jump to navigation

Audiobooking 8 March 24, 2023

Posted by Mike C. in Animation, Audiobooks, Basketball, Comedy, Film, Game Shows, Golf, History, Media, Music, News, Personal, Podcast, Politics, Radio, Rock, Sports, Technology, Theatre, TV, Video Games.
add a comment

It’s time for the annual “audiobooking” post. Most are visible in the thumbnail, but here are all the audiobooks (with links) that I’ve listened to on Audible since post #7 last year:

That’s a total of 27 audiobooks (two co-written by O’Reilly, one wholly by Reilly), plus two returns. Everything from I’m a Still a 10-Year-Old Boy through Face the Music was purchased in October while Audible steeply discounted their catalog. Since then, I only use Audible credits on audiobooks over $14.95, the monthly membership fee. Of course, if I buy three credits for $35.88, then I’ll buy anything over $11.96.

Next year’s “audiobooking” post will be the ninth overall, but the tenth anniversary. Until then, happy listening.

Advertisement

Instrumental Invasion, 3/22/23 March 23, 2023

Posted by Mike C. in Airchecks, Audio, Football, History, Internet, Jazz, Media, Music, Personal, Radio, Sports, TV.
add a comment

The March 22 Instrumental Invasion on WCWP was recorded one hour per day on January 30 (after completing last week’s show) and 31. Pickups were recorded on the 31st and February 1.

The playlist was created alongside last week’s on January 20, annotations followed on the 25th, and the talk break script was drafted on the 27th.

Key January 31 pickups were for the Gregg Karukas song I played. I didn’t realize my mistake until putting “Soul Secrets” into Adobe Audition and seeing its shorter duration. “Secret Smile” was the song I wanted, and it had radically different credits. So, I fixed the annotations and script. I also recycled Jeff Kroll’s “smile, Mike!” from the earlier liner. That liner led into “Behind the Rain” by Herb Alpert. This time, I didn’t even bother guessing who played what, but I challenge you to listen and not think of slow-motion NFL highlights narrated by John Facenda.

Another notable pickup padded out hour 2’s second segment, ad-libbing January 20 tidbits that I left in the annotations, but didn’t put back in the script.

This was only the fifth show in 155 without a song by David Benoit. Like the other four times, he will be back next week.

Click here to download this week’s scoped aircheck or listen below:

Instrumental Invasion, 3/15/23 March 16, 2023

Posted by Mike C. in Airchecks, Animation, Audio, Comedy, Internet, Jazz, Media, Music, Personal, Radio, TV, Video, Weather.
add a comment

The March 15 Instrumental Invasion on WCWP was recorded one hour per day on January 29 and 30, with pickups on the 30th. After hearing the filtered audio over the air on January 25, I abandoned the technique. The two locations I record at have unique audio quality, and there’s no point in trying for a uniform sound.

The playlists for this week and next were created on January 20. This week’s annotations came on the 24th and 25th, and the talk break script was drafted on the 26th and 27th.

I led the show with Quincy Jones’s “Killer Joe” arrangement to make up for my blunder on January 18. I superstitiously neglected to acknowledge Q’s 90th birthday on Tuesday; the perils of recording in advance. I did, however, acknowledge the January blunder while back-selling “Chicken Joe” by Joe McBride. The talk-up for that song referenced Chicken Boo from Animaniacs. (I had no idea season three of the Hulu reboot was to launch on February 17.) My cluck for the tease was inspired by Jay Sherman’s (Jon Lovitz) cluck in The Critic series finale.

I’d been meaning to play “Free” by Beth Michaels ever since TWC Classics posted its appearance in a [glitchy] November 27, 1994, local forecast:

RIP Dan Chandler

During the annotation process, “Metro Blue” by Richard Elliot replaced Kenny G‘s cover of “The Way We Were.” Wikipedia’s entry for the album it appears on lacked concise credits, as did all other online resources. Forgetting I had the CD at home, I hastily searched for a replacement, settling on “Metro Blue.” The Metro Blue record label tidbit I had in mind for “Coastline” next week was moved up a week.

