As reticent as I was to even listen to the record, much less review, due to the fact that its sibling is a staple on the seasonal rotation, I thought Let it Snow, and they have, so I should just let it be, and I cannot prevent the flurry of releases, so I might as well let it go. I find it really cool that after their reboot they record a second Christmas record, almost following what they did at the beginning of their career. Their self-titled debut is often ignored, but after their breakthrough they released their contemporary Christmas classic This Christmas. Their first foray into the genre was not completely original, but they did record a few unique reinterpretations of some classics, I would have to say "The Little Drummer Boy" being my favorite, and their Latin-lite "God Rest Ye Merry Gentleman" following close by. "Christmas Wish" reigning top for favorite original tune, and "If Every Day Could be Christmas," has the potential for fostering a wonderful world, the song is a close second in favorites. The whole album is delightful, and what can be said for this new entry?
The album follows a similar formula, except there are more covers and more songs, making the ratio of originals to established classics 1:13. While they do play it safe on this record, I understand that some of these songs have been recorded numerous times to the point where finding a different angle is complicated, so there aren't many versions akin to fresh fallen flakes. The group doesn't leave you in the cold either, they bring some fun and warm your heart with their own versions, just nothing that sounds like Christmas magic. Rachel Yamagata's version of "River" has remained my favorite amidst newer recordings, and I cannot exactly pinpoint why, but their version maneuvers adeptly around my frozen stance on the best cover. "O Little Town of Bethlehem" may serve as an example of how the night changes the scenery's appearance, but otherwise remains the same. While it is plausible for someone to think blasphemy where people find things to be offended by, I find it a nice addition with no ill intent and heart in the right place; this song approaches the level that some of my fondest holiday memories are on, so take that as a compliment.
Hanson Finally, It's Christmas
While I never found myself Snowed In with the band of brothers in my earlier years, or even in my speakers or headphones during the holidays, I found the album to sound as good as some holiday records released the last few years. I may not have had any ties to their original Christmas record, but nostalgia was present regardless. While the fanfare for the holiday fan, may not reach the same level of excitement that is aroused when it returns, it comes close with a joyous ode to that tension. A reworking of McCartney's dividing bell, when it came to the fans, not only saw an alteration of the title, but the production, and a focus on the percussion, which seemed to integrate a latin rhythm and then they rolled out an earworm of a chorus. You won't have to wait "Til New Year's Night" to hear my thoughts on this original tune; it is a softer silver bullet, but one that rocks all the same. While "Joy To The Mountain" is a medley, they add their own personal stamp, or should I say handclap? Just enough to differentiate and pay tribute without offending. While re-gifting is common when it comes to Christmas albums, they manage to wrap the canon with enough of their own style to give us reason to consider their version for rotation. They also offer us "Peace on Earth," which is a noble dream, an it ends up being a nice song too.
Monday, December 24, 2018
Saturday, December 22, 2018
Lindsey Stirling "Warmer in the Winter"
Warm hearts are magnetized and grow to prominence around the holidays, and if the accuracy of the song that Berlin composed never faltered, then it truly would be Warmer in the Winter.
Violin can add class to any occasion, and it does here, working most effectively on canon classics as "Dance of the Sugar Plum Fairy," "Angels We Have Heard on High," and "What Child is This" to name a few.
When it comes to Christmas records, I always scan to check the track list for songs I don't recognize, and, understandably so, it becomes more difficult to find some. While I do enjoy those songs that have been heard before, its always nice to hear an entirely new composition or rarely reinterpreted renditions.
The holidays are also for reuniting with old friends or even acquaintances, and both Becky G and Alex Garskarth offer their vocal talents to some upbeat originals "Christmas C'mon" and "Time To Fall in Love." The title track and collaboration with Trombone Shorty may lighten your heart with its composition and lyrical approach.
While my heart did not grow several sizes after hearing this version, or eyes light up as much as they did with Jordan Smith's version, I did enjoy this ode to one of Suess' icons of holiday infamy, and appreciated the vocals of Sabrina Carpenter.
Just because you have heard some of these tracks does not mean you will not find a surprise, either at the forefront or the end, in certain selections, and I would say Stirling would make Carey proud, by keeping the energy and mirth nearly parallel with her rendition of "All I Want For Christmas is You."
