Wednesday MidDay Medley
TEN to NOON Wednesdays – Streaming at KKFI.org
90.1 FM KKFI – Kansas City Community Radio
Produced and Hosted by Mark Manning
Wednesday, April 1, 2026
April Fool’s Day Sing Along + The Elders + A.M. Merker
- “It’s Showtime Folks”
from: Motion Picture Soundtrack to All That Jazz / Universal / Dec. 20, 1979
[WMM’s theme]
Guest DJ – Ed Wallerstein – The X-Word Rabbit with an April Fool’s Day Sing Along.
- Mitch Miller – “Sing Along”
from: Greatest Hits / Columbia Records / December 5, 1990
[Originally released 1950, 1955, 1956, 1958, 1969, 1961, 1962. // Mitchell William Miller was born to a Jewish family in Rochester, New York, on July 4, 1911. His mother was Hinda (Rosenblum) Miller, a former seamstress, and his father, Abram Calmen Miller, a Russian-Jewish immigrant wrought-iron worker. He was an American choral conductor, record producer, record-industry executive, and professional oboist. He was involved in almost all aspects of the industry, particularly as a conductor and artists and repertoire (A&R) man. Miller was one of the most influential people in American popular music during the 1950s and early 1960s, both as the head of A&R at Columbia Records and as a best-selling recording artist with an NBC television series, Sing Along with Mitch. // Miller took up the oboe at first as a teenager, because it was the only instrument available when he went to audition for his junior high school orchestra. After graduating from East High School, he attended the Eastman School of Music in Rochester, where he met and became a lifelong friend of Goddard Lieberson, who became president of CBS Music Group in 1956. //After graduating from Eastman, Miller played with the Rochester Philharmonic Orchestra and then moved to New York City, where he was a member of the Alec Wilder Octet (1938–41 and occasionally later), as well as performing with David Mannes, Andre Kostelanetz, Percy Faith, George Gershwin, and Charlie Parker. He worked with Frank Sinatra on the 1946 recording Frank Sinatra Conducts the Music of Alec Wilder. // Miller played the English horn part in the Largo movement of Dvořák’s New World Symphony in a 1947 recording conducted by Leopold Stokowski. In 1948, he performed Mozart’s Oboe Concerto in C major with the CBS Symphony Orchestra conducted by Alfredo Antonini in a broadcast for Voice of America. // Miller gave the American premiere of Richard Strauss’s Oboe Concerto in a 1948 radio broadcast. Strauss had originally assigned rights to the premiere to John de Lancie, who gave him the idea for the concerto while stationed near Strauss’s villa in Garmisch. However, since meeting the composer, de Lancie had won a section oboist position with the Philadelphia Orchestra, and as a junior player to the orchestra’s principal oboist, Marcel Tabuteau, was unable to fulfill Strauss’s wishes. De Lancie then gave the rights for the premiere to Miller. // As part of the CBS Symphony, Miller participated in the musical accompaniment on the 1938 radio broadcast of Orson Welles’s The Mercury Theater on the Air production of The War of the Worlds. He also performed in Beethoven’s Symphony No. 5 in C minor. // Miller joined Mercury Records as a classical music producer and served as the head of artists and repertoire (A&R) at the label in the late 1940s, then joining Columbia Records in the same capacity in 1950. He defined the Columbia style through the early 1960s, signing and producing many important pop standards artists for Columbia, including Johnnie Ray, Percy Faith, Ray Conniff, Jimmy Boyd, Johnny Mathis, Tony Bennett, and Guy Mitchell. // Miller enticed Frankie Laine to join the label after his early successes at Mercury. Miller helped direct the careers of artists who were already signed to the label, such as Doris Day, Dinah Shore, and Jo Stafford. Miller also discovered Aretha Franklin and signed her to the first major recording contract of her career. She left Columbia after five years, when Ahmet Ertegun of Atlantic Records promised her artistic freedom to create records outside the pop mainstream in a more rhythm-and-blues-driven direction. // Mitch Miller disapproved of rock ‘n’ roll —one of his contemporaries described his denunciation of it as “The Gettysburg Address of Music”—and passed not only on Elvis Presley and Buddy Holly, who became stars on RCA and Coral, respectively, but on The Beatles as well, creating a fortune in revenue for rival Capitol. Previously, Miller had offered Presley a contract but balked at the amount Presley’s manager, Colonel Tom Parker, was asking. However, in 1958 he signed Johnny Cash and Carl Perkins, two of Presley’s contemporaries at Sun Records.// According to former Newsweek music critic Karen Schoemer, Miller’s refusal to record in the genre was also due to his fear that the label, and its corporate parent CBS, would be implicated in the scandal surrounding payola if he did so, remarking: “I knew what was going on—everybody in the business knew what was going on. You had to pay to play.” // In defense of his anti-rock stance, he once told NME in January 1958: “Rock ‘n’ roll is musical baby food: it is the worship of mediocrity, brought about by a passion for conformity.” // Miller exemplified the worst in American pop. He first aroused the ire of intelligent listeners by trying to turn—and darn near succeeding in turning—great artists like Sinatra, Clooney, and Tony Bennett into hacks. Miller chose the worst songs and put together the worst backings imaginable—not with the hit-or-miss attitude that bad musicians traditionally used, but with insight, forethought, careful planning, and perverted brilliance. // In 1987, Miller conducted the London Symphony Orchestra with pianist David Golub in a well-received recording of Gershwin’s An American in Paris, Concerto in F, and Rhapsody in Blue. What made this recording special was that it was produced using the original sheet music that was handed out by Gershwin to his band for an early U.S. tour, along with Gershwin’s performance directions as noted by then band member Miller.]
- Herb Albert & the Tijuana Brass– “Up Cherry Street”
from: South of the Border / Herb Albert Presents / October 1, 1964
[South of the Border is the third album by American band Herb Alpert & the Tijuana Brass, originally released in 1964. The name of the group, for this album, is “Herb Alpert’s Tijuana Brass”. South of the Border was Alpert’s third studio album, and fifth gold record. It continued the progression of the Tijuana Brass from its mostly-Mexican sound to a more easy-listening style, with a collection of cover versions of popular songs. Included were “I’ve Grown Accustomed to Her Face”, originally featured in the Broadway musical My Fair Lady, and The Beatles’ 1963 hit “All My Loving”. It also featured an instrumental cover of its title song, “South of the Border”, which was most famously done as a vocal by Frank Sinatra. // One number, a Sol Lake tune called “The Mexican Shuffle”, was reworked for a TV ad for a brand of chewing gum, and styled “The Teaberry Shuffle”. Bert Kaempfert, author of several songs covered by the Brass, returned the favor by issuing a cover of “The Mexican Shuffle”. The track titled “El Presidente”, was a reorchestration of Sol Lake’s “Winds of Barcelona”, which had appeared on Volume 2. // The cover features model Sandra Moss (Mrs. Jerry Moss at the time) at the Patio del Moro apartment complex in West Hollywood. // South of the Border enjoyed sustained popularity. It appeared on the Billboard Top LPs chart for a total of 163 weeks. For the week ending May 21, 1966, South of the Border peaked at No. 17, and was one of five Tijuana Brass albums listed in the top 20 of Billboard Magazine’s chart of Top LP’s. The others were What Now My Love , Going Places, Whipped Cream & Other Delights , and The Lonely Bull. // In a retrospective review for Allmusic, music critic Lindsay Planer praised the album’s variety and described the ballads as “never seeming maudlin or unnecessarily over the top.]
- The Champs – “Tequila”
from: Greatest Hits / Curb Records / 1994 [Orig. released Jan. 15, 1958 – Go, Champs, Go!]
