By Dave Swanson - Summit FM Contributor

Mellow Gold may have put him on the map, but it was Odelay that gave him control of the map! Released in June of 1996, it was Beck’s second major-label release. Songs like “Where It’s At,” “Devil’s Haircut,” and “The New Pollution” became staples on alternative radio and MTV, giving him firm footing in the precarious alt-rock terrain. “I thought Odelay might be the last time I got a chance to make a record,” he said in an interview looking back on the now-classic LP.

As mentioned, Mellow Gold was a huge knock on the door, especially with the song “Loser,” which turned him into the poster boy for the so-called “slacker” generation. He followed that with the indie-label release One Foot in the Grave,an acoustic album inspired by artists like Skip James and The Carter Family. Rooted in country, folk, and blues, it showed a different side of Beck and helped kick the gate open wider after “Loser.” That set the stage for Odelay, where he fully melded vintage styles with the modern to create his own musical world.

The album became a catch-all template, pulling in folk, blues, hip-hop, soul, garage rock, pop, and electronic influences. Had he leaned too hard in any one direction, it might have collapsed under its own weight. Instead, Beck struck the right balance, and audience interest only grew. Still, he admitted he wasn’t sure at first. “I thought at the very best, it would come out. It would be a big flop,” he told American Songwriter magazine. “But in 20 years, a bunch of weirdos would find it and go, ‘Oh, this record was cool,’ because it wasn’t the obvious commercial follow-up.”

Even fans inside the industry assumed Beck would be a one-hit wonder, with “Loser” capturing a moment in time before he moved on. Odelay was his chance to prove them wrong. Despite his insecurities, he pressed forward with producers the Dust Brothers, who turned out to be the perfect match. They not only realized Beck’s off-center musical ideas but added their own. Beck would later say it was the perfect team for that album—and the proof is in the songs.

It certainly didn’t hurt that “Devil’s Haircut” borrowed the main riff from the Them classic “I Can Only Give You Everything.” That instantly grabbed attention, but once the riff fades, the song transforms into something else entirely. Vintage guitars give way to a heavy modern rhythm before the riff reappears, topped off with some snotty vocals. Perfect.

“Where It’s At” merged vintage soul with hip-hop, playing both sides against each other to become an MTV favorite and a signature Beck track. Meanwhile, “The New Pollution” carried an underground pop vibe that pulled together references from the ’60s, ’70s, and ’80s in one smooth sweep. Much of the album feels rooted in its era, yet even approaching its 30th anniversary, it avoids sounding dated in the way so many records do.

Odelay charted respectably, hitting No. 16. It racked up countless “album of the year” accolades from critics and went on to sell millions. To this day, it remains his most significant album in a career that has never stopped surprising.

By Summit FM Contributor Matt Anthony

"People ask me what I do in the winter when there's no baseball. I'll tell you what I do. I stare out the window and wait for spring."  

- Rogers Hornsby 

I had an innate confirmation, early in my youth, that it was the best game ever invented. 

While standing in the outfield during a pick-up game (an event, sadly, that’s been replaced by soccer, video-games, and web-surfing), I experienced a sudden rush of warm certainty, where every nuance in the universe was rendered wonderfully in balance, simply by virtue of the sound that was produced when a wooden bat struck a ball, a glorious crack that pierced the humid air and set all things that were proper in to motion. 

Baseball was perfect. 

It was played at a perfect time of year. It had perfect sounds. It had perfect smells, the way a leather glove mixed with soil and sweat. (I lost count of the number of times I stood in the outfield or crouched behind the plate, between pitches, and covered my nose and mouth with my glove, just to inhale that glorious combination.) 

And it had perfect rules. The fact that you could run past first base, and not be ‘out’, but you couldn’t do the same on second base or third base, was strange and extraordinary and…brilliant. 

I’m grateful that my father, a catcher (who was actually ‘called up’ to the Pittsburgh Pirates twice, for weekend series’ against both the Dodgers and the Reds), groomed my twin, Mark, and me early. Soft toss, grounders, and, later, flyballs. (we called them ‘high-flies’.) He’d feed us whiffle-ball pitches in the backyard, and I can still recall his directives of ‘step into it’ and ‘turn your wrists’. 

And that feeling. Nothing since then has replicated the transformative experience of moving a bat through the hitting-zone and meeting a baseball at full impact. To be able to simply watch that white projectile climb through the blue stratosphere while your forearms tingled under dirt and perspiration was sheer bliss. As a youth, that addiction kept me awake at night, where I would I would struggle to doze off while counting the minutes until we could ride our bicycles up to the dusty ballfield and do it again the next day. 

