By Summit FM Contributor Marc Lee Shannon

Like many of us, I look ahead with intentions, wishes, and resolutions when the new year begins. Last year, 2024, was a tester. I mean that there were so many changes, some expected some, eh, not so much. I more than once found myself in situations reminiscent of that feeling, like when you slip on the kitchen floor, in a slow-motion ballet of limbs flailing, screaming sounds like a cheap horror film Saturday matinee, and then, the final crash of my bouncing of the head on cold tile floor.  Or, in my case, super convincing Lowes special-on-sale faux vinyl. 

I am so over 2024. It was a challenging year, and I had to draw on my resilience and durability more than once and on more than one occasion. I am sure that I am not alone in this. Can I get an Amen?

So, looking ahead to 2025,” What's the plan, dude?” says my rational, practical side of that twin voice conscience engine, the constantly critical, rarely helpful devil of a bully in my lacking-confidence spinning head. 

I have a plan that starts with a mantra. In 2025, I will:

Get comfortable being uncomfortable.

Full stop. Let that one wash over ya. Now reread it. 

I don’t want to get all zen on you, dear readers, but I like many of the teachings in Buddhist wisdom, and one that holds dear to me is that we all have to suffer. That is human. However, remaining attached to suffering is a choice. We are all floating downstream more or less on this planet and cannot control the current, of course, but we can pick up the darn oar and steer. Oh, rocks or rapids coming up around the bend? Ok, steer. Are you struggling with health, family, or financial issues? Ok, Steer. Sudden problem with a significant other that is recurring? Ok, Steer.  In fact, I have adopted a little spurt of a saying when I feel uncomfortable. I say, “Bring it on.” I say this as if by turning and facing the difficult situation, I can admit that it is game time, and I can deal with whatever twisted sister tsunami by saying Ok, you are here. You will make it through this and now turn and face the uncomfortable. Breathe.

Getting comfortable with being uncomfortable means that we are rarely going to have the river slow and easy, and when it's not, we can deal with it. A sudden shift in thinking will change your world. What we think about, we bring about. So why not look at change, challenges, and cheap life punches with a new set of glasses?  Sometimes, most of the time, all we can do is change our view. Opinion matters in that self-talk, self-assuring coaching moment with ourselves.  

So, in 2025, I will get comfortable being uncomfortable. How about you? What can you change your perspective on within the next month, week, or moment? 

Well, wish me luck! Send me a line or two at marcleeshannon@gmail.com with your thoughts about this column or if you have an idea for another. Love to hear from you! 

Until then... Cheers, stay standing, and, as always, steady on!

By Dave Swanson - Summit FM Contributor

Of all the blues legends in history, few, if any, have the magic and presence of Chester Arthur Burnett, better known as Howlin' Wolf. His transformation of acoustic blues into an electric-charged storm was a major factor in creating rock and roll music. His guitar playing was raw and captivating, and his harmonica skills would charge any given song, but it was his voice, with its almost otherworldly growl, that truly put him on the map.

Legend has it that he learned initial guitar licks from blues legend Charly Patton and harmonica prowess from Rice Miller, aka Sonny Boy Williamson (#2), but that voice came from the big man himself, and there was never another quite like it! His mere presence would shake the room. 

Born in 1910, Wolf was a bit older than most by the time he dove into the music game. It wouldn't be until the late '30s that he started to take flight. Following the aforementioned schooling from Patton and Williamson, Wolf had found a musical calling. After brief stints in prison and the army, Wolf focused on his music. In 1948, Wolf and his band began performing on radio station KWEM in West Memphis. These broadcasts caught Sam Philips's ear. So, in the spring of 1951, Phillips brought Wolf into Memphis Recording Service, soon to become Sun Studios, to record a demo. An entire session followed a couple of months later.

Guitarist Willie Johnson, and drummer Willie Steele backed Wolf. Initial tracks laid down included the classic 'How Many More Years and the haunting 'Moanin' at Midnight' Phillips then sent the finished recordings to Chess Records in Chicago for release. A single featuring those monster songs would rise to No. 4 and 10, respectively, on the Billboard R&B chart in August of 1951.