Violin can add class to any occasion, and it does here, working most effectively on canon classics as "Dance of the Sugar Plum Fairy," "Angels We Have Heard on High," and "What Child is This" to name a few.
When it comes to Christmas records, I always scan to check the track list for songs I don't recognize, and, understandably so, it becomes more difficult to find some. While I do enjoy those songs that have been heard before, its always nice to hear an entirely new composition or rarely reinterpreted renditions.
The holidays are also for reuniting with old friends or even acquaintances, and both Becky G and Alex Garskarth offer their vocal talents to some upbeat originals "Christmas C'mon" and "Time To Fall in Love." The title track and collaboration with Trombone Shorty may lighten your heart with its composition and lyrical approach.
While my heart did not grow several sizes after hearing this version, or eyes light up as much as they did with Jordan Smith's version, I did enjoy this ode to one of Suess' icons of holiday infamy, and appreciated the vocals of Sabrina Carpenter.
Just because you have heard some of these tracks does not mean you will not find a surprise, either at the forefront or the end, in certain selections, and I would say Stirling would make Carey proud, by keeping the energy and mirth nearly parallel with her rendition of "All I Want For Christmas is You."
Thursday, November 1, 2018
Redfoo "Party Rock Mansion"
As I partywalked into the Party Rock Mansion, I could not help but smile. A mansion for one person is often an extravagant waste. While I did enjoy the duo's personality, and a majority of their songs moderately, at most, I do not recall LMFAO, so I brought my own grain of salt and set my expectations to low; so now with only one half, the music might be half as good, but I don't remember their music as well as some say I should, and that is only because it wasn't that memorable to me, and I say this constructively.
In spite of criticisms, from more acclaimed and credible, or at the least well known Redfoo blew open the door with "Keep Shining" and took for another fun ride on the "Party Train." I knew it could not last long, because by the third song I have had "Too Much." "Can you stop placing the song titles in the sentences? It's not clever, it's overdone!" I'm sorry, I overexerted my hopes and decided to just listen to the sounds of the shore instead of commenting on track four. "No, thanks, I'll stay here."
I walked around the massive abode, thinking of all the beach beauties, after the posse went crusin'. I'm not strictly a "Booty Man," but that verse in the song had me laugh in silence, and maybe that hs changed from last this was written.
Maybe I should have went with the crew, I don't mind the solitude. That changed when I heard echoes of the sounds of yesteryear that queried "Do you love me?" "I find it to be an intriguing interpolation of the song, but that does not speak for you." No response. Even though none of the switches turned on in the hallway I could see the next room, and it was"So Lit" with three funky elements on the subtle base; it was not invisible, but just enough to remind you of those perfect September nights.
I was about to leave, but a party crasher started playing the Sax ike it was a "New Thang," and I would have to say it heightened the class of the songs that followed, especially the "Juicy Wiggle," not only a spectacle but, behind, a collaboration between sax and ivory. Did I just see an elephant in the room, or did I yak from dehydration; that would be "dry-heaving" wouldn't it. "I apologize. I don't want to bespoil a house such as this, but I have to disagree with the statement that "Good Things Happen When Ya Drunk." So I'll skip the bar talk, day drinking, spend a minute thinking I focus on the darkness of the human race too much, locked inside the house, I need to venture "Where The Sun Goes." What a Wonder-ful idea that was, I smile because of the song, and groan because of the inanity of the pun, but it was awesome Stevie made it to the party...rock...mansion. I found myself at the grotto, and this beautiful girl handed me a number without an introduction. That is all of the proof you need to know that this is a fictional account, but at last you enjoyed the brief escape from reality. "Maybe" a little bit? "Okay, now you ruined it." This album exceeded expectations, but you may remember where it was set at; regardless, it sounds like sleeping gem.
In spite of criticisms, from more acclaimed and credible, or at the least well known Redfoo blew open the door with "Keep Shining" and took for another fun ride on the "Party Train." I knew it could not last long, because by the third song I have had "Too Much." "Can you stop placing the song titles in the sentences? It's not clever, it's overdone!" I'm sorry, I overexerted my hopes and decided to just listen to the sounds of the shore instead of commenting on track four. "No, thanks, I'll stay here."