"I am convinced that God wanted me to be a baseball player."  

- Roberto Clemente 

Sure, football and basketball were spectacular sports, filled with athletic displays of power and dexterity. (And later in life, I would profess a love-affair for tennis and racquetball.) However, to me, they resembled war and battle, teams of opposing forces crashing into each other, jostling for position under the hoop or in the end zone. 

Baseball was a chess match, operating every pitch under the celestial, watchful eye of the storied legends who went before me, nudging me and, at the same time, taunting me to work on my craft so that I could one day approach the prolific numbers that they set as a barometer for all of us, used as both a mentor, and, yes, a target. 

Sitting in my hunched position, calling for a pitch, with a suspicious eye on that runner at first, I tried to guess what he was thinking about me. Would I feign a throw to first while he took a lead? Would I call a pitch-out? Would I thrust myself out of my crouch as he raced for second, flip my mask towards the dugout, and unleash a laser to the bag, narrowly beating him as the umpire threw his thumb into the wind? 

While at the plate, wagging my bat back and forth ensconced in testosterone, my gaze fixated on the mound, I’d wait for the pitcher’s choice, quickly stealing a glance far away at my father, sitting in his lawn-chair, a dot on the horizon hundreds of feet away from the action beyond the center-field fence, where he always sat, telling myself over and over to ‘step in to it’ and to ‘turn my wrists’. 

To this day, I can still conjure up the memory of sending that pitch into the gap in left-center, sprinting towards first, my husky frame not moving nearly as quickly as I wanted it to. I can still hear my batting helmet jostling from side to side, its plastic interior bouncing off each side of my duct-taped eyeglasses while the first-base coach made wide, circular motions with his left hand, imploring me to increase my gait towards second base. 

And it’s as clear as a bell, the memory of that triumphant stop at second, standing on the bag with both feet, hands on hips, huffing, puffing, surrounded by a dissipating cloud of brown dirt and the sounds of teammates clapping. 

I remember this time as though it happened just yesterday. It’s why I sometimes drive over to that northwest end of Canton, Ohio, to what was once Mulheisen Field, to ‘Field #2’, the same field that served as a backdrop to the above photo.  It’s the diamond where my twin brother, Mark, and I represented the Harrison Paints White Sox, proudly wearing the cotton white uniforms with the red trim, of the Canton Mighty-Mites League. 

Home plate. 40*.49”27.0366’. 81*.22”10.1922’.  

It’s also the exact latitude and longitude where I’ve designated my ashes to be spread. 

"A hot dog at the game beats roast beef at the Ritz."  

- Humphrey Bogart 

Because ‘baseball’ has always been there for me. My father taught it to us. I followed it. I caressed it. I got angry with it, despondent with it, and beat up by it. When I left it briefly, it patiently waited for me to return. Ken Burns brought me back. And so did Jim Thome. And I even had the opportunity to celebrate it as the church for my wedding day, when Donna and I tied the knot at home plate at Thurman Munson Stadium, on August 13^th, 1999. 

Who invented it? Abner Doubleday? Alexander Cartwright? Doesn’t matter. Beyond the stats and the new stadiums and multi-million dollar contracts. Aside from the pitch-clocks and the ghost-runners and the incessant need to speed up the most natural pastime on the planet, baseball is still….perfect. Like, a ‘game-of-catch’ perfect. 

Sit, stay, and support local public radio! 🐾

The Summit FM (91.3 Akron / 90.7 Youngstown / 90.1 Athens) is rolling out its Dog Days of Summer mini-membership drive this Thursday, September 4 (Noon–7 p.m.) and Friday, September 5 (8 a.m.–7 p.m.) over the Summit FM airwaves.

This two-day howl-iday is all about pets and their people. Listeners who pledge $120 or more will fetch a Summit FM “Pooch Pack”—stuffed with tail-wagging goodies like a water bowl, leash reflector, tennis ball, waste bag dispenser, and more.

The drive wraps up with a Friday night "YAPPY HOUR" (4–8 p.m.) at Bent Ladder Cider and Wine in Doylestown, OH, featuring:

• 🎶 Live music by JD Eicher
• 🍴 Local food truck favorites
• 🐶 Adorable, adoptable pets from the Wayne County Animal Shelter
• 🎁 On-site donations and “Pooch Pack” pick-ups

Listeners can make their pledge by calling The Summit FM, visiting www.thesummit.fm, or showing up to the wrap-up Yappy Hour.

