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Instrumental Invasion, Christmas 2025 Edition (12/24, 5PM; 12/25, 9PM) December 25, 2025

Posted by Mike C. in Airchecks, Audio, Baseball, Bluegrass, Christmas, Classical, Comedy, Film, Internet, Jazz, Jazz Fusion, Media, Music, New Age, Personal, Radio, smooth jazz, Sports, Technology, TV, Video, Video Games, Weather.
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A special three-hour Christmas 2025 edition of Instrumental Invasion was recorded principally on December 1 with pickups recorded during quality control on the morning of the 3rd and again that afternoon in case the show didn’t only air on Christmas. Indeed, it aired Christmas Eve at 5PM and reran on Christmas at 9PM. (I use the past tense despite publishing on Christmas morning.)

Before I say more, here is the scoped aircheck:

What I said in the outro is true. WCWP/WXBA station manager Dan Cox hosted a Microsoft Teams meeting for alumni on October 27. When he opened the “floor” to questions, I had two:

  • May I contribute to the rotation of legal IDs voiced by alumni?
  • Would it be okay if I recorded a special Christmas show?

Dan said yes to both. Right after the meeting I recorded VO for the ID, which turned out this way:

I didn’t start work on the Christmas Instrumental Invasion until the following Monday, November 3, when Dan answered a follow-up email about show length. He said it could be as long as I wanted. So, I chose to make a three-hour show. The playlist, created and tweaked between November 3 and 15, was reworked from the playlist for what would have been the fourth and final Christmas show of my Wednesday night run. (2020, 2021, 2022 recaps) The renovation hiatus ended that run sooner than planned. 22 of the 23 songs from the unused playlist were incorporated into this one with minimal rearranging. 15 songs were added to pad out the three hours (all under an hour in length), and the 23rd song from the original playlist was changed due to time constraints in hour 2.

Annotations drafting began November 5, when I completed my first playlist draft, and tweaks followed along through the 15th. For the first time ever, I’m sharing the script. Work on that began when my initial annotations draft completed on November 10. Tweaks continued all the way into recording and pickups.

I had planned on doing as I did for the last two Homecoming Weekend prerecords (2024, 2025), by recording and mixing live on my Twitch channel from December 4 to 6. I even did like this year’s HCW show and preloaded the music and liners into Adobe Audition multitrack session files. However, I developed an obsession with the video game PowerWash Simulator 2, for which I have the Xbox Series X/S port. I wasn’t about to halt gameplay for three days when I was on the verge of completing the game’s career mode. (I did that on December 6 and completed the game entirely [in its initial form] two nights later.) So, I recorded and edited all 15 talk breaks (five per hour) in a three-hour span on December 1. Then, I mixed them into the preloaded sessions. All three hours were within the 58:00 to 59:59 range Dan Cox asks of show files with hour 1 skewing closer to the minimum at 58:20, which I reworked to 58:36. Hours 2 and 3 required reworking in the opposite direction to reach run times of 59:58 and 59:57.

The December 3 quality control session required a handful of pickups with truncating in the last two hours for even shorter times. I misinterpreted an email that afternoon, leading me to think the show either might not air on Christmas or wouldn’t be limited to Christmas. The resulting evergreen pickups worked in my favor as Dan chose to premiere the show Christmas Eve at 5PM and run it again on Christmas at 9PM. The end result hour by hour: 58:39, 59:52, 59:54. There was no dead air between files as legal IDs bridged the gaps. That meant the show after mine began before the top of the hour.

This paragraph was written December 9 after learning that Gordon Goodwin died of pancreatic cancer at the age of 70. His Big Phat Band were part of my show with “I Heard the Bells on Christmas Day.” It’s too late for me to redo the talk break for the set with the song as I’ve already sent Dan the show hour files. Gordon will live on through his music, not just with the Big Phat Band, but for the TV shows and films he scored.

“You wanna have a catch?” in the intro was a quote from the end of Field of Dreams where Ray gets to play catch with his father. The Colin Mochrie joke about “foreplay” (not Fourplay) is a sound command for my Twitch streams and was sourced from this Whose Line video:

“Pickup lines that would never work” (Scenes from a Hat suggestion)

And lastly, pianist Bill Evans crediting “Joe LaBarbera on drums” was from the end of a live performance of “Days of Wine and Roses” at Keystone Korner in San Francisco. It’s part of a posthumous box set called Consecration: The Final Recordings Part 2.

