By Dave Swanson - Summit FM Contributor

Have you ever been to a thrift store? Goodwill, Salvation Army, and so on? Chances are, you have been, and chances are, you have seen this record there. At any given time, over any selected year over the past several decades, Herb Alpert's classic 'Whipped Cream and Other Delights' can be found practically every thrift store and record store in the USA. I'm not kidding. It might be a law somewhere on the books. 'Whipped Cream,' 'the soundtrack to 'The Music Man,' and 'The Button-Down Mind of Bob Newhart' were always to be found.

In the early 1960s, it became a novelty for homes to have a 'hi-fi stereo' with a handful of LPs, almost as conversation pieces. Popular soundtracks from Broadway and films, a comedy record or two, perhaps something exotic like Martin Denny or Webley Edwards doing Hawaiian music and Tiki themes, and the ever-present Herb Alpert.

Throughout 1960, Herb and the Brass released thirteen albums, only two of which missed the Top 20, while nine made the Top 10, with five of those hitting number one! Truth be told, that's pretty incredible. People were just drawn to that sound, and it was the perfect background music for parties, gatherings, a lazy afternoon, or an energized evening. Herb was everywhere.

One thing about Alperts style was it was instantly recognizable! There were imitators and other horn players who tried to steal the spotlight, but it was all about Herb and the Brass. After releasing a handful of singles between 1958 and 1961, Alpert was going nowhere, so at that point, he took matters into his own hands and started A&M Records with his friend Jerry Moss. At the same time, Herb had been inspired by the event of a bullfight and the way the music played a part, and decided to record a song called 'The Lonely Bull.' it was to be the first release on the new label, setting the stage for so much to follow. Released in the summer of 1962, 'The Lonely Bull' shot up to #6, introducing the world to this new talent.

Over the next few years, more singles and albums hit the radio and record store shelves with varying degrees of success, and they all followed a similar template. The Beatles and the rest of the British invasion were happening. Still, Herb had his niche, so it was no surprise when, in 1965, his fourth LP, 'Whipped Cream and Other Delights' hit number one with the hit single 'A Taste Of Honey,' a cover of the title song of the play and a song which the Beatles had recorded on their 'Please Please Me' album. Pop culture was truly a living and breathing thing, working on various levels back then! Wrecking Crew regulars like Hal Blaine on drums, Carol Kaye on bass, and Leon Russell on piano provided the music.

Part of the phenomenon of this particular LP, however, had as much to do with the cover art as it did with the swingin' sounds inside. The legendary sleeve features a photo of model Dolores Erickson wearing chiffon, shaving cream, and nothing else. As the story goes, she and her husband were friends of Alpert. She was 29 and three months pregnant, so she was well covered with shaving cream, used due to slower melting time rather than actual whipped cream. Though she was fully covered, the shot maintained a sexy allure that people seemed fascinated by. She was paid $1500 for the modeling gig and a lifetime of notoriety that followed.

"Whipped Cream," "A Taste Of Honey," "Lemon Tree," "Tangerine," and others all contributed to a classic LP of the era, one that has had a life all its own in the 60 years since then. After its initial release in April 1965, it remained in the Billboard Top 10 for 61 weeks.

By Dave Swanson - Summit FM Contributor

Issued in early 1992, 'Stick Around For Joy' put a shining bow on top of the pop package known as the Sugarcubes. Their third LP would be their final album after a brief five-year run. The album showcased the effervescent pop from this Icelandic combo with shining, punchy production courtesy of Paul Fox. The album focuses on the Sugarcubes calling card of upbeat, funky, shimmering pop music. It was a sound that was so much of its time and yet has been able to live and breathe over the past thirty-plus years to maintain freshness and vibrancy.

Following the one-two punch of 'Life’s Too Good,' their debut from 19888, including the hit singles ‘Birthday’ and ‘Deus’, and the sophomore offering, 'Here Today, Tomorrow, Next Week!'  in 1989, the Sugarcubes had risen fast in the world of alternative sounds and college radio/MTV with the firecracker presence of Bjork front and center, stealing the spotlight with her unique style.

Bjork is truly in top form throughout, especially on tracks like 'Walkabout' and 'Hit,' both released as singles that garnered significant college and alternative radio play. By this point in their story, Bjork had become the notable center of attention for the band, and with the uniqueness and urgency of her approach, its never been any surprise. The press didn't always know what to make of this Icelandic pop puzzle. In an interview for the album, Bjork recalled the initial hurdles concerning their identity with the media.