So grab your leash, bring your best friend (human or furry), and help The Summit FM wag its tail a little higher during the Dog Days of Summer! 🐾

By Dave Swanson - Summit FM Contributor

Many a good story begins with the phrase, "seemingly out of nowhere," so, seemingly out of nowhere, Florence Welch came forth with her Machine and presented her debut recording in the summer of 2009. Welch, barely 23 years old at the time, had worked on various projects before connecting the dots that led her and the band to a contract with Island Records and global success with Lungs, selling millions worldwide.

Critics have tried to draw lines to everyone from Kate Bush to Aretha Franklin, but Florence and the Machine laid out their own brand of artful pop music for a new era. Songs like "Dog Days Are Over," "Kiss With a Fist," and "Rabbit Heart (Raise It Up)" all propelled F&TM into the spotlight. She also drew upon the likes of Sinéad O'Connor and a bit of Annie Lennox’s gusto in her delivery. Both US and UK press fell in love with the art-pop world she and the band created.

With each new single released, the band climbed higher on the charts, finally hitting the top 10 (#5) with "You've Got the Love," the fifth and final single from Lungs. The steady rise of the album went hand in hand with various awards, including a Critics' Choice at the Brit Awards, while her live shows were often an unexpected display of chaos that routinely ended with her diving into the crowd. "Singing can be really exhausting," she told The Telegraph in a 2009 interview. "I love that sense of release as you throw yourself into the crowd as hundreds of arms are carrying you."

Florence and the Machine have kept rolling with four more albums over the past sixteen years, and while not a large catalogue, it is a strong one. Each release that followed hit the Top 10 worldwide, including a couple of number ones. With all her success, Lungs still stands tall.

Early on, Florence had a good attitude toward what she does: "I've got my ideal job. I like to sing, I like to dance, I like to bang drums and dress up, and someone pays me – it's incredible!"

---

We did it! Thanks to YOU, our loyal audience, we hit our goal of $130,000.

While we may have lost our CPB funding, you helped keep the music alive.

Because this amazing Summit FM community showed up, we’ll continue to build connections through music and meaningful content. You just proved that our shared vision works.

As John Lennon said: “Power to the People.” You made that real. You kept The Summit FM independent and strong.

While we won this battle, the fight continues. It's not too late to support the mission.

An Open Letter to Our Summit FM Family

To our loyal listeners, passionate members, business underwriters, and the foundations that believe in us:
You have spoken. And we heard you loud and clear.

When federal funding disappeared, you stepped up with 130,000 reasons to smile — not just dollars, but proof that our community values something different. Something real.

We're not chain restaurants serving the same meal everywhere. We're not homogenized radio pumping out corporate playlists. We're six people who live here, shop here, and love the communities we serve — Akron, Youngstown, and Athens. Places filled with rich history that's sometimes misunderstood, often underrepresented, and too easily forgotten.

But you haven't forgotten us. And we will never forget you.

The Summit exists because you believe music matters. Because you understand that in a world full of noise, agenda, and division, there's power in pure sound. Power in community. Power to the people.

We promise to work harder than ever as stewards of the music you love. We'll keep paying it forward through sound and wellness, through discovery and connection. Because that's what you've asked us to do. That's what you've made possible.

Thank you for making the difference. Thank you for choosing authenticity over algorithms. Thank you for proving that local still matters.

Power to the people. You have spoken.

With endless gratitude,

Tommy Bruno
The Summit FM
General Manager

The Summit FM In The News

By Dave Swanson - Summit FM Contributor

“The game you’re expected to play to be in this world — I just knew I’d like to have as little as possible to do with it,” Sarah McLachlan told the Los Angeles Times in a fairly recent interview surrounding the anniversary of her landmark LP, Fumbling Towards Ecstasy. “I think that’s when I discovered that I’m actually an introvert,” she says of the yearlong recording process. “I need to go away and be by myself.”

Arista Records was trying to figure her out, and she was put through the usual moves of the machine as to how to market this Canadian songstress to the U.S. in an age of "alternative," "grunge," and so on. With longtime producer Pierre Marchand by her side, they retreated to a remote studio in Quebec’s Laurentian Mountains to focus on the recording. The chips would fall where they may, and she and the album would benefit from it.

McLachlan was signed to noted Canadian label Nettwerk, as well as Arista Records in America, and with two albums to her catalog—Touch in 1988 and Solace in 1991—it seemed like a logical jump to focus on her third effort as a somewhat "make or break" album. Released in October of 1993, Fumbling Towards Ecstasy seemed to strike all the right chords at just the right time and, eventually, Sarah McLachlan was everywhere. But it took some time!