Wolf's reputation and catalog continued to grow with the release of several singles for Chess from 1951 through 1958. At the same time, Ike Turner's involvement with Howlin' Wolf led to a handful of singles on the Los Angeles-based RPM label. Some, in fact, were variations on the Chess hits with modified titles, but that's a whole other story.

With an ever-growing discography and the rise of this new music called Rock & Roll, (that Wolf had arguably had a significant hand in creating), Chess Records decided it was time to release an LP of some of his finest moments, so in 1959 'Moanin' In The Moonlight' became the first Howlin' Wolf LP. Featured among the twelve tracks were songs as early as 1951 at Memphis Recording, and as recent as 1958, recorded at Chess Studios. Far from sounding disjointed, however, the entire batch of songs jumped out of the speakers, threatening everything else in your record collection!

All songs were written by Wolf, except the classic 'Evil Is Going On,' penned by another blues legend, Willie Dixon and 'Forty-Four' by Roosevelt Sykes. Songs like Baby How Long,' 'I Asked for Water (She Gave Me Gasoline),' 'Moanin At Midnight,' 'How Many More Years, and 'Smokestack Lightning' would become blues standards over the decades. The list of session players on these recordings reads like a who's who of the history of the blues with Hubert Sumlin, Willie Dixon, Ike Turner, Otis Span, and Willie Johnson among those taking part.

The thing about any classic blues records is that modern technology still can't replicate what primitive technology captured way back when. The warmth and power remain fully intact. Other heroes such as Captain Beefheart and Tom Waits have tried to replicate that Wolf howl, but the original still reigns supreme. Wolf is a legend, and it wasn't just his recordings. His stage manner was also ahead of his time. "Wolf was the greatest that I've ever known," says his longtime saxophonist Eddie Shaw. "Wolf was not only a musician, he was an entertainer. He routinely rolled around the stage in simulation of sexual ecstasy or climbed the stage curtains like a deranged madman. That's what I respected him for."

'Moanin' in the Moonlight' is not only essential but also a cornerstone of American music!

By Dave Swanson, Summit Now Contributor

We recently lost one of the greatest filmmakers ever with the passing of David Lynch. His ability to create this surreal world that meshed priceless beauty, and fearless terror was utterly unique. Lynch could transform the most serene, traditional setting into the creepiest evil ever known. He was able to do so without cliches and without fanfare. A quiet stroll in the park could turn into a twisted nightmare in the blink of a surrealist eye. He was always very aware of setting the mood and then bending it to fit the narrative. One of his favorite tools was the use of music.

From his 1977 debut film, 'Eraserhead,’ throughout his entire library, he always placed the music in equal billing with the action on screen. So many of his films have those moments viewers recall that are tied to the music playing in the scene, be it the use of Roy Orbison's 'In Dreams' in 'Blue Velvet' or the dream pop of Julie Cruise throughout 'Twin Peaks.' 'Eraserhead' used vintage tunes from jazz pioneer Fats Waller to great effect and the sweet and innocent 'I've Told Every Little Star' by Linda Scott from Mulholland Drive. He was the master of marrying these harmless melodies with dark dreams.

He was also a songwriter himself. His early stab produced the now classic 'In Heaven, Everything Is Fine,' the unofficial theme song from 'Eraserhead' that no one who ever saw the film can forget. It was covered years later by the Pixies as well as Devo. His work with composer Angelo Badalamenti is legendary. He made albums that featured guests such as Karen O from the Yeah Yeah Yeahs, and one of his last projects was the incredible song he produced, the audio and video, for his longtime friend Donovan. He and the folk-rock icon were linked by their mutual interest and dedication to transcendental meditation. Lynch produced Donovan's 2021 single 'I Am The Shaman,' which is simply stunning, with Lynch's fingerprints all over it. I wished they had done more music together.

In an interview about seeing the Beatles and his own love for rock and roll, he made the perfect statement about music. "Music is one of the most fantastic things! Almost like fire and water and air, it's like a thing," he said while recalling his initial love for Elvis Presley, then seeing the Beatles early on at a boxing ring in Virginia. "It does so much. It does a thing for the intellect, it does a thing for the emotions, and a certain kind of music can swell the heart till it almost bursts! Tears of happiness flow out of your eyes. You can't believe the beauty that comes!"