I took an educated guess on Herb Alpert‘s “Rotation” personnel.

The playlist included three retreads:

Click here to download this week’s scoped aircheck or listen below:

Instrumental Invasion, 3/8/23 March 9, 2023

Posted by Mike C. in Airchecks, Animation, Audio, Comedy, Comics, Computer, History, Internet, Jazz, Media, Music, Personal, Photography, Radio, Technology, TV, VHS, Video, Video Games.
add a comment

Since there’s much to discuss and many photos and videos, I’ll post the scoped aircheck up here (and below) instead of at the end:

The March 8 Instrumental Invasion on WCWP was recorded from January 14 to 16: the first hour on the 14th, the next two segments on the 15th, and the last on the 16th. Pickups were recorded that day and the next (January 17).

Due to a facility issue at the Abrams Communication Center, WCWP activity was not allowed the day this show aired. Station manager Pete Bellotti informed me the show would air at 7PM and 9PM since there couldn’t be a live edition of The Rock Show. The above scope is from the 7PM broadcast.

The playlist was created and mostly annotated on January 11. The rest of the annotations came on the 12th, followed by the talk break script draft that carried into the 13th. A timing error in the first segment meant I had to make up a 72-second surplus. I successfully made up that time without having to remix segments.

Five songs in this show have appeared in prior shows:

“Freda” was preceded by David Benoit‘s arrangement of “Frieda with the Naturally Curly Hair” from Here’s to You, Charlie Brown: 50 Great Years! I had yet to see the special that gave David’s CD its name, but watched a few days after completing production. Here it is:

A chance viewing of a video that showed the differences between the original and subsequent airings of A Charlie Brown Christmas got the ball rolling on Peanuts documentaries and specials. The first video YouTube recommended was the documentary A Boy Named Charlie Brown, not to be confused with the later film:

I challenge fellow Peanuts fans to count how many scenes foreshadow later specials and films.

The second video chronologically was the third recommended to me: Happy Anniversary, Charlie Brown.

The second special I watched was It’s Your 20th Television Anniversary, Charlie Brown. (I originally omitted the “television” part, correcting the error in my January 17 pickup.)

The last special I watched on YouTube before working on this show was You Don’t Look 40, Charlie Brown. This special coincided with the unrelated CD Happy Anniversary, Charlie Brown! David Benoit appears in a “Linus and Lucy” music video, concluding with his anniversary wishes to Good Ol’ Charlie Brown.

I bought a VHS copy on eBay years ago, but don’t know what I did with it.

After Here’s to You, I watched the CBS News special Good Grief, Charlie Brown: A Tribute to Charles Schulz, hosted by Walter Cronkite:

This aired February 11, 2000. Schulz died on the night of the 12th, and his last Peanuts strip ran on the 13th. The above thumbnail is of Donna Mae Wold (née Donna Mae Johnson), who inspired the Little Red-Haired Girl.

And just this Sunday, the following ran on CBS Sunday Morning:

Lee Cowan’s report featured Schulz’s widow Jean and Pearls Before Swine cartoonist Stephan Pastis (first name pronounced like Stephen Curry).

As my Facebook friends and Instagram followers know, I obsessively archived Brian Simpson‘s Closer Still CD for posterity since it’s rare for anyone to find the real thing. (You can’t even find it on eBay!) I won’t share my WAV and MP3 rips from the CD since you can buy and stream the tracks digitally from places like Amazon Music, Apple Music, and Spotify. I will, however, share my camera photos and flatbed scans. Photos first:

The Discogs seller may have paid $2.99, but I was more than willing to pay their asking price of $39.97, plus shipping and tax. Archival!

Scans:

I used the magic wand tool in Adobe Photoshop to edit out the black background, then cropped the image.
This was also cropped after removing the white background. Each of the last two were scanned in grayscale. All the rest were RGB color.
I even scanned the CD.