[The Champs were an American rock and roll band, most famous for their Latin-tinged 1958 instrumental single “Tequila”. The group took their name from that of Gene Autry’s horse, Champion, and was formed by studio executives at Autry’s Challenge Records to record a B-side for the Dave Burgess single “Train to Nowhere”. The intended throwaway track became more famous than its A-side, as “Tequila” went to number one in just three weeks, and the band became the first group to go to the top spot with an instrumental that was their first release. The song was recorded at Gold Star Studios in fall 1957, and in 1959 won the Grammy Award for Best R&B Performance. It sold over one million copies, and was awarded a gold disc by the Recording Industry Association of America. // “Tequila” was written by saxophonist Danny Flores, although he was credited as “Chuck Rio” because he was under contract to another record label (RPM Records) at the time. Flores, who was of Mexican heritage and died in September 2006, was known as the “Godfather of Latino rock”. Flores’ “dirty sax” and his low-voiced “Tequila” are the hallmarks of the song. Flores signed away the US rights to the song, but retained worldwide rights until his death. // The many cover versions of the tune include a jazz version by guitarist Wes Montgomery in 1966. It has also been recorded by rappers A.L.T. and XL Singleton. The Champs also had success with instrumentals such as “Limbo Rock” and “El Rancho Rock”. In 1985, “Tequila” featured prominently in the film Pee Wee’s Big Adventure. The Champs also recorded a sequel to “Tequila” entitled “Too Much Tequila”.]
- Burt Bacharach – “South American Getaway”
from: Butch Cassidy And The Sundance Kid Orig. Soundtrack / A&M Records / Sept. 23, 1969
[The soundtrack for Butch Cassidy and the Sundance Kid was composed by Burt Bacharach. The film, released in 1969, includes several notable tracks that contribute to its iconic status including “Raindrops Keep Fallin’ on My Head,” sung by BJ Thomas music by Bacharach, lyrics by Hal David. The song won an Academy Award for Best Original Song it also won a Grammy. Bacharach also won an Academy Award for Best Original Score for a Motion Picture (Not a Musical) and also won a Grammy. On “South American Getaway” the vocals are performed by the Ron Hicklin Singers. They were an extraordinary group who performed the themes for many films and TV series from the 1960s to the 1980s, including Happy Days, Wonder Woman and Batman. // Bacharach was born in Kansas City, Missouri, and grew up in Forest Hills, Queens, New York City, graduating from Forest Hills High School in 1946. He was the son of Irma M. (née Freeman) and Mark Bertram “Bert” Bacharach, a well-known syndicated newspaper columnist. His mother was an amateur painter and songwriter and encouraged Bacharach to practice piano, drums and cello during his childhood. His family was Jewish, but he said that they did not practice or give much attention to their religion. “But the kids I knew were Catholic,” he added. “I was Jewish, but I didn’t want anybody to know about it.” / Bacharach showed a keen interest in jazz as a teenager, disliking his classical piano lessons, and often used a fake ID to gain admission into 52nd Street nightclubs. He got to hear bebop musicians such as Dizzy Gillespie and Charlie Parker, whose style influenced his songwriting. // Bacharach studied music (Associate of Music, 1948) at McGill University in Montreal, under Helmut Blume, at the Mannes School of Music in New York City, and at the Music Academy of the West in Montecito, California. During this period he studied a range of music, including jazz, whose sophisticated harmony is a distinctive feature of many of his compositions. His composition teachers included Darius Milhaud, Henry Cowell, and Bohuslav Martinů. Bacharach cited Milhaud, under whose guidance he wrote a “Sonatina for Violin, Oboe and Piano”, as his greatest influence.// Burt Freeman Bacharach (May 12, 1928 – February 8, 2023) was an American composer, songwriter, record producer, and pianist, widely regarded as one of the most important and influential figures of 20th-century popular music. He composed hundreds of pop songs, many in collaboration with lyricist Hal David. His music features atypical chord progressions and time signature changes, influenced by his background in jazz, and uncommon selections of instruments for small orchestras. He arranged, conducted, and produced much of his recorded output. // Beginning in the 1950s, Bacharach and David worked with Marty Robbins, Perry Como, Gene McDaniels, and Jerry Butler. From 1961 to 1972, most of the duo’s hits were tailored for Dionne Warwick. Following the initial success of these collaborations, Bacharach wrote hits for singers such as Gene Pitney, Cilla Black, Dusty Springfield, Tom Jones and B. J. Thomas. In total, he wrote fifty-two US Top 40 hits, including chart-toppers “This Guy’s in Love with You” (Herb Alpert, 1968), “Raindrops Keep Fallin’ on My Head” (Thomas, 1969), “(They Long to Be) Close to You” (the Carpenters, 1970), “Arthur’s Theme (Best That You Can Do)” (Christopher Cross, 1981), “That’s What Friends Are For” (Warwick, 1986), and “On My Own” (Carole Bayer Sager, 1986). // Over 1,000 artists have recorded Bacharach’s songs. A significant figure in orchestral pop and easy listening, he influenced genres such as sunshine pop/soft rock, chamber pop, and Shibuya-kei.[a] The writer William Farina said that Bacharach was connected in some way to almost every prominent musical artist of his era. Bacharach’s songs would eventually be repurposed for the soundtracks of major feature films.He received six Grammy Awards, three Academy Awards, and one Emmy Award. In 2015, Rolling Stone ranked Bacharach and David at number 32 for their list of the “100 Greatest Songwriters of All Time”. In 2012, the duo received the Library of Congress Gershwin Prize for Popular Song, the first time the honor has been given to a songwriting team.]
10:19 – Repeated Words
- Bill Withers – “Ain’t No Sunshine ” [“I Know” – 26]
from: Just As I Am / Sussex / July 1971
[“Ain’t No Sunshine” is a song by the American singer and songwriter Bill Withers, from his 1971 debut album Just As I Am. The song was produced by Booker T. Jones, and it also featured the musicians Donald “Duck” Dunn on bass guitar, Al Jackson Jr. on drums and Stephen Stills on guitar. The song’s strings were arranged by Jones. The song was recorded in Los Angeles, with overdubs in Memphis by the track’s engineer Terry Manning. // The song was released as a single in 1971, and it became the breakthrough hit for Withers and one of Withers’ best known tracks, reaching number six on the U.S. R&B Chart and number three on the Billboard Hot 100 chart. Billboard ranked it as the 23rd biggest hit single of 1971. / The song reached the Top 40 again in 2009 in the United Kingdom due to a version of it being performed by Kris Allen on the eighth season of American Idol. // In 2024, the single was added to the National Recording Registry by the Library of Congress due to it being “culturally, historically, and/or aesthetically significant”. // Withers was inspired to write the song after watching the 1962 movie Days of Wine and Roses. He explained, in reference to the characters played by Lee Remick and Jack Lemmon, “They were both alcoholics who were alternately weak and strong. It’s like going back for seconds on rat poison. Sometimes you miss things that weren’t particularly good for you. It’s just something that crossed my mind from watching that movie, and probably something else that happened in my life that I’m not aware of.” // For the song’s bridge, Withers had intended to write more lyrics instead of repeating the phrase “I know” 26 times, but then followed the advice of the other musicians to leave it that way. Withers stated: “I was this factory worker puttering around. So when they said to leave it like that, I left it.” // Withers, then 31, was working at a factory making lavatories for Boeing 747s at the time he wrote the song. When the song went gold, the record company presented Withers with a golden toilet seat, marking the start of his new career. “Ain’t No Sunshine” was the first of Withers’ three gold records in the U.S. // Originally released as the B-side to another song called “Harlem”, “Ain’t No Sunshine” was preferred by disc jockeys, and it became a huge hit, Withers’ first. “Harlem” was subsequently covered by The 5th Dimension, who featured it on their Soul and Inspiration album and released it as a single.// Withers performed “Ain’t No Sunshine” on The Old Grey Whistle Test. It won the Grammy for Best R&B Song in 1972 and is ranked 285th on Rolling Stone’s list of the 500 Greatest Songs of All Time.]
