By Summit Now Contributor Marc Lee Shannon

In the spring of 1979, I was twenty years old and away from home, really away, for the first time. Six months prior, I was surprisingly accepted to an up-and-coming music/technology school named G.I.T., which allowed 120 students per semester. Looking back, I am confident I was #119 on the musical training and education ranking scale. Today, 45 years later, I realize how lucky I was to take the school entrance test and subsequent phone audition interview, as apparently, the examiners heard something I was unsure of at the time:  

Talent.  

The first part of the school's curriculum focused on sightreading music, harmony, and composition. I struggled with these areas of study, so in my apartment at the corner of Hawthorn and N. Orange, across from Hollywood High School, I made my bedroom closet into a practice den and spent every possible moment away from classes, trying desperately to catch up to the rest of the students, all of whom seemed better suited for this school than me.   

I barely came up for air for the first 6 months.  

In the second half of the year-long program, I had a breakthrough. In one of my first performance classes, I was assigned 2nd guitar, bass, drums, and keys and was tasked to arrange and perform a Jazz standard. I had always leaned towards more blues-based music, so I picked "All Blues," a Miles Davis tune that first appeared on his landmark Kind Of Blue record from 1959. I worked up an arrangement I thought was decent, laid the charts before my bandmates, and called the downbeat. I took the first and last solo, giving everyone their due, and after the tune finished, the class softly and politely clapped.  I had a sinking feeling that I had blown it and, once and for all, should accept I was not good enough; I would not cut it at this level of talent and competition. The teacher, whose last name escapes me but was appropriately nick-named "Kimbo," began his critique by mentioning the flaws in my arrangement composition and then suggested some improvements. He was stern but fair and kind, where he did not have to be. I remember it all after all these years, especially the last thing he said. Something I will never forget.  

"And kid, you were right out there (pointing to the edge of the stage in front of my classmates, some of the best budding guitarists in the world), and you were bringing it!" 

His smile and that one moment of encouragement, that single compliment, were enough music-soul food that this musician needed. I knew from that moment that I could do this. I could make it with the right amount of never-give-up effort, and I would survive in L.A. and someday make a name for myself. A spark in the single encouraging sentence ignited a new trajectory for me. It infused the hope I needed to keep going and striving for my dreams.  

I often think of this moment when faced with a younger, bright-eyed newbie to the game. I remember what it meant for a kid from Akron to be recognized and given the nod of approval. You never know when what you say will make that kind of difference for someone with an ambition. It might be their turning point built on the back of your uplifting, kind words. This is the power we all hold to inspire others.  

That day in the performance class was a turning point, all due to a few kind words. It was the light of the fuse of my music career, all because of a compliment at the right time. All these years later, it is still something I remember, cherish, and try to pay forward. Because of that day, I will never underestimate: The Power of Encouragement.

By Sarah Swirsky, Summit FM Wellness Coordinator

Akron, OH – November 22, 2024—The Summit FM, Akron's musically adventurous public radio station, is excited to announce the launch of Wavelengths, a new streaming radio station playing mindful music designed to enhance relaxation and well-being. Beginning November 22, 2024, Wavelengths will be available to listeners via The Summit FM’s website and smartphone app, offering a soothing soundtrack to support a balanced, thoughtful lifestyle. 

With a focus on music that promotes calmness, creativity, and introspection, Wavelengths is a station for anyone seeking an oasis of sound during the hustle and bustle of daily life. Spotlighting the “lighter side” of the Summit FM music catalog, listeners will hear artists like Amos Lee, Tracy Chapman, Norah Jones, Enya, Jack Johnson, Keb’ Mo’, Indigo Girls, Trevor Hall, and many more.  

"Mindful Music with You in Mind" is the station’s guiding slogan, underscoring its commitment to creating an experience that nurtures the body and mind. Wavelengths is programmed by Andrew James, a longtime host and Director of Operations at The Summit FM, who hand-curates the station to bring peace and mindfulness to listeners. 

“Wavelengths is all about crafting a space where music can have a direct, positive impact on how you feel,” said Andrew James. “We’ve carefully curated a playlist that invites reflection, relaxation, and inspiration. I couldn’t be more excited to share it with our listeners.” 