“Hidden Pleasures” (track 4) was the centerpiece of my three Brians segment (two Brians, one Bryan). The talk break that followed paid homage to two video game-centric content creators: Game Dave and Metal Jesus, with a reference to Frank Cifaldi and the Video Game History Foundation for good measure. Metal Jesus occasionally posts “hidden gems” videos, highlighting overlooked video games. Here’s a marathon of six episodes he did on Wii hidden gems:

Thank you for reading to the end of this post. I’ll return to the regular show recap format next week.

My city pop discovery (and reacquaintance with Garfield and Friends) March 5, 2023

Posted by Mike C. in Animation, City Pop, Comedy, Comics, Film, Game Shows, Health, Internet, Jazz, Media, Music, Personal, Phone, Pop, Radio, Technology, Travel, TV, Video, Video Games, Weather.
2 comments

NOTE 1: This is also a Garfield and Friends story with several montages among the city pop material. Those montages led me to city pop.

NOTE 2: I consulted my computer audio recordings of the Garfield and Friends DVDs to ensure the video embed caption quotes are verbatim.

NOTE 3: I even spend a paragraph on The Weather Channel tribute site TWC Classics, a simulator that re-creates the old local forecasts, and recently departed announcer Dan Chandler who lent his narration to the sim.

Nearly 50 years ago, Japan’s economy was booming and a new leisure class developed. That leisure class begat a new Japanese pop music genre, borrowing elements of various Western music genres. They called it city pop. What began in the 1970s, peaked in popularity in the ’80s, then fell out of the Japanese mainstream.

City pop found a new Western audience in the 2010s thanks to blog posts like mine (but earlier), Japanese reissues of the genre’s albums, and YouTube uploads of the albums’ tracks. From a 2023 perspective, I give YouTube most of the credit. Today, it is the best city pop recruitment tool.

The rest of this post is about how I discovered city pop and recounts my first nine days as a fan. If you want to read more about the genre and its resurgence, I recommend Cat Zhang’s 2021 Pitchfork article and Wikipedia’s city pop entry.

On February 19, YouTube recommended a video with random clips from my favorite cartoon series, Garfield and Friends:

Jim Davis created the Garfield comic strip and CBS TV specials, but Mark Evanier (with Sharman DiVono for three seasons) spun comedy gold on CBS Saturday mornings from 1988 to 1994 (the last rerun aired in ’95). I can quote parts of episodes or even whole episodes. So, when watching the above clips, I knew what happened next.

The next Garfield and Friends clip in my recommendations came on February 20:

The evening of February 21 was my city pop entry point, but we’re not there yet. The prelude to the entry was this:

“Today [Monday], Garfield, we’re going to eat nothing but raisins!”

Full disclosure: I met Jim Davis at a signing in March 1995, but I was too shy and just had him sign a sketch. And I interviewed Jon Arbuckle voice actor Thom Huge (HUE-ghee) three times for The Mike Chimeri Show. (In retrospect, I would have held off on the first interview until his voice was back to normal.)

The Jon Arbuckle montage led YouTube to recommend this:

According to Know Your Meme, the video originated in the 1991 CBS TV special, Garfield Gets a Life, where it was set to “Shake Your Paw,” performed by The Temptations. The score and three songs (including “Shake Your Paw”) were written by David Benoit (music) and Desirée Goyette (lyrics).

Whoa! What is that song that sounds vaguely like “Burnin’ Up the Carnival” by Joe Sample (from Voices in the Rain)? I scrolled down and saw the song was “4:00 A.M.” by Taeko Onuki (or Ohnuki). I searched Google on my iPhone and the Taeko’s Wikipedia entry (linked in the previous sentence) and found the song. That prompted the YouTube app where I heard the whole thing:

Whoa again, it appeared on an album with the last name of a few of my friends, but with an extra N. Lyrics are here.

1:30 PM UPDATE: A member of the My Life in Gaming Discord server told me the album title was part of Taeko’s fascination with French media, which I confirmed after a Google Search yielded this 2017 interview. Still, Mignonne is one letter off from my friends of Italian descent.

3:10 PM UPDATE: I just finished reading the interview linked in the prior update. It was an interesting read, but I was disappointed to learn Taeko did not like Mignonne because of what transpired during production. The resulting disenchantment, and poor sales, made her take a two-year hiatus from the music industry. Anyway, back to the good stuff.