- The Trashmen – “Surfin’ Bird” [“Bird” – 27]
from: Tube City! The Best of The Trashmen / Garrett / July 21, 1992 [orig. Nov. 13, 1963]
[The Trashmen were an American rock band formed in Minneapolis in 1962 and are best known for their biggest hit, 1963’s “Surfin’ Bird”, which reached No. 4 on the Billboard Hot 100. The original line-up of the group featured guitarists Tony Andreason and Dal Winslow, bassist Bob Reed, and drummer Steve Wahrer. // Along with Colorado-based contemporaries the Astronauts, the Trashmen have been described as “the premier landlocked Midwestern surf group of the ’60s.” The band took their name from “Trashman’s Blues”, a song written and recorded in 1961 by Minneapolis musician Kai Ray (Richard Caire, 1935–2017), who later wrote songs for the band. // The Trashmen’s biggest hit was 1963’s “Surfin’ Bird” which reached No. 4 on the Billboard Hot 100 in the latter part of that year. The song was a combination of two R&B hits by the Rivingtons, “The Bird’s the Word” and “Papa-Oom-Mow-Mow”. The song was recorded at Kay Bank Studios in Minneapolis.[6] Early pressings of the single credit the Trashmen’s drummer and vocalist Steve Wahrer as the composer, but following a threat from The Rivingtons’ legal counsel, the writing credit was removed from Wahrer and transferred to the members of The Rivingtons. // The song was later covered by the Ramones, the Cramps, Silverchair, The Psychotic Petunias, Pee-wee Herman, Equipe 84, and the thrash metal band Sodom. It has also been featured in several films, including Full Metal Jacket, Fred Claus, Pink Flamingos, Back to the Beach, and The Big Year. // “Surfin’ Bird” was the subject of the episode “I Dream of Jesus” of the television series Family Guy, sending the song to No. 8 on the iTunes Top 10 Rock songs chart and No. 50 on the UK Singles Chart in 2009. It has since become a running gag on the show. // In 2010, a Facebook campaign was launched to send the song to No. 1 in the UK over the Christmas season; this was largely intended (as with Rage Against the Machine’s “Killing in the Name”, in 2009) as a protest against the takeover of the Christmas No. 1 spot by The X Factor winner’s song. The track debuted in the UK Top Ten for the first time on December 19, at No. 3. // It was also featured in the video game Battlefield Vietnam.]
- The Human Beinz – “Nobody But Me” [“Nobody” – 31]
from: Nobody But Me / Capitol Records / 1969
[Youngstown, Ohio band. The band initially featured John Richard “Dick” Belley (vocals, guitar), Joe “Ting” Markulin (vocals, guitar), Mel Pachuta (vocals, bass), and Gary Coates (drums), later replaced by Mike Tatman. // Their only hit record in the US, “Nobody But Me”, peaked in 1968 at number 8 on the Billboard Hot 100. // The Beinz started in 1964 as The Premiers, launching their professional career to build a local fan base. In 1966, they changed their name to The Human Beingz because they felt their old name did not fit with the feel of the late 1960s. They recorded covers of songs by Them, The Yardbirds, The Who and Bob Dylan. The group was also the first to record a cover of “Gloria” by Them, which became a hit for The Shadows of Knight, and covered “The Pied Piper”, which later became a hit for Crispian St. Peters. // The group signed to Capitol Records in 1967 and at that time Capitol misspelled their name, leaving out the “g”. Capitol’s purported idea was to affiliate the band’s name with the Human Be-In movement of 1967. // The Beinz were told it would be changed on the next release if the debut single did not have any success. On August 24, 1967 “Nobody But Me” was released and became their only Billboard Top 40 hit, which meant that Capitol would not correct the spelling. “Nobody But Me” (written and first recorded by The Isley Brothers in 1962) peaked at No. 8 in February 1968. The recording’s two 31-fold repetitions of the word “no” fulfill Casey Kasem’s “Book of Records” category of most repetitive word or phrase in a Hot 100 top 10 hit, besting the 26-fold repetition of “I know” in Bill Withers’ “Ain’t No Sunshine”. An album, Nobody But Me, followed. // The Beinz’ next single, “Turn On Your Love Light”, peaked No. 80 but became a huge hit in Japan, where it peaked at No. 1.”Turn On Your Love Light”, originally a hit for Bobby Bland in 1962, was later covered by Jerry Lee Lewis and the Grateful Dead. In 1968, Capitol released a second album, Evolutions. They also released the single, “Hold on Baby”, exclusively in Japan, where it also hit the top of the charts. The band went on a contractually obligated tour of Japan as a result of their success there and broke up immediately thereafter in March 1969.]
10:28 – Scat
- Cab Calloway – “Minnie The Moocher”
from: The Blues Brothers Soundtrack / Atlantic / June 20, 1980
[The Blues Brothers: Original Soundtrack Recording (later rereleased as The Blues Brothers: Music from the Soundtrack) is the Blues Brothers Band’s second album. Released on June 20, 1980, it was a followup to their debut live album, Briefcase Full of Blues. The band toured the same year to promote the film, later releasing a second live album, Made in America, which featured the Top 40 track “Who’s Making Love”. // The soundtrack was recorded in Chicago at Universal Recording Corporation at the same time the movie was being filmed, with the exception of “Gimme Some Lovin'”, which was recorded at the Record Plant in Los Angeles, and “The Old Landmark”, which was recorded live on a Universal Studios sound stage on the West Coast, with overdubs later recorded at a studio in New York City. // The songs on the soundtrack album are a noticeably different audio mix than in the film, with a prominent baritone saxophone in the horn line (also heard in the film during “Shake a Tail Feather”, though no baritone sax is present), and female backing vocals on “Everybody Needs Somebody to Love”, though the band had no other backup singers, besides Jake and/or Elwood, in the film. A number of regular band members, including saxophonist Tom Scott and drummer Steve Jordan, perform on the album but are not in the film. // According to Landis in The Stories Behind the Making of ‘The Blues Brothers’, filmed musical performances by Aretha Franklin and James Brown took more effort, as neither artist was accustomed to lip-synching their performances. Franklin required several takes, and Brown simply rerecorded his performance live on a Universal Studios sound stage during filming of the holy roller church scene, with overdubs later recorded at a studio in New York City. Calloway had wanted to perform a disco variation on his signature tune, “Minnie the Moocher”, having done the song in several styles in the past, but Landis insisted that the song be done in an original big-band arrangement. Calloway was initially angry with Landis over this decision but was later pleased with the positive reception his performance received from audiences and fans of the film. // “Gimme Some Lovin'” was a Top 20 Billboard hit for the Blues Brothers, peaking at number 18. The album sold more than a million copies.][ Cabell Calloway III (December 25, 1907 – November 18, 1994) was an American jazz singer, songwriter and bandleader. He was a regular performer at the Cotton Club in Harlem, where he became a popular vocalist of the swing era. His niche of mixing jazz and vaudeville won him acclaim during a career that spanned over 65 years. // Calloway was a master of energetic scat singing and led one of the most popular dance bands in the United States from the early 1930s to the late 1940s. His band included trumpeters Dizzy Gillespie, Jonah Jones, and Adolphus “Doc” Cheatham, saxophonists Ben Webster and Leon “Chu” Berry, guitarist Danny Barker, bassist Milt Hinton, and drummer Cozy Cole. // Calloway had several hit records in the 1930s and 1940s, becoming the first African-American musician to sell one million copies of a record. He became known as the “Hi-de-ho” man of jazz for his most famous song, “Minnie the Moocher”, originally recorded in 1931. He reached the Billboard charts in five consecutive decades (1930s–1970s). Calloway also made several stage, film, and television appearances. He had roles in Stormy Weather (1943), Porgy and Bess (1953), The Cincinnati Kid (1965), and Hello Dolly! (1967). In the 1980s, Calloway enjoyed a marked career resurgence following his appearance in the musical comedy film The Blues Brothers (1980). // Calloway was the first African-American to have a nationally syndicated radio program. In 1993, Calloway received the National Medal of Arts from the United States Congress. He posthumously received the Grammy Lifetime Achievement Award in 2008. His song “Minnie the Moocher” was inducted into the Grammy Hall of Fame in 1999, and added to the Library of Congress’ National Recording Registry in 2019. In 2022, the National Film Registry selected his home films for preservation as “culturally, historically or aesthetically significant films”. He was inducted into the Big Band and Jazz Hall of Fame and the International Jazz Hall of Fame.]