"We went to England, and because they're very into ideology, they wanted us to save them, to bring them a new ideology that would save their heads from boredom," she said, "So they immediately forced on us some sort of ideology of weirdness, surrealism, blibber blobber...Eskimo intellectualism that we didn't really get." That may be the best description of the Sugarcubes ever!

The album, or band, was hardly a one-woman show, however, as the tight, focused attack of the band, especially the drive of the rhythm section, bassist Bragi Olafsson, and drummer Siggi Baldursson, as well as the guitar style of Eldon Jónsson. Legendary guitarist John McGeoch of Magazine and Siouxsie and the Banshees fame also lends a hand here. The album helped raise the band's profile as it simultaneously rang their death bell. Though it failed in the mega sales department, it was a hit in the UK, as well as a club hit across America. It helped pave the way for the next chapter, Bjork as a solo artist, which instantly hit the ground running.

“They used to put LSD in sugar cubes and polio vaccinations. It’s used quite often as a sweet medium for taking something medical," recalled Bjork. " I’ve had homemade schnapps in a sugar cube.” 

Laura Smiley, Director of Sales at The Summit FM, brought joy to second-grade scholars at King Community Learning Center during a special reading session featuring the book "My First Dog." Laughter and shared personal experiences united the room around the universal topic of pets and the responsibilities of caring for puppies, older dogs, cats, or turtles.

"Every day at The Summit FM is unique. My job as Sales Director is to find what's awesome in our community and share it while securing the largest source of revenue for the station. 90% of my job is working with businesses and nonprofit organizations that embrace the arts. Taking time out of my day to read to second graders and engage with their young (but brilliant!) minds was the highlight of my week!" remarked Smiley after the visit.

Akron Public Schools owns the Summit FM broadcast license. However, the station has been financially independent for nearly two decades. Loyal listeners, local businesses, and foundations support the all-music, community-focused format. Independence does not mean separation. The Summit's mission aligns with APS - centering on education, community, music, and whole health wellness.

The visit entertained students while strengthening the station's dedication to educational initiatives and community connections. The bright smiles from both Smiley and the children created heartwarming moments captured perfectly on video, showcasing the positive impact when we connect with APS scholars. Also, check out the unique book vending machine available to students at King CLC! 

By Dave Swanson - Summit FM Contributor

Sometimes, when you would drop the needle on an album, from those first notes, you knew you were in for something special. It didn’t take much to establish a mood and intent. One such album was ‘Horses,’ the debut long player from Patti Smith.

The somber, almost gospel-like three-chord played in repetition on the piano was all that was needed to tell you this was not your average ‘rock’ album in the mid-70s. Whatever sludge had been floating along for the past couple of years, 1975 would ultimately prove to be a significant turning point in terms of interesting rock and roll statements. From ‘Dylan’s ‘Blood On The Tracks’ and Steely Dan’s ‘ Katy Lied’ through ‘Go Girl Crazy’ from The Dictators and Aerosmith’s ‘Toys In The Attic,’ it was a wide range of sounds that, depending on your preferred genre, were all offering up something special.

Released in the fall of 1975, ‘Horses’ was the initial mission statement from Patti Smith that not only stood alone in attitude and style but was both a step into the future while simultaneously glancing back at the past. Back to those initial three chords. Just a stark piano, repeating that pattern as suddenly that voice creeps in with the prophetic and defiant line, “Jesus died for somebody's sins, but not mine.” Not your average pop lyric, to say the least. Continuing on, “Melting in a pot of thieves, wild card up my sleeve. Thick, heart of stone, my sins, my own, they belong to me, me. People said, "Beware", but I don't care. Their words are just rules and regulations to me, me!” From here, the narrative changes to more urgent concerns about love, lust, and being human. 

Smith carries on establishing the tale when suddenly, those three chords are infused with vintage rock and roll power and promise, and then we have arrived. Smith’s take on the Van Morrison and Them classic ‘Gloria,’ also a US hit for the Shadows Of Knight, was like nothing we had heard before. It mixed the primal poetry and swagger of the Doors with the garage rock aesthetic of the original, all strewn together in a most unique way. 

Even the stark black and white photo of Smith, by Robert Mapplethorpe, stood out among the grandiose ‘art’ of so much scattered around rock and roll at the time. Redondo Beach’ would weave reggae into the mix while ‘Birdland’ took a ‘Sister Ray’ approach, albeit without the noise and chaos, again, in large part, just piano and vocal. ‘Kimberly,’ co-written with Alan Lainer of Blue Oyster Cult fame, and ‘’Break It Up,’ a collaboration with Television’s Tom Verlaine, proved this was no one-trick horse but rather a significant new artist. I don’t use the word ‘artist’ lightly, especially since these days, the most vapid pop stars are called ‘artists,’ back then, the term meant something.