Taeko’s Wikipedia entry led me to the one on city pop. That’s what I heard and I wanted more.

I could not stop listening to “4:00 A.M.” Ironically, it kept me up past midnight, but not as late as 4AM. I was up at 4AM on March 4 when I drafted this blog post thanks to a period of strong easterly winds that buffeted my bedroom window. The song’s refrain may sound vaguely like the later “Burnin’ Up the Carnival,” but the song otherwise had more in common with the works of Bob James and Grover Washington Jr. The line “ima o” was phrased like “that’s the time” in “Feel Like Makin’ Love” by Roberta Flack, which Bob played on and then covered. The guitar solo on the ending breakdown sounded like it came from Eric Gale‘s hands. (It was from Tsunehide Matsuki‘s hands.) I have repeatedly imagined Grover Washington himself covering “4:00 A.M.” on alto saxophone, soloing (improvising) from the last refrain, through the breakdown, all the way to the end.

I should probably acknowledge that I am on the high-functioning end of the autism spectrum, formerly known as Asperger Syndrome. That probably explains my intense focus on one thing or another, and attention to detail.

I was busy with radio show production on February 22, but “4:00 A.M.” was in the back of my mind and I was intent on extracting the audio and assigning the WAV file to a vintage Weather Channel local forecast flavor in my WeatherStar 4000 simulator. Now, I could hear all but the last 36 seconds with the current conditions and forecast, peppered with Dan Chandler’s re-created narrations. (I was in touch with Dan for a few weeks midway through my tenure at WGBB, and he even called in while I was playing a song. I didn’t put him on, but relayed what we talked about, including “reading the sports pages” as he listened to the live stream. After writing that sentence, I’m sorry to learn that he passed away on February 7 [obituary].) The simulator was already populated by music cues from The Price is Right and adjacent Goodson–Todman game shows. See the February 15 Instrumental Invasion recap for more on that obsession.

While my “4:00 A.M.” obsession continued, YouTube had more city pop recommendations, including a modern music video for Mariya Takeuchi‘s “Plastic Love“:

Mariya only appears audibly through the original 1984 song. In ’82, she married the king of city pop, Tatsuro Yamashita. I was impressed that her English vocals were English, not transliterations.

Oh, and another Jon Arbuckle montage:

As the “Plastic Love” video wound down, I pretended to be Dan Ingram back-selling the song, quipping that it was better than polyurethane love.

My vocal city pop discoveries halted for the next few days when I found a city pop creation befitting my love of instrumental music: jazz fusion supergroup Casiopea!

First, I found “Midnight Rendezvous“:

Then, “Eyes of the Mind” before the “the” was added:

Groups like Casiopea and T-Square (formerly The Square) have influenced generations of video game music composers.

I woke up on February 23 after a full night’s sleep and was greeted with two more Jon Arbuckle videos:

“He can’t cook! He can’t get a date! He’s Jon Arbuckle, and we’re giving him away absolutely free! In fact, we’ll pay you to take him!”
“Let’s not ask questions. Let’s just get out of here.”

As I listened to my radio show aircheck from the night before, I began extracting audio from whatever Casiopea albums were on YouTube (mostly via their “topics” channel), provided the cover art available online was clear and at least 1500×1500 pixels. If AI upscaling in Adobe Photoshop yielded poor results, I’d buy the CD myself and scan the artwork. That’s what I did for Flowers (1996), but I bought Euphony (1988) because it wasn’t on YouTube. I will eventually buy the actual CDs, but given the inflated import prices, collection take a while. Here’s what I do have:

I’m still working my way through the albums chronologically in my spare time. Flowers is gradually on its way from a Japan Discogs markeplace seller, so I jumped from Freshness to Light and Shadows. That’s where I am as of publication on March 5. (I got in eight hours of sleep the night before.)

The last item in this post’s Casiopea segment is T2norway‘s video profile of them, preceded by his city pop story:

Thanks to my college friend Phil Federico for bringing this to my attention. I can overlook T2’s mispronunciations of Harvey Mason and Lee Ritenour, who also appeared on Casiopea albums. In fact, they, Bob James, and Nathan East – future members of Fourplay – all appeared on Casiopea studio recordings.