I walked around the massive abode, thinking of all the beach beauties, after the posse went crusin'. I'm not strictly a "Booty Man," but that verse in the song had me laugh in silence, and maybe that hs changed from last this was written.
Maybe I should have went with the crew, I don't mind the solitude. That changed when I heard echoes of the sounds of yesteryear that queried "Do you love me?" "I find it to be an intriguing interpolation of the song, but that does not speak for you." No response. Even though none of the switches turned on in the hallway I could see the next room, and it was"So Lit" with three funky elements on the subtle base; it was not invisible, but just enough to remind you of those perfect September nights.
I was about to leave, but a party crasher started playing the Sax ike it was a "New Thang," and I would have to say it heightened the class of the songs that followed, especially the "Juicy Wiggle," not only a spectacle but, behind, a collaboration between sax and ivory. Did I just see an elephant in the room, or did I yak from dehydration; that would be "dry-heaving" wouldn't it. "I apologize. I don't want to bespoil a house such as this, but I have to disagree with the statement that "Good Things Happen When Ya Drunk." So I'll skip the bar talk, day drinking, spend a minute thinking I focus on the darkness of the human race too much, locked inside the house, I need to venture "Where The Sun Goes." What a Wonder-ful idea that was, I smile because of the song, and groan because of the inanity of the pun, but it was awesome Stevie made it to the party...rock...mansion. I found myself at the grotto, and this beautiful girl handed me a number without an introduction. That is all of the proof you need to know that this is a fictional account, but at last you enjoyed the brief escape from reality. "Maybe" a little bit? "Okay, now you ruined it." This album exceeded expectations, but you may remember where it was set at; regardless, it sounds like sleeping gem.
Godsmack and Shinedown on 7/24/18
It was not until I had revisited their rollicking third album that had convinced me to see Shinedown live. While I am still a tad disappointed that they did not play the main reason I had bought a ticket in the first place, I cannot deny they made the trip worth it. No, depression or resentment will not devour me; after their set I thought to myself "there's always youtube."
They cracked open the book on pain and blasted the "Sound of Madness" to acclaim, and then went heavier with "Diamond Eyes (Boom Lay-Boom Lay-Boom)" The song was much better than I remember, and their live version was a suitable replacement.
Shinedown cut the cord before they shifted into the piano laden devotional "I'll Follow You," which
reminded me of Elton John, and not merely because a piano was present, I am more dignified and cultured than that gosh darnit! but not enough to tell you why.
"Bully" was next in line, and revved up the crowd, but it was a song from their latest that made me want to "Get Up" and dance, at another moment it may wake me up as an alarm (sounds good) or revitalize that confidence and self-assurance to stand up to any enemies that may reveal themselves and stand in my way.
Brent Smith and the band wanted to make sure that everyone had a good time, insisting everyone to look on their left "There is a reason for this,and you may not know that person, but we're going to change that" insisting they introduce theirselves to new friends. "We're in this together, and we would like to make you happy. So if one isn't happy, none of us are" (paraphrased). A request was made that everyone in the crowd jump on the count of three before the following song, and many obliged. The band was also very grateful for the ability to share this night with the crowd, as expressed by Brent Smith "Whether shows before, or after...it doesn't matter. This is your night." The brand new "Black Soul" was played by the request of many, I'm guessing by a poll.
It's true that I haven't given their Threat To Survival enough attention, only listening to a max of half the tracks, and "State of My Head" was one of them.
Status report? A little anxious after not hearing one of my favorites yet, and indecisive as to whether I should participate by using my phone to light up the space surrounding the stage; I had no lighter.
I was surprised I had not heard any of their earlier hits, but then they played "Second Chance," which was early enough, not as volatile as a .45, but as memorable. They did play their cover of Skynyrd's "Simple Man" which sated that yearning to hear their initial hits.
While I am not a major Godsmack fan, I figured it would only make sense to see the majority of their set. Opening with "When Legends Rise" and "1000hp" is a winning move, much to the point that it has been an element in their set list formula for quite some time. It doesn't order nostalgia to "Keep Away," it draws it in. Before they indulged in the collective pining for earlier hits we were played a song that has yet to live up to its title, but I only heard it recently, so it could still end up "Unforgettable.'