I’ll leave you with screenshots of each completed multitrack session on the morning of December 3 (before the evergreen revisions):

I wish you a Merry Christmas and a Happy New Year.

Herb Alpert & the Tijuana Brass & Other Delights at Lincoln Center: April 1 show April 5, 2025

Posted by Mike C. in Baseball, Film, Food, Game Shows, Internet, Japanese, Jazz, Media, Music, Personal, Photography, Pop, Radio, Trains, Travel, TV, Video.
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NOTE: This recap will lead with photos at the venue; before, during, and after the concert. That will be followed by photos on the way to and from there: at Rockville Centre‘s LIRR (Long Island Rail Road) station, aboard the train to Grand Central Terminal, inside GCT itself, the long walk through Manhattan to Columbus Circle (including stops at Rockefeller Center and Serafina restaurant, entering 59th Street-Columbus Circle Station to take the 1 train to 34th Street-Penn Station, and watching the Babylon-bound train arrive on track 20 of Penn Station’s LIRR terminal.

Tuesday night, thanks to my friend Lori Downing, I finally got the opportunity to see Herb Alpert live in concert. Herb Alpert & the Tijuana Brass & Other Delights played two sold out shows in Jazz at Lincoln Center’s Frederick P. Rose Hall. The show I attended – along with Lori, Lori’s son Zach, and my mother Lisa (a mutual friend of Lori) – was the second of the two, one day after Herb’s 90th birthday.

I have been a fan of Herb Alpert since CD 101.9 played “Rise” and “Rotation” on a regular basis in the 1990s. I inherited my fandom from my mom and her dad (my grandpa) Artie. In the summer of 1999, I bought a compilation CD called Classics Volume 20 with some of my high school graduation money. It only covered 1979 to ’87, meaning no Tijuana Brass. I wouldn’t discover that portion of Herb’s catalog until getting another compilation called Definitive Hits. (Yes, I’d heard TJB songs in episodes of The Simpsons and on The Dating Game. I just didn’t have them in my collection.) In 2010, I began buying CD remasters of whole albums, from The Lonely Bull (1962) to North on South St (1991). Outside of Second Wind (1996) and Colors (1999), there’s a 22-year gap in my collection that ends with Steppin’ Out (2013). From there, I’m only missing The Christmas Wish (2017).

When Lori Downing and I attended Dave Koz’s 20th Anniversary Christmas Tour at Tilles Center in December 2017, I quipped that we were in the Bob Uecker seats since we were so high up (but not in the last row). It’s a nod to the infamous 1984 Lite Beer from Miller ad where Bob is at a baseball game and settles into a field level seat. An usher intervenes, telling him he’s in the wrong seat, and Bob says, “Oh, I must be in the front row.” After the ad’s tag, we transition to Ueck in the upper deck (of Dodger Stadium). He shouts to his friend, “Good seats, eh, buddy?,” and to an umpire, “He missed the tag! He missed the tag!”

Life somewhat imitated art on Tuesday. When we presented our tickets to an usher, she escorted us to seats at stage level, a handful of rows from the stage. Seconds after I settled into what I thought was my seat, the usher realized her mistake and referred us to another usher. When I got up, I acknowledged the similarity to the ad and repeated the “front row” line. The second usher had us go up two floors in an elevator to our true location. We were in the last row of the center balcony. Unlike with Dave Koz, we really were in the Bob Uecker seats. However, there wasn’t a bad seat in the house. The rows are arranged in a way that your view won’t be blocked by the person in front of you.

The view from my last row balcony seat, with my iPhone camera zoom at 3x

Before we see photos from the show itself, along with the complete set list and background info, let’s backtrack.

Lori, Zach, my mom Lisa, and I reached Jazz at Lincoln Center, one of many portions of the vast Lincoln Center for the Performing Arts, just after 7PM.

Using the clear backpack my dad bought for when we went to a Mets game in June 2022, a security guard cleared me in mere seconds. After riding an elevator to the 5th floor, we waited in the lobby until the Rose Hall doors were to open at 7:30.

