you've heard every possible way of saying, "You're the one for me," along comes "I'd Like That."  These are typically unique XTC-style lyrics with compelling acoustic guitar backing.)
• Spyz-The Urge (Loud, energetic ska-rock.  This has to be cathartic to sing and play.  Also recommended: "Strangers" and "Just Don't Know.") 

Online radio sampler highlights CCC

Six standout tunes heard today:

KDLR (Devils Lake, ND) 

•  Letting Go-Suzy Bogguss (A heartfelt way of acknowledging that kids grow up so fast.)

KMHD (Portland, OR)

• Waves-Charles Lloyd (A very 1972 jazz-meets-prog-rock groove, with Lloyd's flute playing fluttering over a melody that sounds somewhat like Todd Rundgren's "I Saw The Light.")

KRML (Carmel, CA)

• Just The Once-Metric (This 2023 track pairs lyrics about being morally precarious with a catchy dance beat.) 

WDIF (Marion, OH)

• Evil Hearted-Joyann Parker (A sly keyboard part and walking bass line underscore bluesy, forthright vocals.) 

WFHB (Bloomington, IN)

• Someone To Watch The Band With Me-Tift Merritt (This April release is a direct way of asking someone, "Why aren't you here with me?"  I'm inclined to like tunes with this type of loping rhythm.)

WJVX (Chicago, IL)

• Selfish One-Jackie Ross (The lyrics start out conveying a message similar to that of Tift Merritt's "Someone To Watch The Band With Me."  Happily, the situation resolves itself pleasingly for both parties involved.  There's a bright bounce in this tune's step, so I was pleasantly surprised to learn that it was a fairly big hit in 1964.)

Context? CDXL

I agree with the radio personality who said recently that just because a TV show has a sad or off-putting ending, it doesn't ruin the entire series.  He's correct that viewers should still be able to enjoy the journey.

I didn't like all of the main characters except for Ted Baxter being fired from the WJM newsroom on "The Mary Tyler Moore Show," but I still treasure that show for its first class writing and acting.

"Seinfeld" ended on too much of a sour note for my taste, but the episodes I enjoyed most, such as "The Chinese Restaurant," "The Jacket," and "The Phone Message," are still as humorous to me as they were originally.

I also wasn't crazy about the way "How I Met Your Mother" ended, but that hasn't stopped me from appreciating the friendships between the core characters and revisiting the show via podcasts.

There's more to a sitcom than its last episode.

SiriusXM highlights CLXXIV

This morning's noteworthy tunes:

'40s Junction

• Idaho-Ray Anthony (All brass and wind players on this recording should be proud of how effectively they swing the rhythm here.)

Acoustic Guitar Instrumentals

• Sunshine Falling-Lance Allen (A happy-go-lucky rhythm fit for skipping.)

Carolina Shag Radio

• The Entertainer-Tony Clarke (With its engaging rhythm and lyrics that sound like a prototype of "The Tears Of A Clown" by Smokey Robinson & The Miracles, this should have been a bigger hit in 1965.  Lyrically, this has a readily apparent "show must go on, regardless of how you feel" vibe.)

Chucho's Cuba & Beyond

• Solar-Chucho Valdes (This piano-anchored version of a tune best known in its Miles Davis incarnation allows for plenty of dazzling piano and saxophone improvisation.)

Lo-Fi Sleep

• Twilight-Kupla (An interesting blend of new age piano with a hip-hop backbeat.)

North Americana

• Devil That You Know-Emma Elena Grace (Lyrically and rhythmically, this vocals-and-acoustic-guitar tune could segue with Michael Penn's "Me Around.") 

Watercolors

• Desafinado (Slightly Out Of Tune)-Karrin Allyson (Scores of artists have covered this Antonio Carlos Jobim-Newton Mendonca tune.  Allyson's version is a commendable one, with inviting vibraphone and vocals.)

Yacht Country

• Jackie Blue-Ozark Mountain Daredevils (This is actually soft rock, not yacht country, to be clear.  I've always thought this 1975 hit, with its appealing rhythm and interesting structure, is an interesting way to tell the story of a risk-averse person.  "Castle On The Hill" by Ten Hands presents a comparable narrative in more blunt terms.)

Persistent earworm alert CDXL

Since the passing of actor Anthony Stewart Head, I'm sure I'm not the only "Buffy The Vampire Slayer" fan who has had his performance of The Who's "Behind Blue Eyes" in mind.  After watching the episode in which he sings it again, I realized that he belts the tune more forcefully than I remember.  Head proves that a strong voice and an acoustic guitar are all one needs to make Pete Townshend's lyrics in "...Eyes" sink in.