An instant hit in Canada, the album took longer to gain momentum in the States, but its steady ascent was fueled by great reviews—often calling her the "Joni Mitchell for a new generation"—and an ever-growing fanbase. Like Joni, Sarah's journey was a long haul. The singles from the album—"Possession," "Hold On," and "Fumbling Towards Ecstasy"—all helped people find out about her, but the album initially stalled at #50.

Her follow-up album, Surfacing, wouldn't surface until 1997, but in that time between, she would establish the Lilith Fair festival, as year by year, month by month, Fumbling kept selling. Eventually, it would reach Platinum status a few times over and truly bring success to McLachlan.

“I’d toured and toured and toured and built up a really solid fanbase,” she noted. “Fumbling really felt to me like freedom, getting to fully immerse myself in music.”

By Chad Miller - Summit FM Music Director

Since way back in 2005, the Nelsonville Music Festival, founded by Stuart's Opera House, has been a recognized leader, albeit on a smaller scale, as one of the country's most successful and musically diverse annual music festivals. Three years ago, over Labor Day weekend, it first appeared in its current home at the Snow Fork Event Center camping site just outside of town, and it was my first year attending as well. I absolutely loved it there, from all the great artists performing over the weekend to the beautiful surroundings of its new location, and really just everything in between. While there that weekend, I kept telling myself that as a music nerd and avid concertgoer, why hadn't I ever been to this before?!?!

This year's Nelsonville Music Festival will return to the Snow Fork Event Center from June 20-22, and I'm so excited to get down there, take it all in, and see as much live music as possible! Below are some of the acts I'm most looking forward to seeing.

Who else is going? If so, who are YOU looking forward to seeing? Check out the full lineup and more details here: nelsonvillefest.org

Like what you hear? Please email me at chad@thesummit.fm and let me know what you think!

The Health Benefits of Trees: Nature's Remedy for Mind and Body 
By: Sarah Swirsky, MSW, LISW 

“There is unrest in the forest, 
Trouble with the trees 
For the maples want more sunlight 
And the oaks ignore their pleas.” 
—Rush, The Trees 

In many parts of the world, our forests and trees are in trouble. Climate change, urban development, pollution, and deforestation are putting pressure on these vital parts of our ecosystem. 

But what does this have to do with human health and wellness? As it turns out—everything! 

The City of Akron is paying attention. In 2025, Akron will invest $750,000 to plant 1,800 native trees along neighborhood tree lawns—also known locally as “devil strips.” The goal? To grow a healthier, greener city by boosting the urban tree canopy, which is expected to decline by 4% over the next 15 years. Mayor Shammas Malik has emphasized that this investment is about more than just beauty—it’s about improving health outcomes, reducing respiratory illnesses, and creating stronger, more connected neighborhoods. 

So how exactly do trees improve our health? Here are just a few of the ways trees quietly support our minds and bodies every day: 

Cleaner Air for Healthier Lungs 
Trees act as natural air filters. They absorb pollutants like nitrogen dioxide, ozone, and particulate matter, while releasing oxygen. This process improves air quality, reducing the risk of respiratory issues such as asthma and bronchitis. 

Natural Cooling Agents 
In urban areas, trees provide shade and release water vapor through their leaves—a process known as transpiration. This helps lower temperatures, combating the urban heat island effect and reducing the risk of heat-related illnesses. 

Boosting Mental Well-being 
Spending time among trees has been shown to reduce stress, anxiety, and depression. The practice of "forest bathing," or immersing oneself in a forest environment, can lower cortisol levels and promote relaxation. Even brief interactions with green spaces can enhance mood and cognitive function. 

Enhancing Physical Health 
Regular exposure to tree-rich environments encourages physical activity, which is beneficial for cardiovascular health. Additionally, studies have found that patients with views of trees recover faster from surgery, indicating a link between nature and physical healing. 

Strengthening Communities 
Trees contribute to stronger, more connected communities. Green spaces provide areas for social interaction and recreation, fostering a sense of community and belonging. Neighborhoods with ample tree cover often experience lower crime rates and improved social cohesion. 

Want to Get Involved? 

Join Summit FM Wellness at the City of Akron’s Arbor Day celebration on Friday, April 25 at 5PM at Joy Park Community Center at 825 Fuller Street.

City arborists will be offering live tree-planting demonstrations, and you’ll learn how to support a greener, healthier future—right in your own yard or neighborhood. We’ll be providing nature-themed background music to enhance the experience.  

Because every tree matters. 
 