Summit FM’s General Manager, Tommy Bruno, expressed his enthusiasm for the launch, noting the station's ongoing commitment to wellness programming. 

“Our rich history of recovery awareness aligns with Wavelengths, a project that deepens our commitment to the wellness of our community,” said Bruno. “In the ever-growing world of digital media, we must continue offering content that uplifts and inspires. Wavelengths provides a unique opportunity for our listeners to enjoy mindful, restorative music—whether unwinding after a long day, practicing yoga, or simply needing some quiet moments of peace. This is just another step in The Summit FM’s mission to enrich lives through the power of music with thoughtful, purposeful programming.” 

Listeners can tune in to Wavelengths starting November 22, 2024, by visiting thesummit.fm or downloading The Summit FM app on iOS or Android devices. With no commercials, Wavelengths offers a fresh, calming addition to the Summit FM family of stations. 

Pictured above: Music Alive volunteer David Watkins, Struthers Director of Bands, Joshua Hawkins, and Summit FM General Manager Tommy Bruno

The Summit FM is making music possible for Struthers with the station's latest donation, which brings their total contributions to nearly 75 musical instruments for local middle and high school students.

Summit FM General Manager Tommy Bruno and Music Alive volunteer David Watkins recently presented another round of donated instruments to Struthers City Schools, continuing a remarkable tradition of community support for music education.

A Legacy of Musical Opportunity

Since 2008, The Marilyn Stroud Music Alive Program has been a beacon of hope for underfunded music programs, focusing on school districts in Struthers, Akron, and Athens. The program's mission is simple yet powerful: collect, repair, and donate musical instruments to students who might otherwise never have the chance to explore musical education.

Your Forgotten Instrument Could Be a Child's Dream

Do you have an old, unused musical instrument gathering dust in your attic, closet, or basement? Those forgotten instruments could be the key to unlocking a young student's musical potential. Many families struggle to afford the cost of musical instruments, and your donation could make a life-changing difference.

How You Can Help

- Donate gently used instruments

- Support local music education

- Give a child the gift of music

Contact The Summit FM to learn how you can contribute to keeping music alive for the next generation. They will thank you for it, and so will we!

By Dave Swanson - Summit FM Contributor

Ahh Memphis! The rich musical heritage of Memphis, Tennessee, is something to behold, ponder, and study. From Sun to Stax and everything in between and beyond, music rides in the air, runs in the water supply, and grows in the earth. The legacy of great records and artists to have come from Memphis is amazing, but it's not just a piece of history; it is ongoing, as proven by acts like Southern Avenue.

Formed in 2015, it was clear from the start that they were genuine as they effortlessly combined the gritty soul groove of the past with a modern flair that was enriched by what came before, not buried by it. Drawing on blues, soul, and gospel with nods to rock and roll, pop, and jazz, the group was signed to the legendary Stax label, which released their self-titled debut LP in 2017 and their sophomore effort, 'Keep On,' in 2019.

The band quickly gained a reputation for those stellar recordings and the dynamic live shows they routinely put on. The dynamic vocals of Tierinii Jackson gave a powerhouse front to the rock-solid band. In 2017, the band signed with Renew/BMG Records for their third album, “Be The Love You Want,” which gathered up more rave reviews due to such songs as the funk driven 'Control,' the soulful glory of 'Push Now' and the hard driving 'Pressure.' The band covers a variety of moods and moves on this album, with nothing out of reach.

Their second album was nominated for a Grammy, adding to their fuel. The album was produced by friend and multi-Grammy-winning producer Steve Berlin of Los Lobos fame. Plenty of acts of any given genre can easily imitate sounds from the past, but it is the act that can take in all those influences and re-deliver them with their own stamp. Southern Avenue is one that can and does so in full on 'Be The Love You Want.'

After wrapping up a summer tour with Willie Nelson, Bob Dylan, and John Mellencamp, Southern Avenue is back on the road once again, taking their message to the people in a natural setting.

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 Dave Swanson - Summit FM Contributor

A long time ago, in a forgotten chapter in the rock and roll tale, there was a band called Split Enz. This wacky art-pop combo was formed in the early 1970s by Tim Finn and Phil Judd. These New Zealand popsters had a very colorful vision of what pop music could be and could look like. After a series of albums that failed to make a dent anywhere but in their homeland, Judd left to form his own band, the Swingers (cue ‘Counting The Beat’), while others shifted in and out as well. In the process, Tim asked his little brother Neil if he'd jump on board. Thankfully for all, he did.