- John Scatman – “Scatmambo”
from: Take Your Time / Iceberg Records / June 1, 1999
[Take Your Time is the 4th and final studio album released by John Paul Larkin (March 13, 1942 – December 3, 1999), known professionally under the alias Scatman John, was an American musician. A prolific jazz pianist and vocalist for several decades, he rose to prominence in 1994 through his fusion of scat singing and dance music. He recorded five albums, which were released between 1986 and 2001. // In the United States and Europe, Larkin is recognized for his singles “Scatman (Ski-Ba-Bop-Ba-Dop-Bop)” and “Scatman’s World”. He achieved his greatest success in Japan, where his album Scatman’s World (1995) sold more than a million copies. Outside of his musical activities, he had deepened exchanges with stuttering organizations and established the Scatland Foundation in 1996 with the purpose of furthering research of and educating the public on stuttering. Larkin was a recipient of the American Speech–Language–Hearing Association’s Annie Glenn Award for outstanding service to the stuttering community and a posthumous inductee to the National Stuttering Association Hall of Fame. // John Paul Larkin was born at the Stanley Hospital in El Monte, California. He had a prominent stutter by the time he learned to speak. This stutter contributed to his emotionally traumatic childhood. At age twelve, he began to learn the piano and was introduced to the art of scat singing two years later through records by Ella Fitzgerald and Louis Armstrong, among others. The piano provided him with a means of artistic expression to compensate for his speech difference, and he “hid behind [the] piano because [he] was scared to speak.” // Larkin began making jazz music in the 1970s. His first known performance on a studio album was in 1981 on the album Animal Sounds by Sam Phipps. In 1986, he released the self-titled album John Larkin on the Transition label. This album was produced by John himself, along with Marcia Larkin. It featured Joe Farrell on saxophone. // To advance his career in 1990, Larkin moved to Berlin, Germany. Once there, he discovered an appreciative jazz culture and started playing jazz gigs. This was when he first decided to take a monumental step away from his insecurities and add singing to his act for the first time, inspired by a standing ovation he received for a performance at the Cafe Moscow in Berlin. Soon after, his agent Manfred Zähringer from Iceberg Records (Denmark) thought of combining scat singing with modern dance music and hip-hop effects. Larkin was hesitant at first, terrified of being laughed at and criticized once again, but BMG Hamburg was open. // Larkin was worried that listeners would realize he stuttered, and his wife, Judy, suggested that he talk about it directly in his music. Working with dance producers composer Tony Catania, and Ingo Kays co producer, he recorded the first single, “Scatman (Ski-Ba-Bop-Ba-Dop-Bop)”. After his first big hit, he adopted the new name and persona of “Scatman” John. // In 1995, at age 53, Larkin became a worldwide star. Sales of his debut single were slow at first, but they gradually reached number one in many countries and sold more than six million records worldwide. “Scatman (Ski-Ba-Bop-Ba-Dop-Bop)” charted highly across Europe and Japan and remains his biggest-selling and most well-known song. He later followed up with the song “Scatman’s World” entering the UK Singles Chart at number 10, which met lesser but still notable success, selling a million copies and charting highly throughout Europe. In 2019, “Scatman’s World” had some resurgence after becoming an internet meme.]
10:36 – Underwriting
10:38 – Comedy
- “Weird Al” Yankovic – “Bob”
from: Poodle Hat / Volcano – Way Moby / May 20, 2023
[“Bob” is a song by “Weird Al” Yankovic from the 2003 album Poodle Hat. The song is a parody sung in the style of Bob Dylan, and each line of the lyrics is a palindrome, as is the title. For example, the song’s first line is “I, man, am regal—a German am I”. // The song did not chart at the time of its release, but later became the subject of critical and scholarly examination. Music critic Nathan Rabin argues that the song’s lyrics “sound cryptic enough to be genuine Dylanesque, but are in fact palindromes delivered in an uncanny re-creation of Dylan’s nasal whine.” Randall Auxier and Douglas R. Anderson described Yankovic as having “bested” Dylan with the song, in a hypothetical competition. // “Bob” was written and recorded by Yankovic in 2002 and was “in part inspired by the year 2002, itself a palindrome”. In an interview with musicologist Lily E. Hirsch, Yankovic used the song as an illustration of his writing process, noting that he put together the lyrics before deciding to do the song in the style of Dylan: Yankovic thought, “Well, I wonder if I could write a song completely out of palindromes? … So I started putting the rhymes together and putting the verses together and basically making a poem out of these palindromes.” He continued, “And I looked at them and I thought, ‘Well, this … this is really just a random jumble, but it looks like it should mean something.'” The pseudo-poetic nonsense struck him as similar to the lyrical invention of Bob Dylan. // Using Dylan as the template for the song style also allowed Yankovic to use Dylan’s first name, itself a palindrome, as the title. The song is described as “a style parody that responds to Dylan’s sound (particularly his mid-1960s sound) and to the befuddling nature of some of his lyrics”. Although the music video alludes to “Subterranean Homesick Blues”, “the musical style of ‘Bob’ is closer to Dylan’s ‘Tombstone Blues'”. Yankovic “plays on the famous inscrutability of Dylan’s 1960s lyrics by composing his parody entirely from palindromes”, while his performance “replicates a musical style associated with Bob Dylan—harmonica, a pronounced nasal voice, and vocal attacks marked by scooping”, the latter being a musical technique of singing the note slightly below the desired pitch, and then sliding up to it. Another examination found that “Yankovic’s vocal timbre, attack, phrasing and rhythm make the song convincingly Dylanesque, while the rhyming palindromes provide a structuring logic to the song and provide it with its own sense even as it makes no sense semantically”. The A.V. Club found the song to be “very much in the Bowser & Blue tradition, imitating the sound of Dylan’s classic recordings and poking fun at his penchant for nonsensical lyrics”. // In 2013, Yankovic served as a guest judge in a palindrome contest. Noting that “Oozy rat in a sanitary zoo”, a line in the song, was a personal favorite of his, he said, “The writing of a brilliant palindrome is a small miracle”, which “deserves to be honored more than a lot of the stupid and inconsequential things we often celebrate in our culture”. // The music video alludes to the clip of Dylan’s song “Subterranean Homesick Blues” in the 1967 D. A. Pennebaker documentary Don’t Look Back. The video for “Bob” is similarly shot in black-and-white, and in the same back-alley setting, with Yankovic dressing as Dylan and dropping cue cards that have the song’s lyrics on them, as Dylan did in the film. The video features cameo appearances by Yankovic’s drummer Jon “Bermuda” Schwartz and frequent Yankovic video director Jay Levey, standing in the same positions as Allen Ginsberg and Bob Neuwirth in the Dylan video. // “Bob” was the only song on the album for which a video was made; plans had been made to film a video for the Eminem parody “Couch Potato”, but while the work was in pre-production, Eminem refused permission for Yankovic to make the video. So that the album would not be without a video, a quick one for “Bob” was shot and used on the tour and for the 2003 edition of Al TV. The video for “Bob” was released on “Weird Al” Yankovic: The Ultimate Video Collection DVD (2003).]
- Stan Freberg – “Sh-Boom”
from: The Very Best Of Stan Freberg / Capitol / 1998 [orig. 1954]
[“Sh-Boom” (“Life Could Be a Dream”) is a doo-wop song by the R&B vocal group the Chords. It was written by James Keyes, Claude Feaster, Carl Feaster, Floyd F. McRae, and William Edwards, members of the Chords, and was released in 1954. It is sometimes considered the first doo-wop or rock and roll record to reach the top ten on the pop charts (as opposed to the R&B charts), as it was a top-10 hit that year for both the Chords (who first recorded the song) and the Crew-Cuts. In 2004, it was ranked No. 215 on Rolling Stone’s “Top 500 Best Songs of All Time”. // Stan Freberg recorded a combined spoof of “Sh-Boom” and Marlon Brando because he felt that they both mumbled, in 1954. It reached No. 14 in the US and 15 in the UK. The Billy Williams Quartet released a version in 1954 on Coral Records that reached No. 21 on the Billboard Hot 100,[10] with orchestra directed by Jack Pleis. Bloodstone recorded an a cappella cover of the song for their 1975 movie Train Ride to Hollywood. The Harvard Din & Tonics have recordings of the song (arranged by Patrick Whelan) on most of their albums, and sing it near universally at their performances, inviting alumni from the audience to sing with them on stage. // Stan Freberg (born Stanley Friberg; August 7, 1926 – April 7, 2015) was an American voice actor, satirist, singer, radio personality, and advertising creative director. // His best-known works include “St. George and the Dragonet”, Stan Freberg Presents the United States of America, his role on the television series Time for Beany, multiple characters in the Looney Tunes such as Pete Puma and Bertie, and a number of classic television commercials. // He appeared on “Weird Al” Yankovic’s The Weird Al Show, playing both the J.B. Toppersmith character and the voice of the puppet Papa Boolie. Yankovic has acknowledged Freberg as one of his greatest influences.]