There's no reason. there's no compromise, when a band fails to play the hits, and replaces the with songs fans don't recognize. Straiiiight out of liiiine, I can't find the reason! While I like to hear the hits, I also appreciate when a band plays some deeper cuts, and disrupt the formula. This was not a song I despised, but one I expected to hear, and they delivered. Along with "Voodoo" and "Awake."
The band was grateful to return to Darien lake to which Sully riffed a short tribute to the park singing "Darien Lake, Darien lake," and then exclaimed "that was the worst song I had ever written." He called out the fans, mentioned Buffalo, and said it was good to see the majority of their fans from Buffalo in one place. "We like Buffalo, it's cooler than Boston. in which Canada's weather has spilled into ours."
We were treated to Sully's favorites, which I believe was titled "Someday." It may have been the distance from the stage, but coupled with the smoke and what looked like a tunnel visual on the screen behind the band perfectly matched that feeling either Erna or the listener may have felt during its wandering bridge.
They cracked open the book on pain and blasted the "Sound of Madness" to acclaim, and then went heavier with "Diamond Eyes (Boom Lay-Boom Lay-Boom)" The song was much better than I remember, and their live version was a suitable replacement.
Shinedown cut the cord before they shifted into the piano laden devotional "I'll Follow You," which
reminded me of Elton John, and not merely because a piano was present, I am more dignified and cultured than that gosh darnit! but not enough to tell you why.
"Bully" was next in line, and revved up the crowd, but it was a song from their latest that made me want to "Get Up" and dance, at another moment it may wake me up as an alarm (sounds good) or revitalize that confidence and self-assurance to stand up to any enemies that may reveal themselves and stand in my way.
Brent Smith and the band wanted to make sure that everyone had a good time, insisting everyone to look on their left "There is a reason for this,and you may not know that person, but we're going to change that" insisting they introduce theirselves to new friends. "We're in this together, and we would like to make you happy. So if one isn't happy, none of us are" (paraphrased). A request was made that everyone in the crowd jump on the count of three before the following song, and many obliged. The band was also very grateful for the ability to share this night with the crowd, as expressed by Brent Smith "Whether shows before, or after...it doesn't matter. This is your night." The brand new "Black Soul" was played by the request of many, I'm guessing by a poll.
It's true that I haven't given their Threat To Survival enough attention, only listening to a max of half the tracks, and "State of My Head" was one of them.
Status report? A little anxious after not hearing one of my favorites yet, and indecisive as to whether I should participate by using my phone to light up the space surrounding the stage; I had no lighter.
I was surprised I had not heard any of their earlier hits, but then they played "Second Chance," which was early enough, not as volatile as a .45, but as memorable. They did play their cover of Skynyrd's "Simple Man" which sated that yearning to hear their initial hits.
While I am not a major Godsmack fan, I figured it would only make sense to see the majority of their set. Opening with "When Legends Rise" and "1000hp" is a winning move, much to the point that it has been an element in their set list formula for quite some time. It doesn't order nostalgia to "Keep Away," it draws it in. Before they indulged in the collective pining for earlier hits we were played a song that has yet to live up to its title, but I only heard it recently, so it could still end up "Unforgettable.'
There's no reason. there's no compromise, when a band fails to play the hits, and replaces the with songs fans don't recognize. Straiiiight out of liiiine, I can't find the reason! While I like to hear the hits, I also appreciate when a band plays some deeper cuts, and disrupt the formula. This was not a song I despised, but one I expected to hear, and they delivered. Along with "Voodoo" and "Awake."
The band was grateful to return to Darien lake to which Sully riffed a short tribute to the park singing "Darien Lake, Darien lake," and then exclaimed "that was the worst song I had ever written." He called out the fans, mentioned Buffalo, and said it was good to see the majority of their fans from Buffalo in one place. "We like Buffalo, it's cooler than Boston. in which Canada's weather has spilled into ours."
We were treated to Sully's favorites, which I believe was titled "Someday." It may have been the distance from the stage, but coupled with the smoke and what looked like a tunnel visual on the screen behind the band perfectly matched that feeling either Erna or the listener may have felt during its wandering bridge.