Their kinetic, sometimes hyper approach to rock/pop caught the ear of a few; Roxy Music's Phil Manzanera was one who not only produced an early LP but would enlist Tim Finn as vocalist for some of his own solo projects. Soon enough, brother Neil proved Tim was not the only talent in the family, and by the time of 1980's 'True Colors' had given the band their first hit in the form of the classic single 'I Got You,' which had just the right amount of classic pop coupled with the then current 'new wave' vibe that people worldwide took note. The record became the band's first number-one hit at home, while, thanks in part to the video, also introduced the band America. The album also topped the charts in New Zealand, and it started a run of No. 1 LPs at home.

By the time of their 1983 LP, 'Conflicting Emotions,' Tim's involvement in the band had nearly dropped off the map due to a tandem solo career. Nearly all of the songs on that LP were penned by Neil. The following year, the band delivered one final album with Tim now completely absent, and the band was put to rest. During the Split Enz farewell tour, Neil began to put together his next chapter in the form of Crowded House. While Tim was no slouch in the song department, Neil was simply a natural, reeling off classic after pop classic. The proof was found very easily in the Crowded House debut, which would catapult the band to worldwide fame and hit records, which Split Enx never managed to do. The stripped-down, more polished approach did the job.

A second album, 'Temple Of Low Men,' followed, and then the trio, Neil Finn started to work on a side project with brother Tim called the Finn Brothers; this idea would be temporarily shelved when it seemed better for Tim to join Crowded House. Released in 1991, 'Woodface' saw elder brother Tim Finn back in action with his brother, giving Crowded House another angle from which to write. Most of the tracks were co-written by the Brothers Finn, and, for the moment, at least, all seemed well in Crowded House. Tim and Neil wrote very well together, complimenting each other's style and the entire album benefits from it.

The album is loaded with top-shelf songs. 'Chocolate Cake,' 'It's Only Natural,' 'Fall At Your Feet,' There Goes God,' and 'Weather With You' alone stamp this as a classic, hard-to-top LP, and that's barely half the tracks. "Brothers! You're just brothers," said Tim Finn in a documentary on the album. "It's hard sometimes, but there's so much good about it. It you start talking too much, it'll never end. There'll be grievances going back to birth!" The album came together organically, according to Neil, calling it "a very effortless and fruitful session. Every day we felt we were coming up with something. Some of them came out in one go, from thin air, and others were drawn from a verse here and a chorus there." The album was a major hit in their homeland and a top ten showing in the UK, and although it got great reviews and college airplay, it failed to catch fire in the US. During the tour for the band, Tim left.

The band maintained the constant status of huge at-home, less severe returns worldwide, but that's sales. Artistically, Crowded House maintained a strong level throughout and ultimately has a wonderful catalog to prove that. So where does 'Woodface' fit in the large scheme? While lacking the hits of the debut, it is as strong an album as they ever made, and if you are a fan of great Pop music, Crowded House and 'Woodface' in particular are rightfully marked as essential.

By Dave Swanson - Summit FM Contributor

1978 was truly one hell of a year for rock and roll! With the rise of bands like The Clash, Sex Pistols, Ramones, The Cars, Blondie, Tom Petty, Cheap Trick, and countless more issuing landmark albums, to the stadiums filled by Fleetwood Mac, ELO, and The Rolling Stones, to the wayward souls like Warren Zevon and Tom Waits, it was a colorful landscape, all ripe for the taking.

Bruce Springsteen would enter that year riding high from a constant upward trajectory that started back at the start of 1973, with his classic debut, 'Greetings from Asbury Park, N.J.,' one of the most engaging and significant first albums ever. Here was a new voice, ignoring the trends of the day, to deliver his own vision. After following that with 'The Wild, the Innocent & the E Street Shuffle,' at the end of the year, it was obvious the man was on a roll, but no one could have predicted the leap he would make with in 1975 with 'Born To Run,' the album that would thrust him into mass consciousness. A number three charting LP, praised to high heavens by music critics, and worshiped by his ever growing fan base, 'Born To Run' firmly put him on the map, now where would he go?