10:46 – Deliberately Strange
- Aldriano Celentano – “Prisencolinensinainciusol”
from: Celentano Hit Parade (Le Volte Che Adriano È Stato Primo) / Clan Celentano / 1983
[“Prisencolinensinainciusol” (pronounced [ˌprizeŋˌkɔliˌnɛnsinainˈtʃuːzol]; stylized on the single cover as “PRİSENCÓLİNENSİNÁİNCIÚSOL”) is a song composed by the Italian singer Adriano Celentano, and performed by Celentano and his wife Claudia Mori. It was released as a single in 1972. Both the name of the song and its lyrics are gibberish, but are intended to represent what American English sounds like to people who do not understand English. The song charted in several European countries. // By the 1960s, Celentano was already one of the most popular rock musicians in Italy, in large part due to his appearance at the Sanremo Music Festival in 1960 and the subsequent success of his song “24.000 baci”. Martina Tanga writes that his artistic persona was characterised by “loud lyrics and inelegant body movements”, which differentiated him from other singers of the time. Paolo Prato describes his style as “a bit of Elvis, a bit of Jerry Lewis, a bit of folk singer”. “Prisencolinensinainciusol” was released in 1972 and remained popular throughout the 1970s. // It has been described as varying music genres including rock and roll, Europop, house music, disco, hip hop and funk. Celentano, however, did not have these styles in mind when writing the song. He composed “Prisencolinensinainciusol” by creating a loop of four drumbeats and improvising lyrics over the top of the loop in his recording studio. The song is characterised by an E flat groove in the drum and bass guitar and riff in the horn section. Between the drum loop, the looped horns, and the conversational improvisational “freestyle” flow of the lyrics and the chanting chorus, the song has many elements later found in hip hop in the mid-1980s and 1990s. // Celentano has claimed that with this song he invented rapping. // The song is intended to sound as if it is sung in English spoken with an American accent; however, the lyrics are deliberately unintelligible gibberish. Andrew Khan, writing in The Guardian, later described the sound as reminiscent of Bob Dylan’s output from the 1980s. // Celentano’s intention was not to create a humorous novelty song but to explore communication barriers. The intent was to demonstrate how English sounds to people who do not understand the language: “Ever since I started singing, I was very influenced by American music and everything Americans did. So at a certain point, because I like American slang—which, for a singer, is much easier to sing than Italian—I thought that I would write a song which would only have as its theme the inability to communicate. And to do this, I had to write a song where the lyrics didn’t mean anything.” // Celentano also took inspiration from the Biblical account of the Tower of Babel.]
- Piero Umiliani – “Mah No Mah Na”
from: Svezia, inferno e paradiso / Piero Umiliani / September 4, 1968
[“Mah Nà Mah Nà” is a popular song by the Italian composer Piero Umiliani. It originally appeared in the Italian film Sweden: Heaven and Hell (Svezia, inferno e paradiso). On its own it was a minor radio hit in the United States and in Britain, but became better known internationally after it was used by the Muppets and on The Benny Hill Show. // Sesame Street producer Joan Ganz Cooney heard the track on the radio and decided it would be a perfect addition to the show. The song’s first Sesame Street performance by the Muppets was performed by puppeteers Jim Henson, Frank Oz and Loretta Long (Susan) on the fourteenth episode of the show, broadcast on November 27, 1969. The following Sunday, Henson and his Muppets performed the song on The Ed Sullivan Show. Seven years later, the song was part of the premiere episode of The Muppet Show.// Starting in 1971, The Benny Hill Show—in its second incarnation at Thames Television where it launched in 1969 in colour—included “Mah Nà Mah Nà” as part of a background music medley during their frequent slapstick sketches. The medley became a Benny Hill Show tradition for the rest of its run. // Although Umiliani used a very similar theme in 1966 for the soundtrack of the Italian film Ring Around the World,[1] “Mah Nà Mah Nà” debuted as part of Umiliani’s soundtrack for the Italian mondo film Sweden: Heaven and Hell (1968), an exploitation documentary film about wild sexual activity and other behaviour in Sweden. The song accompanied a scene in the film set in a sauna which gave its original title “Viva la Sauna Svedese” (“Hooray for the Swedish Sauna”). It was performed by a band called Marc 4 (four session musicians from the RAI orchestra), and the lead part was sung by Italian singer/composer Alessandro Alessandroni and his wife Giulia. The song also appeared on the 1968 U.S. soundtrack album released for the film. //Mah Nà Mah Nà” was a hit in many countries in 1968–1969. In the United States, it peaked at No. 55 in the Billboard Hot 100 singles chart and No. 44 on the Cash Box magazine chart in October 1969. It also reached No. 12 on the United States Adult Contemporary chart. In Canada, the song reached No. 22 in the RPM magazine top singles charts, October 11, The original UK single release, on the Pye International label (7N 25499), left the artists name uncredited on the label, and a cover version by Giorgio Moroder, pseudonymously credited to “The Great Unknowns” and released the same year on the Major Minor label featured Moroder’s “Doo-be-doo-be-do” on the B side (also sometimes featured in The Benny Hill Show). Umiliani’s original version, now credited to Umiliani on the label, was reissued by EMI Records in the UK in 1977 and reached No. 8 in the charts. During its 1–15 September 1969 run on the WLS 890 Hit Parade, the surveys erroneously credited the record to someone named Pete Howard. WPTR did much the same, except that the credit was given to the station’s disc jockey, J.W. Wagner.]
- The Beatles – “I Am The Walrus”
from: Magical Mystery Tour / Capitol / November 27, 1967
[“I Am the Walrus” is a song by the Beatles from their 1967 television film Magical Mystery Tour, and officially released on its soundtrack EP and album. Written by John Lennon and credited to Lennon–McCartney, it was released as the B-side to the single “Hello, Goodbye” and on the Magical Mystery Tour EP and album. In the film, the song underscores a segment in which the band mime to the recording at a deserted airfield. // Lennon wrote the song to confound listeners who had been affording serious scholarly interpretations of the Beatles’ lyrics. He was partly inspired by two LSD trips and Lewis Carroll’s 1871 poem “The Walrus and the Carpenter”. Producer George Martin arranged and added orchestral accompaniment that included violins, cellos, horns, and clarinet. The Mike Sammes Singers, a 16-voice choir of professional studio vocalists, also joined the recording, variously singing nonsense lines and shrill whooping noises. // Since the “Hello, Goodbye” single and the Magical Mystery Tour EP both reached the top two slots on the British singles chart in December, “I Am the Walrus” holds the distinction of reaching numbers one and two simultaneously. Shortly after release, the song was banned by the BBC for the line “Boy, you’ve been a naughty girl, you let your knickers down”.]
10:59 – THANK YOU Edward Wallerstein
- Mitch Miller – “Be Kind to Your Web Footed Friends”
from: Greatest Hits / Columbia Records / December 5, 1990
[Originally released 1950, 1955, 1956, 1958, 1969, 1961, 1962. // a parody of the lyrics to “The Stars and Stripes Forever” that begins “Be kind to your web-footed friends”. Its exact origin is unclear, but versions of it were being quoted as early as the 1930s on college campuses, and during the 1940s, where it was sung for entertainment by soldiers at the USO. Some newspapers of that time referred to it as the “Duck Song.” In 1954, Charles Grean and Joan Javits composed “Crazy Mixed Up Song”, using these lyrics along with the march’s theme. It was made somewhat popular by Peter Lind Hayes & Mary Healy in that year. In the early 1960s, it reached a wider audience as a part of Mitch Miller’s nationally syndicated sing-along show, Sing Along with Mitch. This version has perhaps the best known lyrics, which were used to end every show:]
Be kind to your web-footed friends,
For a duck may be somebody’s mother.
Be kind to your friends in the swamp,
Where the weather is very, very damp,
Now, you may think that this is the end,
Well, it is!