Tuesday, August 14, 2018
Bebe Rexha "All Your Fault" Part 1 and 2
Dev and Rita Ora were some contemporaries that came to mind when I thought of Rexha initially, simply because the former had one really good song, and a surprising debut that was sleeper material, and the latter had buzz surrounding her, yet the honey did not tempt me. What intrigued me was a G Eazy song Rexha was featured on, which G-Eazy returned the favor or completed the circle with "F.F.F." which may be why G-Eazy prefers the reunions of "Me, Myself, and I" because forget fake friends.
The opening of part one showcases a little more of her vocal ability, and through this song and the album I am reminded of Tove Lo, which is a compliment, because the musical vibe is similar, but not the same. Love is a common theme, and on the opening track, we experience a different musical "Atmosphere." I love the song, but it sounds like Rexha's tone changes after she finds the significant other of the moment. Commentary that can be misinterpreted? I got you. Yet some love is best taken in "Small Doses," it's not toxic, but to whoever it may be directed toward is the polar opposite. The aforementioned collabo with G-Eazy is a change in subject, yet deals with love in an abstract context; fame and what it may allure. Drake had at least one hit regarding that in a direct manner. The final song, and collaboration, finds Rexha elevating to "Bad Bitch" status with Ty Dolla $ign , and while it's nice to see her asserting confidence, her delivery can be a little aggravating.
When it comes to the second part of All Your Fault, we see some growth and a wider range, not only in style. An out of tune baby carousel serves as the beat of a Gucci Mane and 2Chainz collaboration with Rexha in a supporting role, and while "That's It" is the majority of her contribution, it's not all.
Last album she had you, and now she has time; I can understand her prerogative to make the most use of her time with those who matter the most. "The Way I Are (Dance With Somebody)" may be one of the cutest songs I have heard, and one of my favorite, in sound and sentiment; we often forget that unconditional love may be sought by those that don't appear to need it . She opens up with a realization that most are aware of, but I see an improvement in her vocals, and she has proven she is more than just a beautiful songstress. She takes the lead on this number, and Lil Wayne manages to follow, yet not fumble. As four the next track, Tove Lo comes to mind in sound and vocals, if you are not a fan of her, this track is "(Not) the One" to listen to; it may even convince you to give her a second chance. Rexha travels to a diff'rent musical country and collaborates with Florida Georgia Line on a hit that was....maybe I'm getting too comfortable. So I may write in a manner as unbiased as I can, but it doesn't mean I don't enjoy the music. In the end, I have high expectations for her debut.
The opening of part one showcases a little more of her vocal ability, and through this song and the album I am reminded of Tove Lo, which is a compliment, because the musical vibe is similar, but not the same. Love is a common theme, and on the opening track, we experience a different musical "Atmosphere." I love the song, but it sounds like Rexha's tone changes after she finds the significant other of the moment. Commentary that can be misinterpreted? I got you. Yet some love is best taken in "Small Doses," it's not toxic, but to whoever it may be directed toward is the polar opposite. The aforementioned collabo with G-Eazy is a change in subject, yet deals with love in an abstract context; fame and what it may allure. Drake had at least one hit regarding that in a direct manner. The final song, and collaboration, finds Rexha elevating to "Bad Bitch" status with Ty Dolla $ign , and while it's nice to see her asserting confidence, her delivery can be a little aggravating.
When it comes to the second part of All Your Fault, we see some growth and a wider range, not only in style. An out of tune baby carousel serves as the beat of a Gucci Mane and 2Chainz collaboration with Rexha in a supporting role, and while "That's It" is the majority of her contribution, it's not all.
Last album she had you, and now she has time; I can understand her prerogative to make the most use of her time with those who matter the most. "The Way I Are (Dance With Somebody)" may be one of the cutest songs I have heard, and one of my favorite, in sound and sentiment; we often forget that unconditional love may be sought by those that don't appear to need it . She opens up with a realization that most are aware of, but I see an improvement in her vocals, and she has proven she is more than just a beautiful songstress. She takes the lead on this number, and Lil Wayne manages to follow, yet not fumble. As four the next track, Tove Lo comes to mind in sound and vocals, if you are not a fan of her, this track is "(Not) the One" to listen to; it may even convince you to give her a second chance. Rexha travels to a diff'rent musical country and collaborates with Florida Georgia Line on a hit that was....maybe I'm getting too comfortable. So I may write in a manner as unbiased as I can, but it doesn't mean I don't enjoy the music. In the end, I have high expectations for her debut.