Zach invited me to look at the view of Columbus Circle from a window at the lobby’s edge.

Then, I took a selfie with my mom.

There was even a WCWP connection to all this. (FM 60th anniversary/2024 Hall of Fame Ceremony recap) Jeff Kroll is an equally big Herb Alpert fan, and he and his wife Pat attended Monday’s 90th birthday performance. Jeff and Pat’s seats were at stage level.

On Tuesday, fellow alumnus Bobby Guthenberg, a.k.a. Bobby G., was among the attendees! Here he is talking to Lisa and Lori:

Zach took a photo of Bobby G. and me:

Bobby treated me to the David Benoit concert at My Father’s Place on December 4.

On the way to the Rose Hall entrance, I saw this poster for an upcoming Bobby McFerrin concert series (with Wynton Marsalis and the Jazz at Lincoln Center Orchestra):

Jazz legends photo exhibit:

That brings us back to my last row balcony seat. I can’t show every photo I took, and would rather keep videos to myself (and to some the Discord chat servers I’m part of). What I will show are the photos where my phone could make out faces with its AI enhancement.

The lights went down at 8:05 and the monitor showed Herb Alpert and the Tijuana Brass as the Mystery Guests on a circa 1965 episode of What’s My Line?

Herb “enter[ed] and sign[ed] in, please,” adding “Olé!” below his name.
The Brass assembled behind host John Charles Daly, while Herb sat next to John.

The stage lights came up, the new Tijuana Brass assembled, and Herb made his entrance.

The band was made up of:

It was nice to finally put faces to the names (Bill, Hussain) I’d seen in the credits to Herb’s solo albums since 2013. I’m connected with Ray Brinker on Facebook, and knew of him through his work with Gordon Goodwin’s Big Phat Band. So, he was the only Tijuana Brass member I knew by name until Herb’s introduction toward the end of the first encore (spoiler).

Bill, Hussain, Ryan, and Kris provided background vocals on songs that called for them.

Here is the full set list (original album and release year in parentheses):

  1. The Lonely Bull (El Solo Toro) (The Lonely Bull, 1962) – Original composition by Sol Lake
  2. The Work Song (S.R.O., 1966) – While writing this post, I finally learned “Work Song” was by Nat Adderley, not Cannonball
  3. Memories of Madrid (What Now My Love, 1966) – Another original TJB composition by Sol Lake
  4. Whipped Cream (Whipped Cream & Other Delights, 1965) – One of two music cues used on The Dating Game
  5. Spanish Flea (!!Going Places!!, 1965) – The other Dating Game cue – Original composition by TJB member Julius Wechter (also leader of the Baja Marimba Band) – Wechter’s original title was “Spanish Fly,” which wouldn’t fly in 1965
  6. Ladyfingers (audience member request) (Whipped Cream & Other Delights, 1965)
  7. Lollipops and Roses (Whipped Cream & Other Delights, 1965)
  8. Bittersweet Samba (Whipped Cream & Other Delights, 1965) – Still another Sol Lake composition for TJB – Serves as the theme to All Night Nippon, a Japanese radio show
  9. Mexican Shuffle (South of the Border, 1964) – If you’re keeping score, that’s four Sol Lake compositions in the set – I had no idea this was used in TV ads for Clark’s Teaberry gum (one such ad shown on the monitor), or that it was referred to as “The Teaberry Shuffle”
  10. Tangerine (Whipped Cream & Other Delights, 1965) – See notes below set list for more info
  11. I’m Getting Sentimental Over You (!!Going Places!!, 1965) – Preceded by Ray Brinker drum solo
  12. Love Potion No. 9 (Whipped Cream & Other Delights, 1965) – The album’s requisite striptease song
  13. Sergio Mendes & Brasil ’66 (hits medley sung by the group’s lead vocalist Lani Hall (Herb’s wife; he considers Sergio “Cupid” for bring them together): Tim Dom Dom (Chim Dome Dome), One Note Samba, The Fool on the Hill, Mas que nada – Songs 1, 2, and 4 are from Herb Alpert Presents Sergio Mendes & Brasil ’66, 1966; “The Fool on the Hill” was a 1968 title track, minus the “the”
  14. Rise (Rise, 1979) (solo album) – Rap fans may recognize one part from its sampling in “Hypnotize” by The Notorious B.I.G.
  15. A Taste of Honey (Whipped Cream & Other Delights, 1965) – Ray Brinker perfectly matched The Wrecking Crew player Hal Blaine‘s drumming from the original, right down to the bass drum taps to note the 4/4 time signature
  16. Zorba the Greek (Zorba’s Dance) (!!Going Places!!, 1965) – A clip of the titular film‘s dance scene (with Anthony Quinn as Zorba) was shown during the slow middle
  17. Encore 1-1: This Guy’s in Love with You (The Beat of the Brass, 1968) – Herb’s lone vocal song of the set – Contrary to popular belief, the song was later reworked as “This Girl’s in Love with You” for Dionne Warwick and other female singers, not the other way around for Herb
  18. Encore 1-2: Smile (Midnight Sun, 1992; Catch the Wind, 2021) (solo albums) – Requiem for departed friends, including Sergio Mendes, Karen Carpenter, Burt Bacharach (co-writer of “This Guy’s in Love with You”), and A&M Records co-founder Jerry Moss – “Smile” by Charlie Chaplin is not to be confused with “Sweet, Sweet Smile,” which was introduced/popularized by The Carpenters
  19. Encore 1-3: What Now My Love (What Now My Love, 1966)
  20. Encore 1-4: A Banda (Herb Alpert’s Ninth, 1967) – Fittingly preceded by band introduction (“a banda” literally means “the band”)
  21. Encore 2-1: Tijuana Taxi (!!Going Places!!, 1965) – original composition by TJB guitarist Ervan “Bud” Coleman
  22. Encore 2-2 (True Finale): On the Sunny Side of the Street (Come Fly with Me, 2015; Sunny Side of the Street, 2022) (solo albums)