11:00 – Station ID
- The Elders – “We Are Same”
from: Well Alright Then / The Elders / March 17, 2022
[The Elders for this recording are six individuals with a passion for music rooted in Americana and Celtic folk rock. Ian Byrne, a native of Ireland’s County Wicklow, guitarist Steve Phillips (formerly of The Rainmakers), bassist Norm Dahlor, violinist and keyboardist Brent Hoad (formerly of The Secrets), drummer Kian Byrne, and fiddler Colin Farrell (Creel and Gráda). Steve Phillips, passed away due to complications from COVID-19 on Sept. 29, 2020. In addition to being an integral member of The Elders, he was also a co-founder of Steve, Bob and Rich, which later became The Rainmakers. Both of these groups have cemented international acclaim, due in part to Steve’s musicianship. The band was already working on their 10th studio album, WELL ALRIGHT THEN released on St. Patrick’s Day, March 17, 2022. The Band writes on their website, http://www.eldersmusic.com, “Steve granted us the most amazing gift by writing recording many of his parts before his passing. He began working diligently as soon as he was given his prognosis in early 2020. We cannot begin to express how special and heartwarming this is, and we know it will be for you too. Steve is as present on this album as he’s ever been. With that in mind, we knew we owed it to him and the songs to make sure they were shared with the world, which meant some touring! We’ll be playing select shows and festivals throughout the year, and will be sure to keep you updated. Our brother Brent has decided to refrain from touring for now, and we support him in his decision. We have welcomed two excellent musicians to join our ranks to help bring our songs to life, and we couldn’t be happier to have them on board. Bill Latas and Dan Loftus are incredibly talented and long-time friends of the band.” The current line up of The Elders are: Ian Byrne on vocals, drums, percussion, whistle Norm Dahlor on vocals, bass, guitar, banjo; Kian Byrne on vocals, drums, bass, mandolin, guitar; Diana Ladio on fiddle, Bill Latas on guitar; and Dan Loftus-vocals, piano, guitar. The Elders played The Kauffman Center For The Performing Arts on Thurday, April 28, 2022, in Helzberg Hall, 1601 Broadway , KCMO. The Elders played Knuckleheads on Friday, April 29, 2022, at 2715 Rochester Ave, KCMO]
11:05 – Interview with Ian Byrne and Kian Byrne and Norm Dahlor
Ian Byrne and Kian Byrne and Norm Dahlor of The Elders join us to share their new single, “The Man.” The Elders are fronted by Ian Byrne on vocals & percussion, Norm Dahlor on bass (band co-founder), Kian Byrne on multi-instrumentalist, Bill “Liam” Latas on guitar, Dan “Danko” Loftus on keyboard, Shannon O’Shea on violin. More info at: http://www.eldersmusic.com
Ian Bryne and Kian Byrne and Norm Dajhlor thanks for being with us on Wednesday MidDay Medley
Norm Dahlor is cofounder of The Elders, formed in 1998. The Elders remain one of the top Celtic-rock bands in the United States after more than two decades because of their timeless sound. Since forming in 1998, The Elders have released ten studio albums, four live albums, one compilation album and four DVDs. Keeping a name together for 28 years is almost impossible. Throughout the years four of the previous players in the band have passed.
THE ELDERS (Currently):
Ian Byrne – vocals, drums, percussion, whistle
Bill “Liam” Latas – guitar
Shannon O’Shea – fiddle
Dan “Danko” Loftus – vocals, keyboards, fiddle, guitar
Norm Dahlor – vocals, bass, guitar, banjo
Kian Byrne – vocals, drums, bass, mandolin
Ian Byrne emigrated from Acoca, County in Wicklow, Ireland in 1987 with his wife Kathy Quinn and 6 month old son Kian Byrne. He had $130.00 and started Byrne Custom Woodworking a company that has grown to have 15 employees and specialized in creating liturgical furniture. He joined He Elders in 2002.
Norm Dahlor remembers when Ian joined the band in 2002. Ian showed up for an audition to play drums, but Nom points out that it became clear to the band that they had found their lead singer, the man who would from the band.
Kian Byrne joined the band in 2017. He is a Kansas City based multi-instrumentalist. He is a multi-instrumentalist with The Elders, and has play drums for Hi-Lüx, and bass for The New Riddim, and for YUM. Kian has released multiple singles: “You + Me” released June 16, “It’s Yours Til The End,” released May 7, and “Your Love,” released April 9, 2021. Kian Byrne released the 12-track solo album MORNING GLOW on December 4, 2020. Kian’s earlier solo EP, “Up & Down” was part of WMM’s 118 Best Recordings of 2018. Info at: http://www.kianbyrnemusic.com
The Elders formed in 1998 with a passion for music rooted in Americana & Celtic folk rock. From the beginning The Elders seemed to be channeling something ancient and enduring, unaffected by fads, trends and the giant maw of mind-numbing commercialism. The Elders remain one of the top Celtic-rock bands in the U.S. after more than two decades because of their timeless sound. Their fans feel connected to the band because of their passion, great melodies, unique harmonies, unparalleled musicianship and strong song-writing. And that songwriting began in 1998 when two musicians moved back from Los Angeles to KC to play Irish music. Norm Dahlor & Brent Hoad, played in numerous bands but their American and Celtic-folk rock roots were calling and The Elders were born.
Their ability to bring together the art of story telling with elements both musically progressive and rooted in tradition, has won them a broad international fan base, as well as critical acclaim from: PASTE Magazine, Folk & Acoustic Music Exchange, Music Row Magazine, Goldmine Magazine, TRAD Magazine, Chicago Sun-Times, Kansas City Star and more. Their 8th studio album, TRUE, builds upon The Elders’ song-writing reputation. The songs feature story lines with vibrant narratives that explore history, legends, tall tales & true-life experience. http://www.eldersmusic.com
The Elders Discography
2000 CD – “The Elders”
2002 CD – “Pass it on Down”
2004 CD – “American Wake”
2005 DVD/CD – “Live at the Gem Theater” (Live)
2006 CD – “Racing the Tide”
2007 DVD/CD – “Alive & Live in Ireland” (Live)
2009 CD – “Gael Day”
2010 CD – “The Best of The Elders”
2011 CD – “Wandering Life & Times”
2012 DVD/CD – “The Elders Hoolie” (Live)
2014 DVD – “Live at The Uptown Theater”
2014 CD “Story Road”
2017 CD “True”
2022 CD “Well Alright Then”
Filmography
“Live at the Gem” (2005)
“Alive and Live In Ireland” (2007)
“American Music: OFF THE RECORD” (2008)
“The Elders: Hoolie” (2012)
“Live at The Uptown Theater” (2014)
“Evergy & The Elders Light up the Plaza” (2020) Emmy Winner
The Elders were founded in 1998 by six individuals with a passion for Celtic folk rock. Ian Byrne, a native of Ireland’s County Wicklow, guitarist Steve Phillips (formerly of The Rainmakers), bassist Norm Dahlor, violinist and keyboardist Brent Hoad (formerly of The Secrets), drummer Kian Byrne, and fiddler Colin Farrell (Creel and Gráda).
Steve Phillips, passed away due to complications from COVID-19 on Sept. 29, 2020. In addition to being an integral member of The Elders, he was also a co-founder of Steve, Bob and Rich, which later became The Rainmakers. Both of these groups have cemented international acclaim, due in part to Steve’s musicianship. The band was already working on their studio album, WELL ALRIGHT THEN released on St. Patrick’s Day, March 17, 2022 //”Steve granted us the most amazing gift by writing recording many of his parts before his passing. He began working diligently as soon as he was given his prognosis in early 2020. We cannot begin to express how special and heartwarming this is, and we know it will be for you too. Steve is as present on this album as he’s ever been. With that in mind, we knew we owed it to him and the songs to make sure they were shared with the world.
The Elders are also Telly-Award Winners and inductees into the Kansas Music Hall of Fame. They have toured in the United States, Ireland, and Europe. They also appeared in the 2008 Music Documentary entitled “American Music: OFF THE RECORD; alongside Jackson Browne, Johnny Winter and Les Paul; Dir. Benjamin Meade.
Style – The band is known for their Americana and Celtic rock roots that intertwine varying styles, textures and broad harmonies. The band blends socially conscious and vibrant narratives which explore history and life in the United States, Ireland and beyond.
Career – Since forming in 1998, The Elders have released 9 studio albums, 4 live albums, 1 compilation album and 4 DVDs. Fronted by Ian Byrne, a native of Ireland..
They have played festivals, pubs and theaters across the United States, Ireland and other parts of Europe. The band has performed at festivals in Philadelphia, New York City, Cleveland, Chicago, Milwaukee, Denver, and Dublin, Ohio and others.
The Elders’ songs have been played on more than 120 U.S. radio stations and have been featured live on WoodSongs Old-Time Radio Hour. Their “Live at the Gem” concert show was broadcast on more than 100 PBS stations.