So let's flip on our David Lynch Jukebox and let it play a variety of songs used in his cinematic adventures that we are lucky enough to have been witness to.

By Dave Swanson - Summit FM Contributor

The underground music world of the early 1980s was a treasure trove of styles, ideas, poses, and sonic assaults, each with a tale to tell. 

From the urgent pop of bands like the dB's and the Bongos to the garage party vibe of the Fleshtones and the Last, to the roots-meets-punk energy of X and the hardcore adrenaline of Minor Threat, it was a broad landscape filled with intriguing alternatives to the mainstream pit of processed pop and corporate rock churned out by the assembly line. Not only were all these upstarts recording and releasing their own records, but they were also hitting the road to spread their own gospel.

Straight out of Minneapolis, Husker Du formed as the new decade was dawning. They channeled their aggression and adrenaline into their own version of punk, which often had a more dissonant tone than the average ‘Ramones at 78 speed' approach so many had opted for. The band released their debut single, 'Statues,' in January 1981, and it was instantly recognized as not your average punk outing. The band took cues from the post-punk scene as well as the originals. 

From that point forward, it was a free-for-all as to what the band was up to with each release. Their first two releases were chaos on vinyl via the intense live debut of 'Land Speed Record' followed by the first studio offering, 'Everything Falls Apart,' a blast of urgent speed-fueled bursts of what could barely be called songs, the longest clocking in at just over 2 minutes and the entire 12 song LP registering a whopping 19 minutes. 

The band gained a reputation as an intense live band. Another thing they were becoming known for was always looking one step ahead. When touring for their new album, they often played mostly new material that would comprise the next release.

With each release, they seemed to expand their idea of who Husker Du was. In rapid order releasing the EP 'Metal Circus,' which featured the band's most melodic material to that point, courtesy of drummer Grant Hart, 'It's Not That Funny Anymore' and 'Diane' were a long way from the speed-driven frenzy they were initially known for and would set the stage for their path forward.

The band's growth from the live debut through the first studio effort and follow-up EP was impressive, but no one would have guessed where they would land next. As usual, the band was on the road, playing long sets of material not yet released. In the fall of 1983, they entered the studio to record what would become not only an underground classic but also the album that still most often defines the band: Zen Arcade.

Both Bob Mould and Grant Hart had hit the studio armed with new songs that sidestepped the clichés of hardcore, while channeling the energy of punk into waters filled with everything from pop and folk to hints of psychedelia and hard rock all while maintaining the band’s signature. The album opens with the urgent 'Something I Learned Today,' one of Mould's finest tunes, which set the stage for what was to follow over four vinyl sides. 'Never Talking to You Again,' and 'Pink Turns to Blue' are forgotten pop classics from Grant Hart. The album's release was preceded by a single that featured the non-LP track 'Eight Miles High,' a cover of the 1966 Byrds classic. While Husker Du kept much of the song intact, they most definitely put their own stamp on it, transforming it from a dream-like state into a tension-filled bout of anxiety. It was a very crucial companion to the album and helped make people take notice.

Almost instantly, college radio was all over the album, along with respected press like the New York Times, Rolling Stone, and the NME over in the UK, all of which cited the adventurous spirit of the band and the transformation into a truly unique underground force. Coincidentally, SST label mate the Minutemen also released their own double LP, 'Double Nickels on The Dime,' right around the same time, creating a similar situation for them. If that weren't enough, fellow Minnesotans the Replacements were a couple of months away from releasing their much heralded 'Let It Be' album, another that suddenly put them in a different spotlight than people had them pegged before.

Things were happening in the US underground in a massive way, which is why when people reflect back on the 80s music, it depends who you talk to and where they are coming from. For every 'Thriller,' 'Kissing to Be Clever,' or 'Too Fast For Love,' there was a 'Let It Be,' 'Double Nickels on the Dime' or 'Zen Arcade' to balance things out. 