Sunday, August 12, 2018
TLC
When it comes to this acronym, "No Introduction" is needed, but just in case you forgot some of their biggest hits they jog your memory with a roll call and a memorable, ascending production ala All The Way Up
Nostalgia is quite potent on this record, and Snoop Dogg collabo takes you "Way Back" not only because they mention some musical legends, but it sounds like a more flute inflected G-funk flashback. "It's Sunny" brings the Earth, Wind, and Fire and the sound to assist in the alteration of your disposition with its positive bent.
While "Haters" utilizes a few misconceptions in the song, it rings true because those judgments people make on those assumptions "...are just dead weight." Even this review, is not worth much. The song may sound like it as meant for teeny boppers, but it is a well-intentioned anthem for empowerment and acceptance of self, and "People are gonna say what they say/We don't care anyway."
"Perfect Girls" may not recapture the magic of a previous hit, but it is another empowerment anthem for women, whether they feel unpretty on the inside or outside, that feeling of not being worth it can be damaging for anyone; the production is a plus.
The soft guitar driven sound may not "Start a Fire" within the listener, it may even temper it, but it does set the tone for slow jam vibes found on "Scandalous." While this album may not reach "American Gold" status, they are still crazysexycool, and a little bit older and wiser.
Nostalgia is quite potent on this record, and Snoop Dogg collabo takes you "Way Back" not only because they mention some musical legends, but it sounds like a more flute inflected G-funk flashback. "It's Sunny" brings the Earth, Wind, and Fire and the sound to assist in the alteration of your disposition with its positive bent.
While "Haters" utilizes a few misconceptions in the song, it rings true because those judgments people make on those assumptions "...are just dead weight." Even this review, is not worth much. The song may sound like it as meant for teeny boppers, but it is a well-intentioned anthem for empowerment and acceptance of self, and "People are gonna say what they say/We don't care anyway."
"Perfect Girls" may not recapture the magic of a previous hit, but it is another empowerment anthem for women, whether they feel unpretty on the inside or outside, that feeling of not being worth it can be damaging for anyone; the production is a plus.
The soft guitar driven sound may not "Start a Fire" within the listener, it may even temper it, but it does set the tone for slow jam vibes found on "Scandalous." While this album may not reach "American Gold" status, they are still crazysexycool, and a little bit older and wiser.
Wednesday, August 8, 2018
Much Delayed Respect and Recap: 311 at Artpark on July 10, 2017
Not only would it be selfish, but an impossible feat to expect this band to perform all of my favorites. To be honest, I cannot remember all of my favorite songs, nor know all of them by name. I didn't really consider preferences until during or after the show, the experience itself made up for any songs I would have liked to hear live, and I could name them all, but "I'll Be Here Awhile." I have heard of how great their live show is, and diving back in their catalog after a long time, months ago, made me realize how great it would be to see them.
Flash Response Mode:
Describe their performance in the least amount of words possible:
Sick Tight
If you could have any power, what would it be?
Freeze Time. Maybe not exactly...flight, and the power to slow time down that would be more valuable. However, I would like to have super strength, and invulnerability to pain.
This is scripted, and yet you ramble?
I wanted to give this performance time to soak in so I can approach this review in a manner appropriate. I wanted to approach this review in a way that felt right, and was more than just a recap, but what appealed to my heart, and maybe a few others as well. I wanted to come original, without forcing it.
I can easily say that they had exceeded my expectations without nothing to go on but praise, so I had high expectations because of hearsay, and usually that does not end well. It may have helped that I discovered some of my friends from work were big fans, and hung out with them, but at the least it set the tone.
The energy of the set and the consistency at which it was dispensed only corroborated the accolades. While I yearned to hear Come Original, Amber, Creatures (for a While), and All Mixed Up, among others that will remain nameless, I was surprised to hear them "Freeze Time" and play "Sick Tight." It was an unexpected head rush, and while some of the newer songs thrown in will take a few listens to approve, my favorite had to be "Hey Yo," which I thought to be a typo of their uplifting tribute to music from their 2009 album, and that would have been nice to hear too.
