Episode 110 moves from smooth modern soul to cool-jazz precision before taking a sharp left into collaborative pop-funk and full-blown ’70s absurdity.

Curtis opens with a rich, groove-driven track from Allen Stone’s APART era, leaning into heartfelt vocals and retro-leaning soul textures. Jonathan follows with a breezy yet intricate performance from alto legend Art Pepper, bringing West Coast jazz tone and melodic improvisation into the spotlight.

In the category songs, Curtis highlights a Collaboration/Duet from Herbie Hancock’s Possibilities project—an era where jazz pedigree meets contemporary production and unexpected pairings. Jonathan then closes things out with a bold entry into Worst Of The ’70s, courtesy of Ohio Players—a track that is equal parts funky, bizarre, and impossible to ignore.

Soul, jazz, big-name collaborations, and one delightfully questionable funk moment—Episode 110 covers a lot of ground.

Audio note: Curtis’ microphone went rogue during this recording session. It’s been fixed going forward.

Curtis Gross is a self-employed video editor.

Jonathan Workman is an adult learning consultant based in Wichita, KS.

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The intro music is the first 30 seconds of the Ornette Coleman tune "Song X" fed into AI software that attempts to output the song to a solo piano transcription. The outro music is the first 30 seconds of Sonny Rollins' version of the tune "St. Thomas" fed into the same software.

This week Curtis and Jonathan bounce between polished classic rock, left-of-center pop, and a double dose of covers that each take very different approaches.

Curtis opens with a smooth, late-era selection from Chicago, leaning into their more reflective, songwriter-driven side. Jonathan follows with a characteristically quirky pick from They Might Be Giants, bringing wit, odd angles, and unmistakable personality into the mix.

Jonathan also takes the reins for The Deep Cut State, where we once again begin connecting dots, noticing patterns, and asking questions we probably shouldn’t—purely for research purposes, of course.

The category songs keep things soulful and thoughtful. Curtis brings a Cover from Blood, Sweat & Tears, reworking a timeless standard with weight and intention, while Jonathan counters with another Cover, this time from Livingston Taylor, offering a warm, understated reinterpretation rooted in melody and feel.

Classic bands, clever detours, conspiracy vibes, and covers that actually mean something—this episode hits all the familiar pressure points.

Audio note: Curtis’ microphone went rogue during this recording session. It’s been fixed going forward.

Curtis Gross is a self-employed video editor.

Jonathan Workman is an adult learning consultant based in Wichita, KS.

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Make sure you are subscribed to Why Is This So Hard For You. Type Why Is This So Hard For You in your podcast provider, hit that subscription button, and leave us a five-star review. This will make it easier for other podcast listeners to find the podcast.

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The intro music is the first 30 seconds of the Ornette Coleman tune "Song X" fed into AI software that attempts to output the song to a solo piano transcription. The outro music is the first 30 seconds of Sonny Rollins' version of the tune "St. Thomas" fed into the same software.

This week’s episode leans hard into musicianship, nuance, and the kind of songs that reward close listening. Jonathan opens with an elegant, textural piece from David Snell, spotlighting delicate arrangements and a quietly mesmerizing approach to melody. Curtis follows with a modern progressive selection from Steven Wilson, where atmosphere, dynamics, and meticulous production take center stage.

The category songs dig even deeper. Jonathan brings an Original Version from P. P. Arnold, revisiting a song that later found massive success in other hands but hits differently in its earliest form. Curtis closes things out with a Deck Shoes Deep Cut from Jim Photoglo, delivering peak soft-rock songwriting that somehow still flies under the radar.

Thoughtful, melodic, and unapologetically deep—this one’s for listeners who like their music choices just a little off the main path.

Audio note: Curtis’ microphone went rogue during this recording session. It’s been fixed going forward.

Curtis Gross is a self-employed video editor.

Jonathan Workman is an adult learning consultant based in Wichita, KS.

---

Make sure you are subscribed to Why Is This So Hard For You. Type Why Is This So Hard For You in your podcast provider, hit that subscription button, and leave us a five-star review. This will make it easier for other podcast listeners to find the podcast.

---

The intro music is the first 30 seconds of the Ornette Coleman tune "Song X" fed into AI software that attempts to output the song to a solo piano transcription. The outro music is the first 30 seconds of Sonny Rollins' version of the tune "St. Thomas" fed into the same software.

This week Curtis and Jonathan bring a mix of soundtrack gold, sleek modern vibes, and just enough chaos to keep the timeline unstable. Curtis leads off with a smooth Al Jarreau soundtrack selection—pure voice, pure feel, and peak “how is this guy that good?” energy. Jonathan follows with a track from Wilshire, keeping things melodic and polished while staying firmly in deep-cut territory.