Forty-plus years on, and ‘Zen Arcade’ still sounds like nothing else in the record shop. Their shows were always full of energy, never phoning it in, and the ground covered by the Huskers and many others set the stage for the ‘alternative’ boom in the 90s. 

One other trivial side note, Husker Du had no image whatsoever. Be that a bad or good thing, it was the truth. They looked like three guys who walked off the street and hopped on stage. There are, in fact, many photos of them wearing–wait for it–flannel shirts and ratty jeans. Mixed with the buzz saw guitar, one could be swayed to claim they were ‘proto-grunge’ and you wouldn’t be off base.

It shows that it’s all about timing and presentation. I understand Nirvana's impact, importance, and significance, but Husker Du was there first and, to my ears, did it all much better.

By Sarah Swirsky, MSW, LSW, Summit Wellness Coordinator

As we settle into the heart of winter with freezing temperatures, it’s natural to feel a shift in energy and mood. Tress have shed their leaves, animals hibernate, and the pace of life slows down. Just as nature adapts, we too are wired to embrace this quieter season by resting, reflecting, and conserving our energy. This period, often referred to as "wintering," mirrors the natural world’s cycle of rest and renewal during the colder months.  

However, in a world that often values constant productivity and busyness, resisting these natural cycles can leave us feeling out of sync. Pushing ourselves to maintain the same energy levels as in spring or summer can lead to frustration, burnout, and even a deeper sense of disconnection. Fighting against this slower rhythm denies us the opportunity to recharge, which can amplify feelings of sadness or stress. 

Instead of resisting, wintering invites us to lean into this season of stillness, allowing ourselves to rest and recover. By honoring this natural rhythm, we can emerge from winter feeling renewed and ready for growth when the warmer months return. 

It’s important, however, to distinguish between natural wintering and clinical depression. Natural wintering is a temporary, reflective state that aligns with the seasonal ebb and flow, often marked by a need for rest, quiet, and reduced activity. This state doesn’t disrupt your ability to function or find moments of joy, and it tends to ease as the seasons change. 

Clinical depression, including Seasonal Affective Disorder (SAD), goes beyond the normal winter blues. It can manifest as persistent feelings of sadness, hopelessness, or fatigue that interfere with daily life. You may struggle to enjoy things you typically love, have difficulty concentrating, or even experience changes in appetite and sleep. If these symptoms persist or intensify, it’s essential to seek help from a mental health professional. Depression is treatable, and support is available. 

Understanding the rhythms of wintering and recognizing the difference between natural rest and clinical depression can help you navigate this season with self-compassion. If you find that your low energy or mood persists and interferes with your daily life, don’t hesitate to seek support. 

If you need assistance in finding professional mental health care, reach out to your local ADM Board for resources. And if you’re in crisis, help is just a call away—dial 988 to connect with a trained crisis counselor. You don’t have to face this alone. Support is always available.  

Thank you to the Summit County ADM Board for supporting Summit Wellness. Visit admboard.org for more info.  

By Dave Swanson - Summit FM Contributor

Tom Petty's decision to 'go solo' always seemed a bit off, since Tom Petty and the Heartbreakers were, well obviously, his band. But in 1989, Petty did just that with mega hit, 'Full Moon Fever,' an album which could have easily been a Heartbreakers LP, but this go-round, Petty worked as a solo act, bringing in Jeff Lynne (of ELO fame) to act as producer, sounding board, co-writer, and musical companion. Whatever the exact recipe, it worked amazingly, giving Petty a multi-platinum hit that scaled the charts just shy of the top. Heartbreaker Mike Campbell also occupied a major role, and guest appearances from fellow band members Benmont Tench and Howie Epstein made sure it wasn't too far removed from a Heartbreakers outing. The freedom it allowed Petty to bring in guests like George Harrison, Roy Orbison, Del Shannon, Jim Keltner, and others, gave the music a slightly different vibe from the Heartbreakers, though not miles apart.

With that milestone under his belt, he teamed back up with Lynne for round two for the follow-up. 'Into The Great Wide Open' was released in the summer of 1991, and though sonically it followed the path of its predecessor, it failed to connect at the cash register in the same manner. Not that one would ever call it a failure! It is packed full of Petty classics like 'Learning To Fly' and the title track, both released as singles, which became genuine hits and mainstays in the Petty catalog and live shows. Elsewhere tracks like 'Makin' Some Noise', 'Two Gunslingers,' 'Too Good To Be True', and 'King's Highway,' are all rock solid entries into the Petty catalog.