The night of February 23, YouTube recommended two more Garfield and Friends videos. One was yet another montage:

And the other was a series review by Nostalgia Critic, played by Doug Walker (who was born the same day as me!):

I was let down by his critiques of certain characters and the animation style, not to mention his disdain for U.S. Acres. Nonetheless, I respect his dissent.

My city pop discoveries resumed on the night of February 25, related to “Plastic Love.” Leading off, a Super Famicom/Nintendo rendition:

That was followed by the infamous long version of the Mariya Takeuchi original (lyrics):

(As of 3/13/23, the video was taken down. In the long version, one verse repeated and the ending chorus was extended, exemplified below.)

Since I was watching in a web browser, I saw recommendations on the right side of the tab. The one that caught me eye was an English version of “Plastic Love”:

The singer-songwriter was Caitlin Myers, also a voice actress with a focus in anime and video games. She has two YouTube channels: one in her name and one called Interlunium. I was unaware of the scope of her work as I watched this first video.

More city pop discoveries came way on February 26. Figuratively waiting at the door to this new day was “Mayonaka no Door* (Stay with Me)” by the late Miki Matsubara, recorded when she was just 19 (lyrics):

*”Door” is lyrically transliterated “doa.” The full term means “midnight’s door (literally, door of midnight).” In another ironic twist, there were nights after discovering this song when I’d be awake around midnight as the refrain bounced around in my head. Sometimes, I imagined a fast tempo, “Spain“-esque Chick Corea version with a Minimoog solo. Others, I thought of McCoy Tyner.

Sure enough, Caitlin Myers wrote an English version of this, too:

The anime artwork is based on a 1980 photo of Miki.

Incidentally, I added both versions of “Plastic Love” and “Mayonaka no Door (Stay with Me)” to the WS4000 simulator, again using the five-minute local forecast flavor.

Knocking on afternoon’s door was the biggest discovery yet: Caitlin covered “4:00 A.M.”!

Caitlin and her two backing vocalists came closer to the gospel choir sound for the line “Lord, give me one more chance!”

My city pop journey had seemingly come full circle. Now, I had English versions of the first three vocal city pop songs I discovered to complement the originals.

The Garfield and Friends video journey definitely came to end on the morning of February 28 with this video showing one second of each episode from show (or rather from each cartoon in each episode):

However, there was more city pop to be had that afternoon. Other Caitlin Myers English adaptations were in my YouTube feed, and I felt I had to hear the originals before listening to hers.

“Do You Remember Love?” was adapted from its directly-translated Japanese title, “Ai Oboete Imasu ka.” Sung by Mari Iijima, it underscored the intense climax to the 1984 film, Macross: Do You Remember Love? I foolishly watched that sequence on YouTube instead of a straight recording of the song, unable to unsee or unhear any of it. (And I thought Disney villain deaths were rough.)

Lucky for you, the reader, I found a straight recording (lyrics):

And the Caitlin Myers version:

3/13/23 UPDATE: “Do You Remember Love?” was J-pop rather than city pop, illustrating how songs from the subgenre led me to ones from the main genre.

“Dance in the Memories” was next, written and performed by Meiko Nakahara (lyrics):

It was the third closing theme (tema) to Kimagura Orange Road, which I assume was a lighter anime series.

Caitlin’s turn:

She even matched the quirky “mem-morries” pronunciation.

Closing out my first week in city pop, “Telephone Number” by Junko Ohashi (lyrics):

Magical was a 1984 compilation. “Telephone Number” originated on Tea for Tears in ’81, co-written by her husband Ken Sato.

I had to make a 3-minute, 30-second local forecast flavor to accommodate the song’s 3:58 run time (3:59 for Caitlin).

As a suburban New Yorker, I like Magical‘s cover art of Lower Manhattan featuring the original World Trade Center. I passed by One World Trade Center in 2014 while running the Tunnel to Towers 5K.

