Episode 123 moves from smooth jazz-funk into classic songwriter territory before ending with two songs built for completely different kinds of emotional driving.

Jonathan opens with a groove-heavy selection from George Benson, blending fluid guitar work, rhythmic sophistication, and the effortless cool that defined his crossover era. Curtis continues his ongoing exploration of standout debut albums with a warm, melodic deep cut from Stephen Bishop, highlighting the understated songwriting brilliance that made his early work so enduring.

In the category songs, Jonathan brings a Cruisin’ Song from Whitesnake, delivering full nighttime-highway energy, dramatic vocals, and maximum late-’80s atmosphere. Curtis closes with a #1 In Our Hearts selection from Chaka Khan, showcasing powerhouse vocals and the kind of emotional intensity that still feels timeless.

Jazz-funk groove, soft-rock craftsmanship, arena-rock cruising music, and one unforgettable vocal performance—Episode 123 covers the full emotional spectrum.

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.

Episode 122 leans into songwriter storytelling, all-time debut album magic, and two category songs that could easily start arguments in the parking lot after the show.

Jonathan opens with a reflective, late-night selection from Marc Cohn, bringing warmth, lyrical detail, and that unmistakable road-worn vocal style. Curtis continues his ongoing appreciation for legendary debut albums with a soaring deep cut from Boston, reminding everyone just how absurdly loaded that first record really was.

In the category songs, Jonathan instigates a full-blown New England Deck Fight by raising the eternal question: does Styx qualify as yacht rock? The debate gets appropriately heated. Curtis then closes things out with another entry into Stick To Acting, featuring a selection from John Travolta that proves the line between acting career and recording career is sometimes thinner than it should be.

Thoughtful songwriting, arena-rock perfection, yacht-rock controversy, and actor-pop confusion—Episode 122 has a little bit of everything.

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.

Episode 121 swings from razor-sharp new wave to modern fusion before diving headfirst into southern rock excess and wrestling-world oddities.

Curtis opens with a punchy, late-’70s selection from The Cars, blending sleek hooks, cool detachment, and just enough nervous energy to make everything sound effortlessly stylish. Jonathan follows with a rhythmically rich modern track from Oli Howe, showcasing fusion chops, tight grooves, and contemporary musicianship with serious feel.

In the category songs, Curtis unveils a new category: Mullet Manifesto. Naturally, it arrives courtesy of Blackfoot, delivering full-throttle southern rock energy, highway imagery, and enough hair to violate several safety regulations. Jonathan closes things out with a Rock & Wrestling Connection selection from legendary wrestler Terry Funk, reminding us once again that the overlap between wrestling and music history is far stranger than it should be.

New wave polish, fusion finesse, southern rock swagger, and wrestling-related musical confusion—Episode 121 covers a lot of territory.

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 120 is back to just Curtis and Jonathan, this episode leans into smooth songwriting, studio precision, and a category segment that spirals into layered cover-song madness.

Curtis opens with a warm, late-era selection from Christopher Cross, delivering that unmistakable soft rock glow and effortless melodic touch. Jonathan follows with a polished, musician’s-musician track from Tom Hemby, highlighting tasteful arrangement and session-level craftsmanship.

In the category songs, Curtis brings another Original Version, this time from Lou Johnson, revisiting a song that would go on to have a much bigger life through later interpretations. Jonathan then takes things a step further with a Double Cover—a modern reinterpretation by David Cook of a cover song by Whitesnake of a Beatles classic, proving that sometimes one cover just isn’t enough.

Smooth vibes, deep cuts, and a category segment that keeps adding layers—this episode hits all the right notes.

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.

Derek joins for one more episode as we move through intricate jazz, classic songwriting, and a quietly brilliant collaboration to close things out.

Jonathan opens with a nimble, harmonically rich performance from Gwilym Simcock, blending modern jazz language with lyrical phrasing and subtle complexity. Curtis follows with a reflective, beautifully crafted selection from Dan Fogelberg, leaning into timeless melody and introspective songwriting.

Derek then brings a cinematic, emotionally resonant piece from W. G. Snuffy Walden, a track that feels equally at home in television scoring and standalone listening.

In the category songs, Jonathan closes things out with a Collaborations pick featuring Chris Thile and Brad Mehldau, highlighting the kind of understated interplay and musical conversation that defines great collaborative work.

A thoughtful mix of modern jazz, classic songcraft, and one last contribution from Derek—Episode 119 brings this stretch of episodes to a fitting close.