Though Petty was never far sonically, or mentally, from his beloved Heartbreakers, there was, at the time, a sense that this was something he needed to do. Guitarist Mike Campbell noted as much in an interview with Rolling Stone from that year. "Right from day one, it's a miracle that this band stayed together for two weeks," Campbell said. "I don't really know why we're still together. There must be a bond that even we're not aware of." Sales of the previous Heartbreakers album, 'Let Me Up (I've Had Enough)' were not what they had been before, so with 'Full Moon Fever,' it seemed like a good time to make that temporary break.

The next album, 'Wildflowers,' would arrive in 1994 also emblazoned with the sole credit to Petty, no Heartbreakers. He would, of course, regroup with them till his last days, but would also leave the door open to 'go solo' or work with Lynne, or anyone else he crossed paths with. Petty brought up an interesting point in that 1991 interview, one that could easily apply today, as well as countless times over the decades.

"Things got real phony-sounding for a while," he stated. "It got to the point where even the guys in the denim jackets were sounding phony. I started thinking maybe I should just get drunk. Maybe I should just f**king forget all these songs. I hate to sound like a grouchy old-timer, but the reason rock isn't as big as it once was, is probably that it isn't as good as it once was. It wouldn't bother me, except this stuff is really important to me. As corny as it sounds, my life has been consumed by rock music. I just loved it right from the beginning."

In giving this one a spin again after so many years, it solidly drives one point home, we miss Tom Petty.

Happy Birthday to The Summit FM's Maestro of Music and Afternoon Host Brad Savage! 

Again this year we're putting together "Brad's SAVAGE Birthday Bash," but this time, it's three nights at three different venues!

FRIDAY - 2/21/25 - at The Rialto Theatre, Akron's Kenmore Neighborhood (Get Tickets)

• Katy Robinson (solo)
• Megan Bee
• JD Eicher (trio)

SATURDAY 2/22/25 - at Westside Bowl, Youngstown (Get Tickets)

• Ohayo
• Demos Papadimas
• MUNNYCAT

SUNDAY 2/23/25 - at Music Box Supper Club, Cleveland (Get Tickets)

• Kristine Jackson
• Marc Lee Shannon & My Other Brothers

By Summit FM Contributor Marc Lee Shannon

A few years ago, I wrote a column for the Devil Strip, a monthly local arts and community magazine, about the New Year, which was right around the corner. I pondered what to write about and chose "New Year, New Frames." Little did I know that the next year would have so much dynamic and dramatic change. It was December 2019.  

Fast-forward to today, December 17, 2024. I am looking at the preview of another year through the new calendar pages in the shiny, glossy end-of-year "Thanks for your Business!" calendar that my insurance company sent me. So, as I stand on the threshold of 2025, a pivotal question echoes in my mind: what do I want?  

What. Do. I. Want? 

Let's have a look back at the highlights of my year: 

I released another LP recording of songs with a group of guys called My Other Brothers, and it's a good record. Still, like most locally produced independent records, it was well received but quickly forgotten to make room for someone else's local independent record, and then the next, and the next, and so on.  

Sigh.  

I got married, and my wife and I, Kimina, found a later-in-life love that has a warm, special glow. Just when I thought I would be happy spending the rest of my days in my tiny house in Cuyahoga Falls, Ohio, the universe or God or whatever is driving this blue and green orb-shaped bus surprised us with a kind of happiness that we thought was beyond reach. This unexpected love story is a testament to the fact that it's never too late to find happiness. Whenever I see her walk in the door, I am tempted to say: "Are you sure you have the right house?" She's tall, blonde, and definitely Italian. She laughs uniquely and frequently, smiling and shaking her head at me with her arms akimbo. I love her so much.  

It was also a year of loss. Some friendships moved on (and some were rocky but salvaged). My wife lost both of her senior dogs in quick succession. The house we live in seems too quiet some days, even with three adults in a tiny late 50 Heslop home intended for a post-war mom and dad with 2.5 kids as a starter home.  