Context? CDXXXIX

I knew I was in a sour mood a couple of weeks ago when I woke up and sang, "Things had better go my way," to the tune of Lenny Kravitz's "Are You Gonna Go My Way?"

Context? CDXXXVIII

Props to the Community Radio St. Louis DJ last night for an update you wouldn't typically hear on a stodgy, by-the-book commercial station.  After back announcing a music set last night, she mentioned that a moth was flying around the studio and distracting her.  While playing her last song of the night, she broke in to let everyone know that the moth had left the studio safely.

Credit for humanity there. 

Online radio sampler highlights CCXCIX

Six standout tunes heard today:

KDRP (Dripping Springs, TX) 

• Operator-Jim Croce (One of the most thoughtful, tuneful examples of talking through what you're feeling and reconsidering your original plan.  "Operator" isn't played on the radio nearly as often as it used to be, and I've missed hearing it regularly.)
• Little Too Late-Nicki Bluhm & The Gramblers (Rhythmically, this reminds me of The Band's "Up On Cripple Creek."  I like the confidence with which Bluhm sings this.  The more of her music I hear, the more convinced I am that her band and she should be household names.  Also recommended: "Only Always," "Waiting On Love," "Love Your Loved Ones," and really, the entire "Loved Wild Lost" CD.) 

KUWL (Laramie, WY)

• If Someone Had Told Me-Thad Jones (This movingly elegant trumpet-and-piano ballad could segue with multiple Blue Mitchell tracks.)
• Once In A While-Art Tatum (A warm piano-and-clarinet melody that swings gently.)

WITT (Indianapolis, IN)

• Courtoise musette-Sandra J. (There's nothing like a cheery accordion instrumental to take the edge off of one's day.)
• Silver Wheel-Andreas Vollenweider (There's an appealing determination in this melody, which isn't always apparent in new age instrumentals.  Vollenweider's "Hirzel" would flow well into this, which I consider a plus.  Sidebar: WITT certainly lived up to its billing as "unpredictable radio" today.  Within a 15-minute span, listeners were treated to accordion player Sandra J., Andreas Vollenweider, Philip Glass, and Kenny Rogers.) 

Welcome, familiar ground

I was always pleased when I learned that an ensemble in which I played was going to play a piece I'd already played with another orchestra.  The best example of this was Franz Schubert's eighth symphony, "Unfinished."  During one rehearsal, I was playing it with fierce confidence, going to town as if I'd played it several hundred times by memory.  When the conductor stopped the orchestra to go over a particular passage, he looked over at me and said, "Very good!"  The seriousness with which I replied, "Thank you," elicited a few giggles from the first violinists.

It didn't bug me at the time, but later, I thought, "I wonder if I was approaching a 'Be Not Afraid' level, instrumentally." 

FM dial scan highlights CCCV

This morning's recommended gems:

WSIE 88.7 FM 

• Butterfly-Jeff Bradshaw & Christian McBride (I remember playing Herbie Hancock's 1995 "Dis Is Da Drum" version of this on KNJZ.  This is an impressive cover of the tune, giving it a spacier, late night feel.)
• Feelin' Free-Andrea Lisa & Rebecca Jade (Pleasant smooth jazz guitar underscores these lyrics about being selfless without turning into a doormat.  This January release is one of the most soothing tunes I've heard so far this year.)

KCLC 89.1 FM

• Long Way To Fall-Bedouine (When is it appropriate to help someone who's struggling?  Bedouine's graceful vocals fit these sensitive lyrics well.)

WARH 106.5 FM

• Don't Dream It's Over-Crowded House (Still one of the best opening guitar licks; as good as this hit is, there's so much more to this band, especially on its treasure trove of great harmonies and lyrics, the "Woodface" album.)

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

• Mikalojus Konstantinas Ciurlionis: In The Forest-Symphonic Poem (Slovak Philharmonic Orchestra/Juozas Domarkas, conductor) (The strings, winds, and brass convey effective initial tentativeness of wandering in a forest.  Through lush, expressive playing and forceful crescendos, they also capture the beauty of a forest equally well.)

Proof of fandom

Whenever a musical artist I like retires or passes away, I often think, "How much of their music have I bought?"  Even if it was just two of their albums or a handful of scattered songs, I feel a little better knowing that I contributed, at least on a modest scale, to their being able to make a living doing what they love.