The hook – “ah-uu, 5-6-7-oh-9” – brought two things to mind:

Musically, Caitlin did a masterful job replicating the sound of each song she adapted into English. On behalf of city pop fans everywhere, thank you, Caitlin, for your efforts.

Thank you to the many city pop artists whose works inspired by our (the West’s) music have boomeranged back to us.

And thank you, the reader, for making it to the end of this post. Wish me luck on the rest of my city pop journey. Be sure to catch Instrumental Invasion April 26 at 9PM Eastern (April 27 at 11AM in Japan) on WCWP. It’ll be the first show with music by Casiopea, and about ten minutes into the last segment, I allude to some of what I laid out in this post because I play Scott Wilkie‘s cover of “Burnin’ Up the Carnival.”

I’ll leave you with Caitlin Myers’ Japanese versions (lyrics by Datenkou) of “Never Gonna Give You Up“…

…and “September“:

Instrumental Invasion, 3/1/23 March 2, 2023

Posted by Mike C. in Airchecks, Audio, Internet, Jazz, Media, Music, Personal, Radio, Video.
add a comment

The March 1 Instrumental Invasion on WCWP was recorded and mixed entirely on January 9.

The playlist was created on January 3, with annotations starting on the 3rd and not resuming until the 7th. The talk break script was drafted on the 8th.

This was the second week in a row with songs from David Benoit‘s Waiting for Spring album and Trilogy 2 by the Chick Corea Trio. “All Blues” was the third of three songs over ten minutes long. The other two were “L-Dopa” by Maynard Ferguson and “Orchestrion” by Pat Metheny, the only song of hour 2’s first segment.

Here is the link to the Orchestrion backstory, along with a walkthrough video:

This was the final week before a segment format expansion, laid out below:

  • 1984 and earlier is unchanged
  • 1985-95 becomes 1985-97
  • 1996-2006 becomes 1998-2009
  • 2007-16 becomes 2010-20
  • 2017 to present becomes 2021 to present

Minimal background information in my talk breaks led to an excessive surplus of time. Padding segments with extra liners only wasn’t enough. So, I partially redid hour 2 talk breaks at a slower pace, except for two that were redone entirely.

As noted on the air, “The Lift” by Marion Meadows was originally played on April 8, 2020. I played the 1978 version of the Jeff Lorber Fusion’s “The Samba” on February 23, 2022.

Click here to download this week’s scoped aircheck or listen below:

Instrumental Invasion, 2/22/23 February 23, 2023

Posted by Mike C. in Airchecks, Audio, Christmas, Comedy, Internet, Jazz, Media, Music, Personal, Pop, Radio, Rap, Video.
add a comment

The February 22 Instrumental Invasion on WCWP was recorded the first show recorded in 2023: four segments on January 3 and two on the 4th, along with pickups. I applied a 10-band equalizer effect to my hour 1 talk breaks in an attempt to match the audio quality when recording at my secondary location. It isn’t the first time I’ve done this, but is the first on such a large scale; not just for pickups.

The playlist was created on December 28, 2022, with annotations on the last three days of the year, and the talk break script drafted on New Year’s Eve and Day.

It’s become a habit to program three-song sets in most segments, so I stopped acknowledging the feat in talk breaks.

After two theme weeks, this week had an unofficial theme with eight cover songs.

The Chick Corea Trio’s Trilogy duology were two Christmas presents from my sister Lauren. Playing their cover of “Pastime Paradise” by Stevie Wonder (from Trilogy 2) allowed me to reference “Gangsta’s Paradise” by Coolio and “Weird Al” Yankovic‘s parody, “Amish Paradise.” And since I also played “Who Should I Pay,” Jay Rowe‘s homage to “Blurred Lines,” I got to reference “Word Crimes.” (Read my Mandatory Fun synopsis here.)

The show led off with the adjective-less “Paradise” by Grover Washington, Jr., exactly 365 days after I last played a cut from Paradise the album. It’s also been 51 weeks since playing something from The Test of Time by Ken Navarro, and exactly eight months have passed between songs from Chuck Loeb‘s Between 2 Worlds.