By Dave Swanson - Summit FM Contributor

After a handful of singles with the McSon trio in the late 1940s into early 1950s, Ray Charles signed to Atlantic Records in 1952, headed by Ahmet Ertegun, it was the perfect home for an artist like Charles. From 1952 through 1960, he placed over 20 singles in the US R&B charts, 18 hitting the Top 10 and 6 hitting the top! It wouldn't be until 1957 that his first Atlantic LP was released. A long run followed over the next five years, including milestones like 'What'd I Say,' 'The Genius of Ray Charles,' and 'Yes Indeed.'

By 1960, the hits are slowed up a bit, and a change was made with Charles moving to ABC Records. This would prove a good move with classics like 'The Genius Hits the Road' and 'Genius + Soul = Jazz' standing tall in his already impressive catalog. By 1962, he was ready to shake things up a bit more. Since moving to ABC he had been trying to incorporate other styles of music into his signature R&B. The album ' The Genius Hits the Road' was a travelogue of sorts with songs about various locations. It delivered one of his best-loved recordings with 'Georgia on My Mind' while 'Dedicated to You' was another conceptual LP, only instead of locations, it was women’s names. By 1962 he took a more dramatic step with 'Modern Sounds in Country And Western Music.'

Long before Beyonce or Ringo Starr decided they were 'country,' Ray Charles delivered the goods with an album that fans and critics loved. It spawned a total of four hit singles and became his first number one LP and second gold record in a row. The album not only showed off another side of Charles' talents but also emphasized the songs’ strengths and how a good song can bend and twist into different shapes in the right hands. The album was so popular it was followed by Volume 1, which also proved a big success and he didn't even need to wear a cowboy hat!

He tackled songs like 'Hey Good Lookin' and 'You Win Again' (both Hank Williams classics) as well as 'Bye Bye Love,' originally a hit for the Everly Brothers, and songs by Don Gibson, Eddy Arnold and others. Remaining true to his style and putting the emphasis on the song, Charles made every song his own, even winning a Grammy Award for 'I Can't Stop Loving You' as best R&B record of the year. Make no mistake, this is not Ray trying to sound ‘country’ but rather taking these great songs in a grand remake/remodel. Let’s just say, you have never heard Hank Williams swing like this!

Mr. Ray Charles himself said it best, "“I’m not a country singer. I’m a singer who sings country songs. I’m not a blues singer, but I can sing the blues. I’m not really a crooner, but I can sing love songs. I’m not a specialist, but I’m a pretty good utility man. I can play first base, second base, short stop. I can catch and maybe even pitch a little.”

'Modern Sounds in Country & Western Music' remains essential to not only R&B and country, but American music in general.

By Dave Swanson - Summit FM Contributor

In 1987, a young Irish singer wandered into the worldwide music scene via an album called 'The Lion and The Cobra,' The 21-year-old Sinead O'Connor was out to set herself apart from the faceless pop stars of the era. With a little help from Rob Dean of the band Japan, Andy Rourke of the Smiths, and former Adam and the Ants members Kevin Mooney and Marco Pirroni, she crafted a unique version of pop music with her dynamic vocals front and center. The album received good reviews and cracked the US Top 40 based chiefly on college radio play. With album number two taking shape, she had fine-tuned her songwriting skills.

Songs like 'The Emperor's New Clothes' and 'Jump in the River' were released as singles, but it would be a cover song that sent the album into the stratosphere. O'Connor's utterly unique take on the Prince song' Nothing Compares To You.' Written by Prince, the song originally appeared on the only album by Price protégé's The Family. It was never released as a single from the album, and Price didn't include it on any of his records. So, O'Connor's song choice perfectly fit her, and she truly made it her own, letting her voice shine. It was also the video that caught the attention of the public. A simple video that, for the bulk of its five-minute duration, features a close-up of O'Connor's face, a far cry from the fancy dancing and travelogue videos in vogue at the time.

The single would hit the top of the charts worldwide, including 4 weeks atop the US charts. That song alone pushed the album to platinum status across the globe as well. One listen, and it is obvious why. No studio tricks or gimmicks, just a chilling, laid-bare performance. Despite the success, O'Connor let her rebellious nature take her front and center by refusing to appear at the Grammy Awards and the British BPI Awards that year due to some personal issue based on the false happiness that awards and such things condition people with. This would be her path off and on for the rest of her life, accentuating that rebellious nature, something that, more than a few times, got her into hot water, which she causally shook off and continued

'I Do Not Want What I Have Not Got' introduced her to the mainstream and brought her a river of accolades, but that success seemed to be a double-edged sword that she carried through eight more albums until her death in 2023. The album remains not only her biggest-selling work but also her most defining. It made many people happy, something she seemingly failed to achieve in her short life.