Released in the summer of 1978, 'Darkness On The Edge Of Town' not only solidified Springsteen's status, but delivered what may be his most loved album by hardcore fans, and his greatest statement overall. The wide eyed optimism of 'Born To Run' had been replaced, in part, by a more mature and ragged awareness of his surroundings, and his approach to songwriting. From the opening kick of 'Badlands,' it's obvious he is taking no prisoners. The anthemic tone of this driving rock and roll drives home that he was there to stay. His blistering guitar solo within encapsulates all the fire, venom, and angst, in one 16 second burst. Everything about the song shows him to have put all his pieces together to create the 'Bruce Springsteen' we know and love. 'Adam Raised A Can' is a dark, raw piece of rock and roll that startles as it shines. The production throughout, by Bruce and Jon Landau, has the right amount of polish coating, and the perfect amount of a raw beast, he never quite captured on wax again.

One after another, the album delivers these perfect songs, drawing on influences from the past as well as the then present. 'Something In The Night' may be a ballad, but it's heart is bursting at every vessel while 'Candy's Room' begins as an unassuming rocker, that explodes about halfway through, shattering into pieces before setting the stage for the magnificent 'Racing In The Street,' that even upon first listen, sounded like some lost classic. The album reached number 5 on the Billboard charts, and continued to cement his status.

Need I go on? And that's only side one! 'Promised Land,' ‘Factory,' 'Prove It All Night,' 'Streets Of Fire,' and the title track are yet to come, all on fire and burning bright some 46 years later. I have always respected Springsteen, and been what you might call a casual fan, but something about this album always struck me deeply. You can argue into oblivion as to what any artist’s best album is, and while many will side with 'Born To Run,' or possibly 'The River' as his greatest moment, for my money, it's always belonged to 'Darkness On The Edge Of Town.' It is essential, and it is a masterpiece.

By Dave Swanson - Summit FM Contributor

Pop culture is one crazy beast! It reflects as it creates and in many cases, ultimately represents a moment in time or an era. So many great films, records, books, television programs and so on are so deeply tied to the time frame from which they came, they are simply part of the landscape. Sometimes they transcend the years and remain a living, breathing creature, ready for ingestion by a generation yet to come. It seems that, given the 50 years since the Rocky Horror Show first appeared, it is one of those that continues to intrigue and entertain over time.

Perhaps because, though very much ot it's time (it really couldn't have been born in any decade other than the 1970s) it was also quite ahead of its time. A campy horror themed musical complete with sexual tension and freedom, a freak show where the freaks were the heroes, and a rolling and rocking soundtrack to make it all work. The film has inspired more than a few crossdressing adventures as well as the very definition of 'audience participation' which, if you've never been, is the complete experience. You can watch it on streaming, but who are you going to act it out with?

The genius behind this entire adventure was a guy named Richard O'Brian, who not only wrote the original stage play, but also the screenplay for the film and all the songs within. It was his vision and quite likely that singular vision is what made it all work.

As for the songs, at this point in history, it plays like some sort of greatest hits from another planet as the songs are so intertwined with the film and yet, composed, as they were, with classic, vintage pop and rock & roll as inspiration, they work as singular, stand-alone tracks as well. O'Brian assembled an interesting variety of musicians to make his songs come to life including drummer B.J. Wilson and Mick Grabham, both of Procol Harum fame, as well as keyboardist John 'Rabbit' Bundrick, known in part for his associaion with the Who.

Since it was a stage musical to start with, the actors sang the songs here as well, and while Susan Sarandon and Barry Bostwick might not spring to mind when it comes to vocal chops, it was all part of the story, plus, when you've got not only O'Brian but a pre-fame youngster known simply as Meatloaf and the mighty Tim Curry in the lead as Dr. Frank N. Furter, it is hard to think of it in any other way.

Curry's commanding vocal on 'Sweet Transvestite' alone is reason to revisit this soundtrack. Meatloaf's rev'd up take on a 50's rock and roll style on 'Hot Patootie, Bless My Soul' is another signature song that made it all hold together. The non-stop 'hits' continue through the film, and album, but it is, of course, 'The Time Warp' that is most associated with representing the whole ball o' wax. Sung by Richard O'Brian, it is a stomping three chord, traditional rocker that recalled the past while helping to invent the next chapter. The entire Rocky Horror Picture Show had a large influence on the burgeoning punk movement not only in fashion and attitude, but in this case, in song as well.