To change things up, I had an extra 2007-16 segment after going to the 1985-95 and 1996-2006 wells in previous weeks.

Click here to download this week’s scoped aircheck or listen below:

As a bonus, here are the music videos for “Amish Paradise”…:

…and “Word Crimes”:

Plus, Al’s breakdown for GQ of his most iconic tracks:

Plus plus, the “pivot!” scene on Friends (from “The One with the Cop“), since I referenced it after Randal Clark‘s “Pivot“:

Instrumental Invasion, 2/15/23: Show 150! Same Name Song Pairs February 16, 2023

Posted by Mike C. in Airchecks, Audio, Internet, Jazz, Media, Music, Personal, Radio.
add a comment

The February 15 Instrumental Invasion on WCWP was the 150th Wednesday night show! It was the last show recorded in 2022, doing so with two segments on December 24 (Christmas Eve) and four on December 26 (the day after Christmas). Pickups were also recorded on the 26th while remixing to make up for the one-minute surplus left over – of course, I had leftovers the day after Christmas – with an additional pickup on the 29th.

The playlist was created on December 14 while sidelined with the flu, annotations were made alongside last week’s show on the 14th and 16th. I drafted the talk break script through the top of hour 2 on the 20th, but didn’t finish the draft until the 23rd. I wrote a mouthful for one tease, which is why I left in my frustrated ad-lib: “that is very hard sentence to say.”

The theme of same name song pairs originated last February 2 after fellow WCWP alumnus Jeff Kroll reminded me of the date’s significance: 2/2/22. Four songs made their second appearance (first airing in parentheses):

The 2017 retrospective produced by Pete Bellotti – where I botched the name of Portugal. The Man – can be found in that year’s Homecoming Weekend recap.

Click here to download this milestone show’s scoped aircheck or listen below:

And here’s the second version of the Tax Season spot I recorded last month:

The first version ran four weeks ago, January 18.

Deity willing, mark your calendar for next January 31. That could be the night of show 200!

Instrumental Invasion, 2/8/23: Three-of-a-Kind Showcases February 9, 2023

Posted by Mike C. in Airchecks, Audio, Game Shows, Health, Internet, Jazz, Media, Music, Personal, Radio, TV.
add a comment

The February 8 Instrumental Invasion on WCWP was recorded in December 2022: two segments on December 20 and four (plus pickups) on the 21st.

The playlist was created on December 13 after realizing I’d be too sick to record anything that week. (Read about my flu experience in last week’s post.) Annotations for this show and next week’s milestone 150th show were written on the 14th and 16th with this week’s talk break script drafted on the 18th. I went 61 seconds over in the first segment and spent the rest of the show compensating. I did so at the expense of some extra information.

As noted during the show, the Three-of-a-Kind Showcase was a staple of The Mike Chimeri Show with each hour having a set of three songs in chronological order by an artist or group. I only had one hour to work with on the original The Instrumental Invasion, so there was only one showcase per week. The “showcase” part came from my love of The Price is Right, and I eventually introduced them by saying “[artist/group], this is your showcase.” Music cues I found on this YouTube channel, and saved as WAV files, meant I could introduce the six showcases in this show with showcase cues (and the main theme) from the Bob Barker era. I closed with Bob’s original “…saying goodbye, everybody” sign-off. (The spay/neuter version was implied.)

Eight songs made their second appearance, listed by artist/group (original date in parentheses)

That last one was also part of my live October 14 show (Homecoming Weekend).

For reference, these are the music cues used in order of appearance:

And I made another jingle hybrid, tacking the “ding” sound onto the end of the WCWP jingle:

Click here to download the scoped aircheck or listen below:

Next week, 150!

Instrumental Invasion, 2/1/23 February 2, 2023

Posted by Mike C. in Airchecks, Audio, Film, Health, Internet, Jazz, Media, Music, Personal, Pop, Radio, Rock, TV, Video Games.
add a comment

The February 1 Instrumental Invasion on WCWP was the second consecutive show recorded in one day. This time, I did so out of necessity. More on that below.