My mom finally and mercifully was released from the grips of dementia two months after my older sister Marta fell asleep on her easy chair and did not wake up. The cancer in her lungs was no match for this tough ex-Youngstown native, and she fought a brave and good fight. It hurts, and I miss them both.  

Some days, I catch myself wishing for those five more minutes when we all want to say the things and ask the questions we remember when it's too late.  

Looking back on '24, other things were sudden and surprising. I broke the fourth Metacarpal bone in my left hand, a disaster for a right-handed guitar player, and had surgery. Not playing or working out, swinging a 60-lb kettlebell for two months, made me an entertaining guy to be around—just ask my wife. 

Still, I feel lucky after all the loss, injury, and ups and downs. I am, for the most part, able-bodied. I can walk when and where I want, see clearly, breathe deeply, and do what I please. It's not lost on me that these simple things are unavailable to some who would remind me to be grateful. I am mostly solvent, and like most semi-successful working artists these days, I made a little bit of money on a lot of different things. I got by just fine.  

I have food to eat, a car to get around, clean clothes to wear, and a warm house in the chill of the Ohio winter. I have friends to call when I need help. After celebrating 10 years of recovery from alcohol use disorder, I am now more able to say, "Please, help me."  I have the life I always wanted.  

So, what do I want for the new year of 2025? Well, this time of year, when we are drawn to traditions and memories of holidays in the past, I am filled with the memories of kitchen smells, holiday twinkle sights, and whispers and sounds of the people who are no longer walking this earth. Humans I loved and cherished. So, it's straightforward for me. What I want more than anything in the new year is: 

I want the people I love to stay.  

Stay with me on this earth; stay with me for another moment, month, or year so that I can wrap my arms around what matters more than anything this material world can offer: love, family, and friends.  

Just stay a little longer, please—five more minutes. I promise to remember to say how I feel and ask that question I might forget. 

Happy New Year to one and all.  Stay Standing and Steady On.  

By Dave Swanson - Summit FM Contributor

Throughout the years, contemporary artists of whatever genre have tossed their Santa hat in the ring, trying to create a classic Christmas album. Countless takes of holiday standards mixed with self-penned songs of the season would become standard, while at other times, artists would issue special 'fan club only' releases featuring a special Christmas jam for the most die-hard fans.

From the classic Elvis Christmas songs to the legendary Beatles fan club messages to chart-topping pop acts, it's always a seasonal go-to. The Ventures Christmas Album, issued in 1965, is one of the most perfectly executed holiday albums, while albums by James Brown, Booker T & the MGs, and others also hold a special place. We can throw another one on the pile, courtesy of Americana/roots rocker J.D. McPherson, with his album Socks.

Issued in 2018 on the New West label, it is, in some ways, a Christmas 'concept' album, with songs dealing with some of the more trivial aspects of the holiday while maintaining a warmth and heart bursting at the seams with holiday cheer and goodness! Over the platter of 11 songs, we get such modern-day classics as “Ugly Sweater Blues,” “Bad Kid,” “Santa's Got A Mean Machine,” “Hey Skinny Santa’” and the classic title track about the dreaded gift of socks. There are no renditions of traditional material, but rather, all McPherson originals, each with a seasonal vibe not only in the lyrics but in the arrangement as well.

The other thing at play here is that you really have no idea what year this album sprang from. It is so authentic in its vintage vibe that you wouldn't be alone in questioning the 2018 release date, as it could have just as arguably been born 60 years earlier! That doesn't mean it sounds like a novelty or kitsch offering, but it rings so true with performances and a sonic blast that transcends time. Whether it is a long-lost artifact from the early years of rock and roll or a 21st-century adaptation of hip, it totally works. Unsurprisingly, he has spent time in the backing band for Robert Plant and Alison Krauss.

McPherson delivers in full throughout, while his cracker-jack band gives it an edge that saves it from cliché and parody. It’s full of smiles and the humor surrounding the season, guaranteed to set a festive mood. It's a modern-day Christmas classic, without question!