Context? CCCXLII

Last Thursday, I tuned into a college radio station just as one DJ was asking his three fellow DJs what they learned that day.  The first woman responded, "I learned a really hard riff in one of my choir songs."  Another woman said an article she wrote was on the front page of a newspaper.  The third woman said she'd learned to script what to say on-air.

That third response surprised me.  I always thought that as long as I had my playlist in front of me and a general sense of what I planned to say, scripting wasn't necessary--especially on a casual, noncommercial college station.

If a DJ is more comfortable scripting air breaks, though, why not?  As long as the delivery is natural, who says you can't write out what you want to say ahead of time?

Persistent earworm alert CCCXLVIII

Since last night, David Olney's version of "Absalom" hasn't left my mind.  I'm not sure why.  I've only heard it once on a streaming service over 20 years ago, but its somber melody and downcast lyrics have taken root.  "Absalom" could segue with Fairport Convention's "Polly On The Shore," which isn't a joyful tale, either.

I wish I knew how the mind works in such matters.

One breezy waltz that deserves another

After listening to "Spike's Waltz" by Warren Vache recently, I was struck by how pleasant and breezy the piano part is.  It sets the stage for the rest of the instrumental, giving it a warm, carefree, uptempo vibe.  If I were programming a jazz station, I'd segue it with Wes Montgomery's version of "Hello, Young Lovers;" Montgomery's guitar playing has a similar waltzing feel on that track.

Persistent earworm alert CCCXLVII

Over 40 years ago, I saw a reference in a pop music book to "The Cinnamon Cinder (It's A Very Nice Dance)" by The Pastel Six.  I thought, "That's the most polite parenthetical song title I think I've ever seen.  I wonder what the song sounds like."

Yesterday, I finally found out, and the song has been on my mental loop since then.  KISN, an oldies station in Portland, Oregon, played it as its lost oldie of the day.  The title's courteous vibe extends to the song, as well. In the lyrics, dancers are invited to use whatever steps they want for the Cinnamon Cinder; the lyrics, "It's a very nice dance," are spoken during each chorus to underscore how welcoming the dance is.

That soft sell of an invitation charted in 1963.  Although it isn't a song I'd seek out regularly, The Pastel Six deserve credit for the appealing civility of the tune's title and lyrics.

Online radio sampler highlights CCL

Some of the best selections I've heard today:

KISN (Portland, OR)

• Guitar Boogie Shuffle-The Virtues (If you like the guitar stylings of The Ventures, you'll probably also enjoy how The Virtues let the notes reverberate in this 1959 guitar instrumental.)
• Time Won't Let Me-The Outsiders (The upbeat rhythm of this 1966 oldie holds up, and the lyrics work in any era.)

KTRU (Houston, TX)

• Houston Special-The Rooftop Singers (I reflexively like any guitar part that mimics a train, and this folk trio, best known for the hit, "Walk Right In," carries off the guitar playing and vocals compellingly.)
• Today-Jennifer O'Connor (Sensitive vocals and acoustic guitar convey honest lyrics about how weighty it is to commit to someone.)

WCLK (Atlanta, GA)

• La Costa-Vanessa Williams (Williams sings some of the most immediately appealing vocals of 2024 in this strong cover of a Natalie Cole tune.  This August release could easily paint an inviting picture of a vacation destination in tourism commercials.  The "Ah, yi, yi, yi, yi, yi, yi" hook is just as captivating in both versions.)
• The Breaks-Golden Mean (This is approximately how a guitar shredder such as Eric Johnson, Steve Vai, or Joe Satriani might sound over a smooth jazz backdrop.)

WQAQ (Hamden, CT)

• Turn That Heartbeat Over Again-Steely Dan (This unusual call-and-response among three vocalists  builds to a memorable chorus.  It's one of many examples of how Steely Dan hit the ground running on its debut album, "Can't Buy A Thrill.")

WSCS (New London, NH)

• Franz Joseph Haydn: String Quartet in D minor, Op. 76, No.2: IV. Finale: Vivace assai (Tatrai Quartet) (A spirited frenzy of a conclusion to this quartet.)
  

All about the names II

Tonight, when unearthing a tape of a prep sports radio report I'd done in 2006, I was glad that I'd written on the label, "good content; lots of names in highlights."  I know that most sports reports are "here today, gone tomorrow" bulletins that aren't intended to stand the test of time.  Still, I'm more inclined to listen to an old report of mine when I know there are lots of highlights.  A list of old scores doesn't do much for me.  Frequent highlights, however, remind me which players led their teams to victory and how certain teams pulled off come-from-behind wins.

While those games have no bearing on my life, it's nice to be reminded that just as I used to take pride in my high school bass-playing accomplishments, student athletes also had their own achievements to savor--achievements that went beyond just final scores.

By process of elimination... II

Another thought on yesterday's post:  I'll bet if the Radio Shack catalog had arrived in the mail when our other family cat with a first initial of R was around, Mom would have received a more defiant response.  The dialogue, translated from cat language to English, likely would have gone like this:

Mom: Rosie, have you been ordering stereo equipment?

Rosie (stamping a paw:) Yes, I have!  If I'm going to make my grand entrance in time to The String Cheese Incident's "Rosie," everyone should know I'm about to appear.  The music should ping off of every wall, and everyone upstairs and in the hallway should know by hearing my theme song that my appearance is imminent!

We couldn't technically prove that Rosie, our outspoken calico, thought of herself as royalty, but her demeanor suggested it.