The playlist was created on December 9, 2022, allowing me to focus on Festival of Games, then on the aftermath of cataloging pickups, editing photos, and drafting the recap. Playlist annotations came on December 12 with the talk break script drafted on the 15th.

Scroll to the bottom for the scoped aircheck (and a partial one for The Rock Show) if you don’t want to read the next five paragraphs.

I began to feel run down on the afternoon of December 11. I chalked it up to lack of sleep the night before from a mere two Snickers bars and excitement over the 42 video games I bought from Festival of Games vendors (including Pete Dorr!). I still felt run down on the 12th and by that evening, I couldn’t unclog my left ear. It seemed like deja vu from June (see August 17, 2022, recap) where I felt run down and stuffy with clogged ears, but twice tested negative for COVID. I went to my primary care physician on the 13th expecting a quick diagnosis of fluid in the ears, a prescription for Z-Pack antibiotics, and to use more of the nasal spray that I was prescribed in June. I was incredibly naive. Understaffing left me waiting around 40 minutes to be called in, then another half hour after my COVID/flu test (negative for one, pending for the other). And before I left for primary care, I developed nausea and lost my appetite. So, I only had one bite of my protein bar. My appetite returned after the examination, but following dinner at home in the evening, fever, aches, and chills set in. What had been a tickle in my throat in the morning became a strong cough. Come morning on the 14th, I was lethargic. I lacked the will to get out of bed, and had no appetite for breakfast at my usual time. I forced myself out of bed for breakfast at 8:30, and spent the rest of the day lying in bed or sitting up at my computer. Whatever I had, only knowing it wasn’t COVID, I figured symptoms would start to diminish 24 hours after starting the antibiotics.

It was at my computer the day before (December 13) where my radio show production plans shifted. With annotations complete, I created the playlist for next week’s show. This day (the 14th) would be for creating show 150’s playlist, starting annotations on both shows, and stopping work by mid-afternoon. While drafting the Festival of Games recap on the 15th, a nurse at my primary care called to let me know I tested positive for the flu! That’s what I had! As far as I know, this was my first bout with the flu in nearly 29 years – a memorably stronger bout in mid-January 1994. Maybe I had it in June 2022, as well. It’s a good thing I started getting an annual flu shot in October 2020. Otherwise, my symptoms would have been as bad as ’94. I finished show 149 and 150 annotations on December 16.

My voice was close to normal by the 17th, allowing me to finally record and produce a spot for WCWP’s CBB (community bulletin board/calendar), included in the December 21 show post. I drafted the script for this week’s show earlier that day and for next week on the 18th. Repeating what I said in the lead paragraph, I recorded the entire show on the 19th. No pickups were required on the 20th. (By the way, I’d resumed exercising on the 18th when only an occasional cough remained. I resumed treadmill running on the 22nd. And I took my last dose of cough medicine on Christmas Eve morning, the end of the 10-day dosage period.)

This week’s extra segment was 1985-95, allowing me a chance to play Dan Siegel‘s “Northern Nights” – first played on July 8, 2020 – after “Northern Lights” by The Rippingtons. I chose a cut from Peter White‘s Promenade so I could acknowledge learning the pronunciation of John Mahon‘s last name. As noted on the air, I learned from my mistake while watching the Disney+ livestream of Elton John‘s final U.S. concert, during his Farewell Yellow Brick Road tour.

My use of the phrase “exactly what it says on the tin” was an homage to the TV Tropes entry.

Click here to download this week’s scoped aircheck or listen below:

Hour 2 was recorded from the guest room computer. I noticed that Mike Riccio was hosting a countdown edition of The Rock Show and wanted to aircheck that before my show on my computer. Unfortunately, I botched the timer recording in Audacity, which was set to stop just as hour 2’s legal ID ran. The January 11 aircheck was entirely from the guest room computer because I forgot to click OK on the last prompt when setting up the timer recording on mine. I changed the settings so that last prompt no longer comes up.

Here is Mike Riccio’s Grammy winners-themed Rock Show joined in progress:

I had to leave in “Theme from A Summer Place” (at the 19:32 mark), especially since I watched Max Steiner: Maestro of Movie Music on HBO Max earlier this week.