Funny to think that the original stage production was co-produced by music legend Lou Adler, best known for heading the Dunhill record label and introducing the Mamas and Papas, Grassroots and others to the world. He also co-produced the Monterey Pop Festival in 1967 and went on to establish Ode records, launching the solo career of Carole King among others. In addition to his production involvement, he helped liscene the music for the film thus ensuring a US release.

While neither the film nor the soundtrack were mega hits, their long running cult status has grown immeasurably over the years both in style and content. Though in 2024 it may seem like "what's the big deal" referring to a film with a transvestite scientist as the main character, but the entire premise was anything but mainstream in 1975. From 'Pink Flamingos' to 'Deep Throat' to 'Eraserheard' and 'Taxi Driver,' the 1970s were a massive anything goes when it came to films, and of course music, and 'The Rocky Horror Picture Show' was right in the middle of all that holding a court all its own.

Now, remember, it's just a jump to the left…

By Dave Swanson - Summit FM Contributor

It all goes back to singing in church for many. By the dawn of the 1970s, the Staple Singers, a long-respected and popular gospel/R&B act, had put many miles under their feet. Things were changing everywhere and on a variety of levels. 'Pops' Staples and company had released records since the late 1950s on various labels, jazz, gospel, soul, and mainstream, to universal acclaim but limited commercial success. 'Uncloudy Day' was a signature song early on, their gospel roots fully in command, but with the calling car guitar of 'Pop' leading the charge as the sisters delivered the harmonies.

It was a winning formula, but by the late '60s, they tried incorporating modern rock and roll influences into their sound. They had signed with Epic in 1965, still doing strictly gospel material, but in 1967, they released a cover of Buffalo Springfield's 'For What It's Worth' as a single. The following couple of years found them tackling 'What The World Needs Now' by Jackie DeShannon and Bob Dylan's 'It's A Hard Rain Gonna Fall,' as well as material from the Band and Otis Redding.

Not that any of these became massive hits, but it announced their arrival as a contemporary soul/ r&b act. So, in 1970, they made the full jump, signing with Stax Records and, in early 1971, releasing 'The Staple Swingers, essentially their debut album as a contemporary soul band. Produced by Al Bell and recorded in Muscle Shoals, it was a vibrant statement and fully contemporary with the new sounds of the new decade, which drew heavily from the band's gospel roots while sharing the spotlight with that signature Stax vibe and sound. Three singles were released from the album, all charting high on the US Soul chats, with 'Heavy Makes You Happy (Sha-Na-Boom Boom)' even crashing into the Billboard Top 30. With momentum flowing, a follow-up was recorded, proving this was no fluke—quite the opposite, as it would take the Staple Singers into pop stardom.

'Be Altitude: Respect Yourself' was released in February of 1972, and as fast as it landed, it took off to the top. It was the perfect album for the times, combining elements of contemporary acts like Sly & the Family Stones, Curtis Mayfield and Marvin Gaye both musically as well as in the social commentary department. The production of Bell is as sweet and soulful as it is gritty and funky. Right out of the gate, the singles released gained ground. 'Respect Yourself' hit #12 on Billboard, while the follow-up, 'I'll Take You There,' hit the number one spot on both the Soul and Pop charts.

It was the sound of joy, determination, salvation, and joy, with Mavis' lead vocals taking center stage as Cleotha and Yvonne provided harmonies and the Stax band assembled and laid down the perfect groove. Though they would have continued success, this was the artistic and commercial pinnacle. It was not, however, the end of the music, as the songs from this album live on to this day in a variety of ways, from cover versions to use in films, advertising, and on and on, not to mention the universal message of one world, one people. “You know, Pops would say that sometimes,” Mavis recalled in a 2006 interview, “He’d say, ‘We don’t have to die to go to heaven; heaven could be right here.’ But he said we got to work together. We got to work!”

Even if you don't know the Staple Singers, it's likely that you do, in fact, know the songs. Essential? Absolutely!