Then we return to The Deep Cut State, where we once again “just ask questions” about strange coincidences, hidden patterns, and the possibility that the music world is far more coordinated than anyone wants to admit. No accusations. Just… observations.

The category songs take a hard left. Curtis brings a Cover from Ram Jam, turning a traditional African American folk/work song with deep roots into full-throttle rock. Jonathan closes with a true Flash In The Pan moment from the Chicago Bears, proving that sometimes a team, a studio, and a questionable idea are all you need to create musical history.

Soundtrack soul, deep cuts, conspiracy vibes, and sports-related absurdity—this episode has the full package.

Curtis Gross is a self-employed video editor.

Jonathan Workman is an adult learning consultant based in Wichita, KS.

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Make sure you are subscribed to Why Is This So Hard For You. Type Why Is This So Hard For You in your podcast provider, hit that subscription button, and leave us a five-star review. This will make it easier for other podcast listeners to find the podcast.

---

The intro music is the first 30 seconds of the Ornette Coleman tune "Song X" fed into AI software that attempts to output the song to a solo piano transcription. The outro music is the first 30 seconds of Sonny Rollins' version of the tune "St. Thomas" fed into the same software.

This week Jonathan kicks things off with a high-energy groove from Tom McGuire and the Brass Holes, bringing tight horns, infectious rhythm, and the kind of modern funk punch that instantly grabs you. Curtis follows with a sweeping, grand-scale track from Kansas, diving into classic progressive rock territory with big melodies and even bigger ambition.

In the category songs, Jonathan’s Screen To Stage pick comes courtesy of Flight of the Conchords, delivering the perfect mix of comedy, sincerity, and songwriting chops. Curtis closes things out with a smooth, unmistakably ’80s-flavored duet featuring Luther Vandross and Gregory Hines, because sometimes the only proper ending is pure charisma and velvet vocals.

Deep cuts, big swings, and category chaos—exactly how we like it.

Curtis Gross is a self-employed video editor.

Jonathan Workman is an adult learning consultant based in Wichita, KS.

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Make sure you are subscribed to Why Is This So Hard For You. Type Why Is This So Hard For You in your podcast provider, hit that subscription button, and leave us a five-star review. This will make it easier for other podcast listeners to find the podcast.

---

The intro music is the first 30 seconds of the Ornette Coleman tune "Song X" fed into AI software that attempts to output the song to a solo piano transcription. The outro music is the first 30 seconds of Sonny Rollins' version of the tune "St. Thomas" fed into the same software.

Episode 105 brings Curtis and Jonathan back into familiar territory—smooth, meticulous, and just a little unhinged. Jonathan opens with a polished slice of West Coast pop from Player, while Curtis counters with a sleek, cinematic fusion track from Yellowjackets, leaning fully into late-night musicianship and studio finesse.

This week also marks the debut of a brand-new feature: The Deep Cut State. In this segment, we begin asking important questions—possibly too important—as we explore whether certain patterns, coincidences, and musical decisions might point to something more… conspiratorial. We’re not making claims. We’re just noticing things.

The category songs keep the energy unpredictable. Jonathan brings a listener request from Lee Ofman, while Curtis closes things out with a full-blown Sonic Holocaust selection from Pet Shop Boys, taking a familiar melody somewhere loud, dramatic, and impossible to ignore.

Smooth grooves, jazz-fusion flair, listener chaos, and the first official step into conspiracy territory—welcome to the Deep Cut State.

Curtis Gross is a self-employed video editor.

Jonathan Workman is an adult learning consultant based in Wichita, KS.

---

Make sure you are subscribed to Why Is This So Hard For You. Type Why Is This So Hard For You in your podcast provider, hit that subscription button, and leave us a five-star review. This will make it easier for other podcast listeners to find the podcast.

---

The intro music is the first 30 seconds of the Ornette Coleman tune "Song X" fed into AI software that attempts to output the song to a solo piano transcription. The outro music is the first 30 seconds of Sonny Rollins' version of the tune "St. Thomas" fed into the same software.

Curtis and Jonathan dig into a mix of impeccable songwriting, genre-blending pop, and the eternal originals-versus-covers debate.

Curtis opens the episode with a sharply written, emotionally grounded track from Randy Goodrum, highlighting the kind of behind-the-scenes songwriter brilliance that quietly shaped an era. Jonathan follows with a polished, crossover-era selection from Ronnie Milsap, where country storytelling meets pop craftsmanship at its peak.

In the category songs, Curtis brings an Original Version pick from Robert Hazard, revisiting a song that later took on a much bigger life through a more famous reinterpretation. Jonathan counters with a Cover from Lake Street Dive, offering a modern, groove-forward take on a well-known classic and sparking the usual questions about reinterpretation, restraint, and necessity.

It’s an episode full of strong melodies, great writing, and thoughtful detours—exactly the kind of musical rabbit holes this show was built for.

Curtis Gross is a self-employed video editor.