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.

Derek is back once again for Episode 118, guiding this one through jazz precision, modern groove, and a perfectly placed nostalgic turn.

Derek opens with a sophisticated, melodic performance from the Branford Marsalis Quartet, setting the tone with interplay, tone, and top-tier musicianship. Jonathan follows with a rhythm-forward, bass-driven track from Vincen García, bringing modern fusion energy and tight pocket playing into the mix. Curtis then shifts things into a more atmospheric space with a live performance from David Gilmour and Romany Gilmour, where mood, texture, and restraint take center stage.

In the category songs, Derek introduces Youth Group Moments, pulling a track from Amy Grant that taps directly into a very specific era of earnest songwriting and shared musical memory.

Jazz sophistication, modern groove, live performance nuance, and a nostalgic callback that hits a little too close to home—Episode 118 delivers a little bit of everything.

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.

Derek sticks around for another round, and Episode 117 delivers one of the more unpredictable mixes yet—equal parts smooth sophistication, unintentional comedy, and deep-cut soul.

Curtis opens with a sleek, groove-forward selection from Torsten Goods, blending modern jazz phrasing with pop sensibility and polished production. Derek follows with a curveball from Peter Howard Morris—a track that lands somewhere between earnest and unmistakably “shopping music,” and yes, that’s entirely the point.

Jonathan brings things firmly back on track with a soulful, rhythm-driven cut from Lee Fields & The Expressions, delivering vintage feel with modern energy and conviction.

In the category songs, Curtis highlights an Original Version from Gloria Jones, revisiting a track that would later take on a much larger cultural footprint in a completely different form.

Smooth grooves, unexpected detours, and a reminder that sometimes the original hits just as hard—Episode 117 covers it all.

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.

Episode 116 welcomes back original contributor Derek Hale for a three-way dive into groove, vocal precision, and symphonic reinterpretation.

Jonathan kicks things off with a tight, rhythm-driven selection from Vulfpeck, where stripped-down funk and precision playing create something deceptively simple and endlessly replayable. Curtis follows with a polished, soulful track from Claudia Campagnol, showcasing modern pop-soul with pristine production and vocal control. Derek then brings a bold, genre-blending piece from Mannheim Steamroller, merging classical influence with synth-driven arrangement in a way only they can.

In the category songs, things take a turn. What is labeled as an Epic Cover becomes… something else entirely. Curtis’ well-documented feelings about Air Supply resurface as a dramatic reinterpretation of one of their songs is put under the microscope—and let’s just say, not all covers are created equal.

Guest energy, modern groove, symphonic flair, and a cover that sparks strong opinions—Episode 116 delivers exactly the kind of debate this show thrives on.

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.

Episode 115 leans into groove-driven musicianship, classic R&B energy, and songs that hit deeper than their chart positions might suggest.

Jonathan opens with a sleek, rhythm-forward selection from George Duke, blending jazz-fusion chops with undeniable funk sensibility. Curtis follows with a vibrant, horn-driven track from Earth, Wind & Fire, delivering signature energy, tight arrangements, and that unmistakable blend of soul and precision.

In the category songs, Jonathan brings a #1 In Our Hearts selection from Lionel Richie, a song defined by warmth, sincerity, and timeless melody. Curtis closes with a Covers pick from Jaye P. Morgan—an unexpected choice for many listeners, given that she’s often more closely associated with The Gong Show than with reinterpretations of soulful classics.

Fusion grooves, classic soul craftsmanship, and songs that continue to resonate—Episode 115 keeps things smooth, heartfelt, and deeply musical.

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.

Episode 114 moves from jazz-stage intensity to modern pop polish before landing in two very different corners of musical memory.

Curtis opens with a fiery performance from the Wynton Marsalis Septet, where improvisation, groove, and spiritual energy collide in a piece that feels part concert, part sermon. Jonathan follows with a polished selection from Keith Urban, blending country songwriting with pop accessibility and studio sheen.

In the category songs, Curtis brings a Too Smart for Top 40 pick from Jamiroquai, a track packed with groove, social commentary, and musicianship that somehow still found its way onto mainstream radio. Jonathan closes things out with a Guilty Pleasure courtesy of Simple Minds, a massive ’80s anthem that proves some songs never really leave the cultural bloodstream.

Jazz fire, pop craftsmanship, and two songs that still spark strong opinions—Episode 114 covers a lot of musical ground.

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.