I knew the title of most songs the instant they began. There were a few exceptions. I had to ask my mom about “Smile,” Zach confirmed “Tangerine” on the train ride back to Rockville Centre (via a set list for one of the Buffalo shows), and I confirmed “Tim Dom Dom (Chim Dome Dome)” on Wednesday morning via the Herb Alpert Presents… Wikipedia entry.

It’s understandable that I wouldn’t recognize “Tangerine.” I gravitated toward the more popular tracks on Whipped Cream & Other Delights. I didn’t really develop awareness and appreciate of the song until hearing it on She Was Too Good to Me, trumpeter/vocalist Chet Baker‘s 1974 comeback album.

Throughout the set, relevant video clips or still photos were shown on a monitor above the stage.

The best of the photos:

  • “Memories of Madrid”
  • “Whipped Cream,” with …& Other Delights cover model Dolores Erickson shown on the monitor
  • As Herb and the Brass played “Lollipops and Roses,” a promo for The Brass Are Comin’ (1969) ran on the monitor. Among those to recite the album title was Johnny Carson.
  • “Tangerine”
  • Ray Brinker’s drum solo before “I’m Getting Sentimental Over You”
  • Herb acknowledging his marriage to Brasil ’66 lead vocalist Lani Hall, thanks to Sergio “Cupid” Mendes
  • Lani’s entrance
  • Lani singing “Tim Dom Dom (Chim Dome Dome)”
  • A kiss after the medley
  • “Rise”
  • “A Taste of Honey”
  • “Zorba the Greek (Zorba’s Dance),” accelerando and all
  • The false ending
  • Encore 1 began with “This Guy’s in Love with You”
  • “What Now My Love”
  • “On the Sunny Side of the Street”
  • The end!
  • Herb Alpert has left the stage; you can literally see him exiting stage left
  • The rest of the band departs

In conclusion, there were 22 songs, 6 of the encores (4 in the first encore, 2 in the second). It was a night I’ll never forget, and I owe it all to Lori Downing. Crying happy tears, I hugged her and thanked her as we got up from our seats and walked back to the lobby.

There were no accessible stairs. So, we had to take an escalator from the lobby to a set of elevators. We and several other attendees boarded the first elevator to open and rode it down to ground level. From there, we exited back out to Columbus Circle.