“The Man” (Ian Byrne 2025)
In the heart of the Isle, where he rose with the dawn
Hands rough as leather, from the fields worked upon
Oh, the tales they’d tell of him, in the village and town
A fighter in spirit but love was his crown
So here’s to the man, he’s the legend, my friend
May his story live on, in the songs that we send
Loved his wife, loved his land, fought with all of his might
In our hearts, he’ll forever burn so bright
He sang thee old tunes by the firelight’s glow
With a voice full of gravel, and a heart full of woe
Through laughter and tears, he would hold them all close
In his steadfast embrace, they would never feel lost
So here’s to the man, he’s the legend, my friend
May his story live on, in the songs that we send
Loved his wife, loved his land, fought with all of his might
In our hearts, he’ll forever burn so bright
Through the rain and through shine, in the fields, he’d stand tall
In his weathered old jacket, he’d answer the call
Hard-worn hands holding all, all the weight of the years
With his heart on his sleeve, without doubts and no tears
So here’s to the man, he’s the legend, my friend
May his story live on, in the songs that we send
Loved his wife, loved his land, fought with all of his might
In our hearts, he’ll forever burn so bright
11:14 – The New Single!
- The Elders – “The Man”
from: “The Man” – Single / The Elders / March 27, 2026
[Ian Byrne on vocals & percussion, Norm Dahlor on bass, Kian Byrne on multi-instrumentalist, Bill “Liam” Latas on guitar, Dan “Danko” Loftus on keyboard, Shannon O’Shea on violin. // From the soul of our memories comes a powerful anthem of heritage & heart. The Elders deliver a tribute to the pillars of our lives, hard-working legends whose hands were rough as leather but whose spirits were defined by love. Ian Byrne lyrics paint a vivid portrait of a life built on steadfast devotion and unwavering strength, tcapturing the essence of a true fighter who found his crown in the love of his family and land. It’s a song for the storytellers, the firelight singers, and those who stood tall through the rain & shine. A gritty salute to the heroes in our own histories. A timeless reminder that though legends may pass, their stories burn forever bright in the songs we send. Authentic Elders Irish soul meets the enduring spirit of folk-rock. Info at: http://www.eldersmusic.com
11:05 – More Interview with Ian Byrne and Kian Byrne and Norm Dahlor
Ian Byrne and Kian Byrne and Norm Dahlor of The Elders join us to share their new single, “The Man.” The Elders are fronted by Ian Byrne on vocals & percussion, Norm Dahlor on bass (band co-founder), Kian Byrne on multi-instrumentalist, Bill “Liam” Latas on guitar, Dan “Danko” Loftus on keyboard, Shannon O’Shea on violin. More info at: http://www.eldersmusic.com
Ian Bryne and Kian Byrne and Norm Dajhlor thanks for being with us on Wednesday MidDay Medley
Norm Dahlor is cofounder of The Elders, formed in 1998. The Elders remain one of the top Celtic-rock bands in the United States after more than two decades because of their timeless sound. Since forming in 1998, The Elders have released ten studio albums, four live albums, one compilation album and four DVDs.
The Elders Concert Calendar
Saturday, May 2 – Our Lady of Guadalupe Centers – KCMO
Sunday, June 7 – The Oriental Theatre, Denver
Saturday, June 13 – The Kansas City Irish Center
Saturday, July 4 – Happy Rock Park – GLADSTONE, MISSOURI
Thursday, July 9 – arkston Amphitheatre, Parkston, South Dakota
Friday, July 10 – Sioux Falls Amphitheater, South Dakota
Sunday, July 12 – Earlham Amphitheater Iowa
Saturday, July 18 – Cleveland Cultural Festival
Sunday, July 19 – Cleveland Cultural Festival
Friday, July 24 – Dayton Celtic Festival
Saturday, July 25 – Dayton Celtic Festival
Sunday, July 26 – Dayton Celtic Festival
Sunday, September 6 @ 9:00PM – KC Irish Fest – Crown Center
Friday, October 16 The Banshee Cry Ireland 2026 Tour – Dublin to Arklow
Saturday, October 17 – The Banshee Cry Ireland 2026 Tour – Arklow Bay Hotel
Sunday, October 18 – The Banshee Cry Ireland 2026 Tour – Arklow to Cork
Monday, October 19 – The Banshee Cry Ireland 2026 Tour – Cork
Tuesday, October 20 – The Banshee Cry Ireland 2026 Tour – Cork to Ennis
Wednesday, October 21 – The Banshee Cry Ireland 2026 Tour – Ennis
Thursday, October 22 – The Banshee Cry Ireland 2026 Tour – Ennis to Westport
Friday, October 23 – The Banshee Cry Ireland 2026 Tour – Westport
Saturday, October 24 – The Banshee Cry Ireland 2026 Tour – Westport to Dublin
Sunday, October 25 – The Banshee Cry Ireland 2026 Tour – Dublin
Monday, October 26 – The Banshee Cry Ireland 2026 Tour – Dublin Airport
Saturday, November 14 – Cure of Ars Soiree- Leawood, KS
Saturday, Dec 12 @ 7:00PM – Oak Creek Performing Arts & Education Center – Oak Creek, Ws
Sunday, January 17, 2027 – String Break Cruise 2027 – Fort Lauderdale Florida
Monday, January 18, 2027 – String Break Cruise 2027 – Celebration Key, Bahamas
Tuesday, January 19, 2027 – String Break Cruise 2027 – At Sea
Wednesday, January 20, 2027 – String Break Cruise 2027 – Amber Cove
Thursday, January 21, 2027 – String Break Cruise 2027 – Grand Turk, Turks Caicos
Friday, January 22, 2027 – String Break Cruise 2027 – At Sea
Saturday, January 23, 2027 – String Break Cruise 2027 – Fort Lauderdale Florida
Saturday, April 24, 2027 @ 7:00PM – Connect 2 Culture Center – Joplin, Missouri
Saturday, September 18, 2027 – Greeley Irish Festival
The Elders Former members:
Michael Bliss – vocals, bass
Tommy Dwyer – drums
Randy Riga – accordion
Brett Gibson – accordion
Tommy Sutherland – Drums, Percussion
Joe Miquelon – keyboards
Shawn Poores – Drums
Colin Farrell – fiddle, whistles
Steve Phillips – guitar, mandolin, vocals
Brent Hoad – Fiddle, vocals (died 2026)
Diana Ladio – Fiddle
Kian single releases “You + Me” released June 16, 2021, “It’s Yours Til The End,” released May 7, and “Your Love,” released April 9, 2021. Kian Byrne released the 12-track solo album MORNING GLOW on December 4, 2020. Kian’s earlier solo EP, “Up & Down” was part of WMM’s 118 Best Recordings of 2018. Info at: http://www.kianbyrnemusic.com
Kian’s work with other bands.
The New Riddim – a Kansas City based ska, Rocksteady, Roots, Reggae, 2-Tone band.
Kian Byrne – Bass
Dan Loftus – Lead Vocals, Organ
Marshall Tinnermeier – Sax
Nick Howell – Trumpet
Mike Walker – Trombone
Conor Loftus – Guitar
Rico Pierce – Drums
The New Riddim Discography
Second Site – Album – Febraury 6, 2021
“Queen Majesty” – Single – October 18, 2011
Kidnapped – Album – January 1, 2011
Norn Dahlor, Ian Byrne and Kian Byrne, THANK YOU so much for being with us on WMM.
11:28 – Underwriting
11:30
- A.M. Merker & The Last Call – “We Ain’t Dead Yet”
from: “We Ain’t Dead Yet” – Single / A.M. Merker / November 14, 2025
[Written by: A.M. Merker // A.M. Merker – Acoustic Guitar & Vocals; Sarah Wittman – Vocals; Jacob Horpinjuk – Drums, Jack McClain – Bass; John Garofalo – Electric Guitar; Colm Chomicky – Pedal Steel; Grant Buell – Organ. Recorded & Engineered by Paul Malinowski @ Massive Sound Studios, Shawnee, KS.]
[A.M. Merker & The Last Call play The Ship, 1221 Union Ave, KCMO, in the historic West Bottoms for a Matinee Show on Saturday, April 11, at 6:00pm to 9:00pm.]