The album ends with another tour de force, ‘Land,’ which in part returns us to where it this adventure started. It is a nine-minute ramble recalling the past as it collides with the future. Another three-chord rocker in the mode of ‘Gloria,’ as she tells the tale of one ‘Johnny,’ which breaks into the frat rock staple ‘Land Of 1000 Dances,’ it is a brilliant merging of the primal urge with the poetic notion all set to an urgent rock and roll sensibility. The album was produced by John Cale, who brought out the best in the band. Critics largely drooled over the album, though some found it all a bit pretentious, likening it to a bad Jim Morrison poetry reading. One thing that couldn’t be denied is that it was a unique statement that truly stood alone at the time. 

Let us not forget her band, who brought it all to life: Lenny Kaye, Jay Dee Daugherty, Ivan Kral, and Richard Sohl, who were simply visceral. The other interesting thing is that though Smith and her group were forever linked to the ‘punk’ movement they arguably helped ignite, they were just as tied to a beatnik/hippie vibe, granted awash in 1975 America. Those opening lines of ‘Gloria’ can still send a shiver to this day.

On a personal note, I still remember vividly seeing the Patti Smith Group on an early episode of Saturday Night Live, where they performed ‘Gloria’ and a cover of ‘My Generation’ complete with total Who homage in smashing up the drum kit. When I saw this, I remember thinking, this is real rock and roll. They looked cool, sounded cool, and tore it up. Smith never made it a statement that she was a female fronting a rock and roll band; she just did it! There is no need to point it out; that is part of what always made her so cool. She was just Patti Smith! It was so much about attitude. She was not going to play anyone’s games or subscribe to any set of rules, no matter what side they fell on. She is still doing this today, and we need to tip our collective hat to her, and all she and the band have brought us.

By Chad Miller - Summit FM Music Director

What's everyone been listening to out there? So much new music coming at us, so little time... However, these songs that might fly under the radar to most are what I've been diggin' these past few weeks!

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

By Sarah Swirsky, MSW, LISW, Summit Wellness Coordinator

When I listen to Allison Russell’s music, I feel inspired, soothed, and deeply connected—to her story, to the beauty of resilience, and to the healing power of song. Having followed her journey, I’m continually amazed by the joy she radiates on stage, a testament to her resilience and artistry after enduring years of abuse and homelessness. Her story is a powerful reminder of why art and music matter: they offer lessons, transform pain into beauty, and remind us of the strength of the human spirit. 

Russell, a Canadian singer-songwriter and multi-instrumentalist, showcases her extraordinary talent as a Black roots artist by seamlessly blending folk, jazz, country, Celtic, klezmer, and blues into a unique and evocative sound. Born in Montreal to a teenage Scottish-Canadian mother, her Grenadian father—who was on a temporary student visa—left before she was born. Russell endured foster care and severe abuse at the hands of her American stepfather. At 15, she fled her home, finishing high school while living on the streets and finding refuge in the folk music scenes of Montreal and Vancouver. 

In 2019, Russell joined Our Native Daughters, a banjo-driven collective dedicated to exploring the legacies of race, slavery, and resilience. The group, which also included acclaimed artists Rhiannon Giddens, Leyla McCalla, and Amythyst Kiah, created music that reclaims and reimagines the narratives of Black women throughout history. Around the same time, Russell reconnected with her Grenadian father, a reunion that prompted her to delve into her family’s painful history with slavery. This deeply personal journey inspired her to write the haunting and powerful song "Quasheba, Quasheba," which tells the story of one of her ancestors. 

That same year, she began crafting songs for Outside Child, a deeply personal album addressing her childhood trauma. Released in 2021 to critical acclaim, the album made her the first black artist in Canadia to win a Juno award for Contemporary Roots Album. Her follow-up album, The Returner, recorded in Los Angeles, marked a joyful shift in her music, earning four Grammy nominations and winning Best American Roots Performance for the single "Eve Was Black." 

Did you know that Allison Russell also performed live at Studio C at the Summit FM with her early band, Birds of Chicago, in 2018? That performance was a glimpse into the artistry that would later flourish into her solo career—a career that not only shares her journey of survival and healing but also demonstrates how art can transform pain into profound beauty and inspiration.  

This video is one of my favorites—it brings me both joy and tears with its beautiful intersectionality and powerful truth-telling. 