The experience wasn’t all “Lollipops and Roses,” so to speak. I neglected to disable my iPhone camera’s flash and the flash light was on as I recorded “Memories of Madrid.” An usher had to come to our row and tell me to turn it off. I did as he instructed, and I deleted the video from my phone, but was quite embarrassed and miffed. I gathered my wits within a minute or two. I made sure the flash was off in photo and video mode the rest of the night, and there was no further trouble. I recorded 12 more videos (on top of “The Lonely Bull” before the intervention). Again, I’m opting to withhold them from this post.

Now, let’s turn our attention to the other photos, taken going to and from Jazz at Lincoln Center.

The refresh rate of the LCD displays didn’t agree with my iPhone’s camera
After Lynbrook and Jamaica, the only stop before Grand Central Terminal was Forest Hills.
We rode to Grand Central in an M7 railcar. Instead of the automated announcement saying “This is the train to…Penn Station,” we heard “This is the train…(slowly): Grand Central.”
Riding over the Long Island Expressway (L.I.E., I-495) in Elmhurst
Riding over the Brooklyn-Queens Expressway (B.Q.E., I-278) in Astoria
Exiting the train at Grand Central
It was a long and steep escalator ride from Grand Central Madison to the main portion of GCT.
LIRR departure table
Metro-North departure tables for the Harlem and Hudson Lines
Tables for the New Haven line
Arrival table at Information kiosk
Considering what I dealt with on Monday and Tuesday afternoon, this sign was a welcome sight.
We exited GCT via The MetLife Building.
Zach met Lori, my mother and I outside.
Not for Bill Goldberg
St. Patrick’s Cathedral
Rockefeller Center…
30 Rockefeller Plaza
A selfie by the building
Zach took a photo of me with Lori and my mom Lisa
Then, a passerby kindly took a photo of the four us.
Out of view to the left were people waiting in line for Late Night with Seth Meyers. I assume The Tonight Show Starring Jimmy Fallon was already taping.
Radio City Music Hall
What a convergence: W.C. Handy, CBS-FM, and Cousin Brucie (Cousin Bruce Morrow)
We ate dinner at Serafina’s Broadway 55th location.
After sharing fried calamari as an appetizer, my entree was Lasagna al Forno.
I washed it down with San Benedetto sparkling water.
A&M Records was acquired by PolyGram who were acquired by Universal Music Group, making this photo more relevant than I knew when I took it.
Making the turn onto Columbus Circle
Christopher Columbus monument
Entering The Shops at Columbus Circle
Inside, I ate a small cup of cookies and cream-flavored L’Artigiano Gelato.
After the show, we took the 1 Subway train from 59th Street-Columbus Circle…
…to 34th Street-Penn Station.
Penn Station‘s LIRR terminal
We thought we’d barely made the train…
…but it was just pulling in when we reached the platform.

This train was an M9.

By this time, my iPhone’s battery state of charge was down 10%. So, I didn’t take anymore photos, but I had taken 154 photos and 13 videos on my phone, in addition to the two photos provided to me by Zach, which I cropped and upscaled for this post.

I don’t know what more I can say. Thank you again to Lori Downing for inviting me and my mom to see Herb Alpert & the Tijuana Brass & Other Delights on Tuesday night. And thank you for reading this recap. Check back in mid-May for recaps of this year’s Smooth Jazz for Scholars. Bye until then.

The Heidi Game story from an NBC log clerk November 17, 2023

Posted by Mike C. in Film, Football, History, Hockey, Media, News, Sports, Technology, TV, Video.
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Today is not just my 42nd birthday, but the 55th anniversary of the infamous Heidi Game, an AFL game between the New York Jets and Oakland Raiders. My fellow WCWP Hall of Famer John LiBretto, inducted in 2017, was a log clerk for NBC at the time, and permitted me to share what he remembered from that night via our e-mail conversation on Tuesday.

This is John’s story:

A little background: I was a Log Clerk, which was my entry job at NBC (I had started in June of 1968). Basically logged all programming and commercials etc. for the local station (WNBC) and for the network.

I worked in a room with two TV monitors just next to BOC (Broadcast Operations Control), the area that was responsible for all programming output to the network and WNBC. Next door was Master Control, and just in front was the Control Room that switched between all the control studios, rolled the station breaks etc. etc. Busy place.