[A.M. Merker & The Last Call play Mike Kelly’s Westsider, 1515 Westport Rd. KCMO, on Saturday, May 9, with Lorna Kay. ]
[A.M. Merker & The Last Call are back at The Ship, 1221 Union Ave, KCMO in the historic West Bottoms for a Matinee Show on Saturday, June 13 at 6:00pm to 9:00pm with Natalie Prauser.]
11:34 – Interview with A.M. Merker and Colm Chomicky
A.M. Merker and Colm Chomicky join us live in our 90.1 FM Studios to play new tracks from the new EP, WE AIN’T DEAD YET from A.M. Merker & The Last Call. A.M. Merker a;sp [erfprms with the band My Oh My. A.M. Merker dips his toe into folk/country/alt-country and leans on his talented friends to bring his songs to record & the stage.
A.M. Merker, and Colm Chomicky thanks for being with us on WMM.
A.M. Merker – Acoustic Guitar & Vocals;
Sarah Wittman – Vocals;
Jacob Horpinjuk – Drums,
Jack McClain – Bass;
John Garofalo – Electric Guitar;
Colm Chomicky – Pedal Steel;
Recorded & Engineered by Paul Malinowski @ Massive Sound Studios, Shawnee, KS
(Grant Buell – Organ).
We Ain’t Dead Yet
Written by: A.M. Merker
She said with a smile
Let’s go out for a drink
We’ve been home for a while
And we ain’t dead yet
That’s what she said
We ain’t dead yet
Take me out dancing
We’ve been sitting too long
I could use some romancing
Like those old love songs
And we ain’t dead yet
That’s what she said
We ain’t dead yet
Yes, it’s a long way to fall
We ain’t reached the bottom at all
We can shout at the walls
That we ain’t dead yet
That’s what she said
We ain’t dead yet
If there’s a light in the dark
We’ll find our way
All it takes is one spark
To light an old powder keg
And we ain’t dead yet
That’s what she said
We ain’t dead yet
Yes, it’s a long way to fall
We ain’t reached the bottom at all
We can shout at the walls
That we ain’t dead yet
That’s what she said
We ain’t dead yet
Yes, one day our time will come
And we’re too old to die young
So shout it out like it ain’t been said
Cuz I think it’s a safe bet
That we ain’t dead yet
We ain’t dead yet
We ain’t dead yet
That’s what she said
11:42
- A.M. Merker & The Last Call – “This Old Barroom”
from: We Ain’t Dead Yet – EP / A.M. Merker / April 11, 2026
[Written by: A.M. Merker // A.M. Merker – Acoustic Guitar & Vocals; Sarah Wittman – Vocals; Jacob Horpinjuk – Drums, Jack McClain – Bass; John Garofalo – Electric Guitar; Colm Chomicky – Pedal Steel; Grant Buell – Organ. Recorded & Engineered by Paul Malinowski @ Massive Sound Studios, Shawnee, KS.]
11:46 – More Interview with A.M. Merker and Colm Chomicky
A.M. Merker and Colm Chomicky joins us live in our 90.1 FM Studios to play new tracks from the new EP, WE AIN’T DEAD YET from A.M. Merker & The Last Call. A.M. Merker a;sp [erfprms with the band My Oh My. A.M. Merker dips his toe into folk/country/alt-country and leans on his talented friends to bring his songs to record & the stage.
Sarah Wittman on vocals and Colm Chomicky on pedal steel are two of his friends.
A.M. Merker & The Last Call play The Ship, 1221 Union Ave, KCMO, in the historic West Bottoms for a Matinee Show on Saturday, April 11, at 6:00pm to 9:00pm.
A.M. Merker & The Last Call play Mike Kelly’s Westsider, 1515 Westport Rd. KCMO, on Saturday, May 9, with Lorna Kay.
A.M. Merker & The Last Call playThe Ship, 1221 Union Ave, KCMO in the historic West Bottoms for a Matinee Show on Sat., June 13 at 6:00pm to 9:00pm with Natalie Prauser.
A.M. Merker‘s other band My Oh My released, Live At The Library on April 11, 2025.
A.M. Merker on vocals & guitar
Grant Buell on keyboards
Jacob Horpinjuk on drums
Justin Rogers on bass
Melissa Geffert on vocals
Sarah Wittman on vocals
Stephen Berry on guitar.
Recorded live at Union Library, Kansas City, MO, September 9, 2023 // Recorded, mixed, and edited by Paul Malinowski @ Massive Sound, Shawnee, KS. Mastered by Mike Nolte ® Eureka Mastering, Kansas City, KS. Photography by Betsy Gretzinger Vida. Videography by Jack McClain @ Circle M Films. All songs A.M. Merker / My Oh My, except “Superstar” (Leon Russell, Bonnie Bramlett, Skyhill Publishing/Delbon Publishing, BMI) © 2025 All rights reserved // myohmykc.com
My Oh My released the singles: “Working on Assumptions” / “I Just Don’t Understand” on November 11, 2022. // My Oh My released the 10-song album THE WAR OUTSIDE on May 19, 2018 // My Oh My released the single “Christmastime, 2016” on December 16, 2016 // My Oh My released the 6-track EP, WOULDN’T HAVE IT ANY OTHER WAY on December 12, 2015. // My Oh My released the 9-track debut album, YOUR HEART NOT MINE on March 14, 2014.]
A.M. Merker and Colm Chomicky thanks for being with us on WMM
For WMM, I’m Mark Manning. Thanks for listening!
11:54
- A.M. Merker & The Last Call – “Living Life This Way”
from: We Ain’t Dead Yet – EP / A.M. Merker / April 11, 2026
[Written by: A.M. Merker // A.M. Merker – Acoustic Guitar & Vocals; Sarah Wittman – Vocals; Jacob Horpinjuk – Drums, Jack McClain – Bass; John Garofalo – Electric Guitar; Colm Chomicky – Pedal Steel; Grant Buell – Organ. Recorded & Engineered by Paul Malinowski @ Massive Sound Studios, Shawnee, KS.]
[A.M. Merker & The Last Call play The Ship, 1221 Union Ave, KCMO, in the historic West Bottoms for a Matinee Show on Saturday, April 11, at 6:00pm to 9:00pm.]
[A.M. Merker & The Last Call play Mike Kelly’s Westsider, 1515 Westport Rd. KCMO, on Sat, May 9, with Lorna Kay. ]
[A.M. Merker & The Last Call are back at The Ship, 1221 Union Ave, KCMO in the historic West Bottoms for a Matinee Show on Saturday, June 13 at 6:00pm to 9:00pm with Natalie Prauser.]
- Noel Coward – “The Party’s Over Now”
from: Noel Coward in New York / drg / 2003 [orig. 1957]
NEXT WEEK on April 8 we welcome Krystle Warren with Jen Owen & Brad Cox of Owen Cox Dance Group sharing details about AND WONDER playing April 10, 11, and 12, at City Stage at Union Station, Plus. Shaun Crowley shares details about Manor Fest., AND Michael Tipton shares his newest single release with our listeners.
THANK YOU to everyone who donated to KKFI’s Winter Fund Drive during Wednesday MidDay Medley we had a total of 49 individuals doanted $3924.00 going way over our show goal!
Thank you to KKFI Staff: Executive Director – Bess Wallerstein Huff, Chief Operator – Chad Brothers, Director of Development & Communications – J Kelly Dougherty, Volunteer Coordinator – Darryl Oliver, and Shaina Littler – Office Manager Book Keeper
You can find our playlists at: http://www.wednesdaymiddaymedley.org & http://www.kkfi.org
http://www.facebook.com/WednesdayMidDayMedleyon90.1FM
http://www.instagram.wednesday_midday_medley
This radio station is more than the individual hosts of each individual radio show. It is a collective spirit of hundreds of people, setting aside ego, to work for the greater good of community building and the goal of keeping our airwaves, non-commercial, and open! Thank you to programmers who create content for over 85 locally produced radio shows & volunteers who made extra effort to keep our station alive.
Our Script/Playlist is a “cut and paste” of information.
Sources for notes: artist’s websites, bios, wikipedia.org
Wednesday MidDay Medley in on the web:
http://www.kkfi.org,
http://www.WednesdayMidDayMedley.org,
http://www.facebook.com/WednesdayMidDayMedleyon90.1FM
Show #1141
Wednesday MidDay Medley 