Jonathan Workman is an adult learning consultant based in Wichita, KS.

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Make sure you are subscribed to Why Is This So Hard For You. Type Why Is This So Hard For You in your podcast provider, hit that subscription button, and leave us a five-star review. This will make it easier for other podcast listeners to find the podcast.

---

The intro music is the first 30 seconds of the Ornette Coleman tune "Song X" fed into AI software that attempts to output the song to a solo piano transcription. The outro music is the first 30 seconds of Sonny Rollins' version of the tune "St. Thomas" fed into the same software.

Curtis and Jonathan return for Episode 103 with a mix that somehow bridges pristine modern AOR, adventurous progressive rock, and two cover songs that take very different creative risks.

Curtis opens the episode with a sleek, emotionally driven track from Lionville, showcasing modern melodic songwriting with classic sensibilities. Jonathan follows by heading into more complex territory with a progressive-era selection from Spock’s Beard, full of shifting moods and ambitious arrangements.

The category songs take a sharp turn into cover-song chaos. Curtis brings a wildly unexpected reinterpretation from Don Ho, applying an unmistakable style to a song that probably never asked for it. Jonathan counters with a vintage-flavored reimagining from Postmodern Jukebox, transforming a rock staple into something entirely different—stylish, clever, and debatably necessary.

It’s an episode built on contrasts: polished vs. complex, sincere vs. ironic, and covers that force us to ask the eternal question—just because you can, should you?

Curtis Gross is a self-employed video editor.

Jonathan Workman is an adult learning consultant based in Wichita, KS.

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Make sure you are subscribed to Why Is This So Hard For You. Type Why Is This So Hard For You in your podcast provider, hit that subscription button, and leave us a five-star review. This will make it easier for other podcast listeners to find the podcast.

---

The intro music is the first 30 seconds of the Ornette Coleman tune "Song X" fed into AI software that attempts to output the song to a solo piano transcription. The outro music is the first 30 seconds of Sonny Rollins' version of the tune "St. Thomas" fed into the same software.

Episode 102 is our official Christmas episode, which—naturally—means we don’t start with a Christmas song at all. Jonathan opens with a polished, radio-era track from Steve Winwood’s Back in the High Life period, proving once again that this show cannot go straight from point A to point B.

Curtis then officially flips the seasonal switch with a thoughtful, modern Christmas selection from Andrew Peterson, setting a reflective tone before things inevitably get weird.

In the category songs, Jonathan leans fully into ’Tis The Season with a beautifully restrained holiday pick from Shawn Colvin, while Curtis closes the episode by lighting a match and walking away—bringing what he argues may be the Worst of Christmas, courtesy of an unforgettable collaboration between Bing Crosby and David Bowie.

It’s reverent, irreverent, sincere, and completely on brand—holiday music filtered through deep cuts, strong opinions, and just enough chaos to feel festive.

Curtis Gross is a self-employed video editor.

Jonathan Workman is an adult learning consultant based in Wichita, KS.

---

Make sure you are subscribed to Why Is This So Hard For You. Type Why Is This So Hard For You in your podcast provider, hit that subscription button, and leave us a five-star review. This will make it easier for other podcast listeners to find the podcast.

---

The intro music is the first 30 seconds of the Ornette Coleman tune "Song X" fed into AI software that attempts to output the song to a solo piano transcription. The outro music is the first 30 seconds of Sonny Rollins' version of the tune "St. Thomas" fed into the same software.

After the milestone celebration, Curtis and Jonathan are back to their usual two-man musical mischief for Episode 101. Jonathan kicks things off with an underrated gem from Mr. Mister, diving into that pristine ’80s studio-pop sheen the show loves. Curtis follows with a smooth, early-era deep cut from the first Pages album, bringing West Coast AOR energy back into the room where it belongs.

In the category songs, Jonathan delivers a delightfully over-the-top Burnt To A Crisp Christmas selection—equal parts seasonal and unhinged—before Curtis restores balance with a warm, soulful #1 In Our Hearts moment from Quincy Jones’ The Dude era. Consider it the perfect palate cleanser.

It’s classic WITSHFY: immaculate harmonies, questionable holiday choices, pristine session-player worship, and two friends wandering happily through the deep-cut wilderness.

Curtis Gross is a self-employed video editor.

Jonathan Workman is an adult learning consultant based in Wichita, KS.

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Make sure you are subscribed to Why Is This So Hard For You. Type Why Is This So Hard For You in your podcast provider, hit that subscription button, and leave us a five-star review. This will make it easier for other podcast listeners to find the podcast.

---

The intro music is the first 30 seconds of the Ornette Coleman tune "Song X" fed into AI software that attempts to output the song to a solo piano transcription. The outro music is the first 30 seconds of Sonny Rollins' version of the tune "St. Thomas" fed into the same software.