On any given weekend that had live sports, the Operations Dept issued Conditions that outlined what was to happen during various points in the broadcast day (i.e. handoffs between games and regionalization of games during the football season, and the end of sports into the prime-time schedule at 7PM on a Sunday night). Remember, while the NFL and AFL had announced their merger to take effect in 1970, they were still separate leagues in 1968. The AFL did not have the high ratings of the NFL, nor the clout over the network (in fact, it was said that NBC saved the AFL, and helped facilitate the merger).

There were times that the network would allow a game to run slightly past 7PM, and either slide the network accordingly (rare), or do a Join-in-Progress (also rare). The show on this particular Sunday, Heidi, was a very expensive adaptation of the story (music by John Williams, by the way), and the conditions specifically stated that, no matter what, the show would air to east and central time zones at 7PM. The big 4PM game was, of course, Jets at Oakland Raiders. The commercial control was in Burbank (NBC’s west coast headquarters), so the game was coming back to the east via the video/audio lines from NBC Burbank to Paducah, KY, where it was switched, by AT&T, into the main network via something called the Round Robin (the network signal left NY and traveled in a big circle, city to city, and eventually came back to NY…a big circle that allowed news feeds and regional commercials to be switched into the network as needed (not to mention regional football games).

A lot of set-up information for what transpired next.

As we got closer to 7PM, it was pretty clear the game was not going to end on time. Curt Gowdy had already promoted that Heidi would be coming up in the east and central time zones at 7PM; the game would continue out west. The powers that be (Julian Goodman, President of NBC) realized that this was probably not a great idea after all, and tried to call BOC to order a change (i.e. let the game finish, and slide the east and central feed of Heidi). By this time, the calls were coming into NBC New York from viewers and overwhelming the switchboard, so Goodman couldn’t get through in time.

Here’s the sequence as it aired on the East Coast:

6:58:40 Network Identification (NI) a :06 seconded, either a promo, or just “This is the NBC Television Network.”

6:58:46  Network goes to black for local station break

Somewhere in here, BOC got word from Goodman to delay Heidi and go back to the game…mind you, only 1:14 to accomplish this. That NI I mentioned was also a set cue for the AT&T facility in Paducah to reverse the eastbound feed from Burbank to the normal feed of the network outbound to the west coast. So, that already meant the game was never coming back to the East Coast.

7:00:00 NBC Color Peacock (The Following is a Special Color Presentation on NBC)

7:00:12 A little bit of the Heidi opening, followed by hash (yes, they switched to the incoming feed from California, which unfortunately had nothing on it). Hash is what happens when there is no usable signal on the incoming line (looks like grey fuzz on the screen).

Looked worse than it seems in the writing of it!

Finally, realizing there was nowhere left to go, BOC switched back to the studio airing Heidi and just let it play. The screaming in BOC was quite something, but they actually did everything correctly; had they NOT aired Heidi according to the conditions without Goodman’s authorization, they probably would have all been fired. As it turned out, two of us became quite busy Sports directors!

It’s a miracle Goodman got through at all; the switchboard completely melted down from the volume of calls. The surprise was so did the switchboards in Chicago, Cleveland and Washington. That’s how NBC discovered that the AFL had become a pretty hot property.

I remember all this because I had to log every single second of what went on the air that evening. Eventually, a flash caster was aired over Heidi giving the final score (Oakland scored twice in a matter of a few seconds and won the game [43-32], which further pissed off the New York market).

John LiBretto, via 11/14/23 e-mail

As a postscript to John’s story, here is David Brinkley‘s report and Curt Gowdy’s re-creation of the end of the game on the following night’s Huntley-Brinkley Report:

Modified from original video source

The Jets would get their revenge on Oakland six weeks later in the AFL Championship Game, beating the Raiders 27-23 at Shea Stadium. Of course, two weeks after that, the Jets upset the NFL Champion Baltimore Colts in Super Bowl III.

Instrumental Invasion, 8/9/23: Show 175! Same Name Song Trios August 10, 2023

Posted by Mike C. in Airchecks, Audio, Comedy, Film, Internet, Jazz, Media, Music, Personal, Radio.
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The August 9 Instrumental Invasion on WCWP was the 175th Wednesday night show. It was recorded from July 4 to 6.