By Dave Swanson - Summit FM Contributor

Released in the spring of 1982, 'The Golden Age of Wireless' introduced Thomas Dolby to a waiting world. The man, and his music, seemed a perfect fit for the coming era, but it would take a while for him to find a firm footing.

Rewinding the tape a bit back to the late 1970s, Thomas Dolby was an inspired young musician with an eye on the future of pop music. He joined a promising young band called Bruce Wooley & the Camera Club. I will assume this name means nothing to most, and that's a shame as they were a fantastic little combo. Led by singer/songwriter Bruce Wooley, they signed a record deal and released their debut LP, 'English Garden' in 1979. They combined energetic pop music with modern flair and a futuristic bend. The album was released in a slightly altered form in America and, though promoted well, failed to ignite any response. Interestingly, it would prove to be a great launchpad for nearly everyone in the band except their namesake.

Other band members included Matthew Seligman on bass, who would go on to hook up with Robyn Hitchcock in the Soft Boys and Robyn's solo bands. Other notable band members were Trevor Horn and Geoff Downes, with whom Wooley co-wrote the mega-hit 'Video Killed the Radio Star,' the original version of which is on the LP. Downes and Horne split the band to join Yes and become the Buggles, among other things. The keyboardist in this group was none other than Thomas Dolby, who was also finding his own voice. He too left the band initially forming a new band called the Fallout Club, then joining up with Lene Lovich writing her hit 'New Toy,' 

Needing money to finance his recordings and not adverse to session work, he found himself in NYC providing synths for the album '4' by Foreigner. The lush intro to the hit 'Waiting for A Girl Like You' was all Dolby. The work helped the cash flow, and he continued working on what was to become his debut, 'The Golden Age of Wireless.'

The original UK release would be altered significantly once released in the U.S. on the Harvest imprint. Leaving off the more experimental instrumental 'The Wreck of the Fairchild' and replacing it with both sides of the single 'Urges' and 'Leipzig' added a more pop vibe, as did repositioning the highly catchy 'Europa And The Pirate Twins'; as the opening track. College radio jumped on the album making 'Europa; and 'Radio Silence' left of the dial favorites in 1982. Capitol, the distributor of Harvest in the US, was very happy with the momentum the album was receiving and his follow up single was to become his breakthrough.

'She Blinded Me With Science' wasn't released until the fall of 1982, some six months after the LP's release. Once issued, however, the ultra-catchy tune took off, reaching number 5 in America and number one in Canada and scoring top twenty around the globe except, for some reason, in his native England where it stalled out at 56. The video, on heavy rotation via MTV, certainly helped its hit status in America. The problem for Capitol was, despite it being a hit, it wasn't on the album. So the brainiacs at the label decided to alter the album one more time, making the 12" single version of 'She Blinded Me With Science' the lead-off track and removing the two they tagged on, to begin with, 'Urges' and 'Leipzig.' Eventually a third edition would appear that swapped out a remake of the song' Radio Silence' for the original version. Got that now?!

However you want to slice it, it's a batch of clever songs set in the early 1980s, though in listening today, don't sound bogged down by the technology choices of the era. If anything, the record benefits from its 80s gloss as it was pointing directions to the future of pop music. Tomas Dolby has maintained an interesting career that has linked him to everyone from Def Leppard to David Bowie and the Thompson Twins to Joni Mitchell. He has not released any new material since 2011. Some records are trapped in the era from which they came, others can transcend that and stand on their own, this is one of those.

By Summit FM Contrinbutor Dr. Tom Olbrych

Our sense of self is often driven by expectations: expectations placed on us by parents, teachers, employers, society, professional and personal partners, and ourselves. Additionally, our perception of the world may be tainted by these expectations.

Life is grand, as long as these expectations are met to our satisfaction, but resentments grow from unmet expectations. Resentments may then lead to disillusionment with our job, our relationships with colleagues and coworkers, and with our neighbors, friends and family. 

Life potentially devolves into a drudgery, expectations unsatisfied, perceived wants and needs unfulfilled. 

By replacing expectation with hope it is possible to reduce, or even eliminate, the resentments that arise from dashed expectations: “I hope I win the lottery,” “I hope the weather is good tomorrow,” “I hope I play well on the upcoming golf trip,” “I hope my children are happy,” “I hope my spouse loves me as much as I love her.” 

If I expect these things, I set myself up for disappointment if such expectations are unrealized. If I hope for them, they may not materialize, but if they do come to pass: double bonus! Remember the quote from Andy Dufresne in The Shawshank Redemption: "Hope is a good thing, maybe the best of things, and no good thing ever dies."