The playlist was created on June 6, before the prior two shows. Again, I lost track of when I made annotations, but I drafted the talk break script on June 29.

The theme, same name song trios, was a step up from song pairs in show 150, a reflection of my current three-song set format.

Let’s get the scoped aircheck out of the way now:

I recorded one segment ahead of random daytime fireworks on the 4th of July. At the office on the 5th, I recorded top-of-segment talk breaks for all but the top of hour 2. That was followed by the second talk breaks for the other two hour 1 segments as I mixed them. From there, I opted to pump out the remaining talk breaks before leaving for home. Naturally, I struggled and drove myself mad, but I completed them. I didn’t think I’d have any trouble editing those talk breaks and mixing them into segments, which means I did have trouble.

While I made up a 66-second surplus from the first segment, the first two segments of hour 2 left me with 76 seconds! I only made up three in the last segment. Since this was a themed show, I couldn’t throw in a short song to make up the time. So, I had to painstakingly re-record talk breaks in all six segments at a slower pace. I padded transitions between three songs further by adding bumpers. Mind you, any talk breaks with 175th show references required a pass for the evergreen version (scheduled to air September 27). (10/12 UPDATE: It was delayed to October 11.) I had to have both versions in a segment’s multitrack session so I could save the milestone mix, then swap out and save the evergreen mix. Three hours and a headache later, I succeeded in breaking even at 1:49:00. It cost me my morning exercise routine, but I gained a Young Frankenstein reference when talking about Tom Scott following his father Nathan‘s compositional “footsteps, footsteps.”

Retreads:

One more show and my hiatus begins. It couldn’t come at a better time. (That’s how I felt on July 6.)

10/12 UPDATE: Here are the evergreen talk break variations heard last night:

Instrumental Invasion, 5/31/23 June 1, 2023

Posted by Mike C. in Airchecks, Animation, Audio, Baseball, City Pop, Comedy, Dogs, Film, Health, Horse Racing, Internet, Jazz, Media, Music, Personal, Radio, Religion, Sports, Thoroughbred, TV, Video, Western, World Music.
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The May 31 Instrumental Invasion on WCWP was the fifth in a row with talk breaks recorded in one day, and third in a row/fourth out of five recorded in one day. That day was April 10, 19 days after last week’s show was recorded. I got a cold a few days after that recording (March 25) and used the time to work on playlists for this show and the next two. Pickups were recorded on April 13, April 16, and May 5.

The playlist was created March 19, 22, and 26, then tweaked on April 1 to add a track from Keiko Matsui‘s Euphoria album released the day before. Annotations were written from April 3 to 5, and the talk break script was drafted April 8.

I played the lead single from Keiko’s album, “Steps on the Globe,” which prompted me to play a clip from “Moosylvania Saved,” the final Rocky and Bullwinkle story arc where the punchline was “spots on the globe.” This exchange between Fearless Leader (Bill Scott) and Boris Badenov (Paul Frees) occurred in episode one of four:

“That’s what my uncle came down with: spots on the globe.”

That talk break also had references to a pair of Mel Brooks films, Blazing Saddles and Young Frankenstein. The second segment’s second talk break referred to Ghostbusters and Steve Somers. The Schmoozer homage came when I said “The Square were schmoozing S-P-O-R-T-S,” Steve’s catchphrase at the start of some shows or hours of those shows.

There were three retreads this week:

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

See you at the WCWP Hall of Fame Ceremony this Saturday.

Instrumental Invasion, 5/3/23 May 4, 2023

Posted by Mike C. in Airchecks, Audio, Film, Internet, Jazz, Media, Music, New Age, News, Personal, Radio, Travel.
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The May 3 Instrumental Invasion on WCWP was recorded entirely on March 8, the first one-day recording since February 1 for the third anniversary show (airing March 29). Pickups were recorded on the 8th (after principal recording) and 9th, with an additional pickup on April 17 after learning Ahmad Jamal had died.

The playlist was created on March 1, except for the last segment on the 4th. Annotations followed on the 6th and the talk break script was drafted on the 7th.

My “May the Third be with you” at the top of the show was a nod to Star Wars Day the next day (today). Playing off the franchise catchphrase “may the force be with you,” the greeting on May 4 is “May the Fourth be with you.” One May 5, I joked “Cinco de Mayo be with you” on social media.

I played two Casiopea songs, one from their second album and one from their latest. To that end, language and travel came up a lot.

The language part allowed me to recite words and names in their native dialect. Whole sentences were another matter, which is why I leaned on Google Translate for my Spanish description of “Del Corazón.” (I wrote this paragraph on March 9, a month before I started learning Japanese, as noted in last week’s post.)

The travel part was highlighted by “I Love New York” (from Casiopea’s Super Flight [transliterated Sūpāfuraito, per my talk break]), “Tappan Zee” (from Bob James‘s BJ4), and “Chattahoochee Field Day” (from Patrick O’Hearn‘s Eldorado).

Speaking of John Patitucci and his Brooklyn project evoked memories of visiting my great-grandparents in Midwood. Here is a photo from one such trip:

I forget if the allowance I’m proudly holding was from Grandma BeBe or Aunt Tessy.

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

8:35 AM UPDATE: Oh, I forgot I made a Don Sebesky reference. He died on Saturday.

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.
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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.

5/26/24 UPDATE: I can no longer commit time to these “Audiobooking” blog posts. So, last year’s eighth post is the final post. Thank you for following my journey through audiobooks over the past decade.

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.
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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 March 13, 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. (3/31 UPDATE 1: Interlunium is a virtual idol group where Caitlin portrays Junko.) (3/31 UPDATE 2: Caitlin’s version of “Plastic Love” was reworked with original instrumentation and new vocals for her 2021 compilation, City Poppin’.)

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.” (5/2 UPDATE: Here is that show’s recap, along with my journey since writing this post.)

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

…and “September“:

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.
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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.

Instrumental Invasion, 1/18/23 January 19, 2023

Posted by Mike C. in Airchecks, Audio, Biking, Film, Food, History, Internet, Jazz, Media, Music, Personal, Radio, Sports, TV, Video.
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The January 18 Instrumental Invasion on WCWP was recorded from December 1 to 3, 2022: the first segment on the 1st, the next three on the 2nd, and last two on the 3rd along with remixing and pickups.

The playlist was created on November 27 with annotations on 29th and 30th. The talk break script was drafted November 30 and December 1.

This week, the extra 2017-present segment was swapped for an extra 1985-95 segment. The last four segments only had two talk breaks each. The first two of hour 2 were made up of three songs in a row (a triple shot).

“Off the Top” by Kim Scott was originally played last April 6.

Since I brought it up after playing Wes Montgomery’s cover of “Windy,” I would have liked to attend the Dancing with the Stars Live tour stop at the Tilles Center last Tuesday, but the show was sold out when I looked for tickets and they were only available marked up through resellers on Ticketmaster. Oh, well. By the way, my “everyone knows it’s Instrumental Invasion” line going into “Windy” referenced a lyric in the song.

I included “Automat” by Yellowjackets after having seen a documentary on the titular fast food restaurants popularized by Horn & Hardart.

Here is a composite of CBS Sports’ coverage of the 1988 Tour de France, complete with John Tesh‘s music:

While skimming through the video, I thought John himself covered parts of the race, but the voice I heard (and face I saw) was Tim Brant.

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

1:50 PM UPDATE: This is another of those shows where I don’t notice mistakes or oversights until after the show airs. Bob Mintzer played tenor and soprano sax on “Automat.” The phrase trumpeter Igmar Thomas borrowed on “Blues Vagabond” by Lisa Hilton was from “Killer Joe,” which Quincy Jones covered on Walking in Space. The song was originally written and performed by Benny Golson for The Jazztet‘s Meet the Jazztet record. “Chicken Joe” was by pianist Joe McBride.

I also missed a community calendar spot I recorded on Monday that ran during the last break:

The music bed is “Working Girl March #2 (Film Cue)” by Dave Grusin from the Tootsie soundtrack.

4:05 PM UPDATE: Oh, and this is the PAMS jingle I referenced going into “Wherever You Go” by Brian Simpson:

I clipped from part 2 of Jon Wolfert’s The History of the Musicradio WABC Jingles.