Performing can be classified as an "Applied Science," and what does that say when a song you tolerate becomes a favorite after a live rendition? Magic, or would that be a contradiction? I had to say the same about "Homebrew" and "Sunsets in July."
While Nick Hexum was an excellent showman, he couldn't have done so without his crew, and while the songs did allow each to shine, it was nice to see them with their own spotlight.
The funkiest legume was constructing a cover clandestinely as he wowed with a solo, and then introduced us to some "Heathens."
Drummers may not always receive their due, even if they can serve as an important backbone to the music. There may not be many world renowned modern drummers , and while Sexton should be more widely celebrated, he is on his way to be; the gripping showcase before the percussion jam session with the whole band was another example as to why.
While I feel Watson may have been dealt a shorter stick, he handled his light with grace, and then rocked the tune out of his guitar.
S.A. Martinez is quite a complement to Hexum in their performance, but what was also commendable was the effort Martinez made to occupy his time as he awaited his relay
Flash Response Mode:
Describe their performance in the least amount of words possible:
Sick Tight
If you could have any power, what would it be?
Freeze Time. Maybe not exactly...flight, and the power to slow time down that would be more valuable. However, I would like to have super strength, and invulnerability to pain.
This is scripted, and yet you ramble?
I wanted to give this performance time to soak in so I can approach this review in a manner appropriate. I wanted to approach this review in a way that felt right, and was more than just a recap, but what appealed to my heart, and maybe a few others as well. I wanted to come original, without forcing it.
I can easily say that they had exceeded my expectations without nothing to go on but praise, so I had high expectations because of hearsay, and usually that does not end well. It may have helped that I discovered some of my friends from work were big fans, and hung out with them, but at the least it set the tone.
The energy of the set and the consistency at which it was dispensed only corroborated the accolades. While I yearned to hear Come Original, Amber, Creatures (for a While), and All Mixed Up, among others that will remain nameless, I was surprised to hear them "Freeze Time" and play "Sick Tight." It was an unexpected head rush, and while some of the newer songs thrown in will take a few listens to approve, my favorite had to be "Hey Yo," which I thought to be a typo of their uplifting tribute to music from their 2009 album, and that would have been nice to hear too.
Performing can be classified as an "Applied Science," and what does that say when a song you tolerate becomes a favorite after a live rendition? Magic, or would that be a contradiction? I had to say the same about "Homebrew" and "Sunsets in July."
While Nick Hexum was an excellent showman, he couldn't have done so without his crew, and while the songs did allow each to shine, it was nice to see them with their own spotlight.
The funkiest legume was constructing a cover clandestinely as he wowed with a solo, and then introduced us to some "Heathens."
Drummers may not always receive their due, even if they can serve as an important backbone to the music. There may not be many world renowned modern drummers , and while Sexton should be more widely celebrated, he is on his way to be; the gripping showcase before the percussion jam session with the whole band was another example as to why.
While I feel Watson may have been dealt a shorter stick, he handled his light with grace, and then rocked the tune out of his guitar.
S.A. Martinez is quite a complement to Hexum in their performance, but what was also commendable was the effort Martinez made to occupy his time as he awaited his relay
Thursday, July 26, 2018
Taylor Swift "Reputation"
It was Red-ily apparent where Swift was headed in her career, and only confirmed in her declaration of a departure, that took her to the year she was born, and while it was a juggernaut and a game changer, it was not as polarizing as her latest release. Yet, polarizing enough for Ryan Adams to re-record the album in his own "style," and whole album is worth multiple listens, it is the latter that stands out the most for its rockin' vibe. So "Are You Ready?"
Whether or not, the stylistic shift of Swift will be introduced by T-Swizzle.
We are all aware of her Reputation, and while I may be inferring to the one regarding her relationships, I am referring to the one as a pop songstress. She has a future in it for sure, and why not affirm this with the man proclaimed as the future of a whole genre at his initiation into it, and the ever-talented Ed Sheeran.
I can see "I Did Something Bad," as an anthem for girls next door willing to dirty their image for attention from that special someone, and while this is not a scathing criticism of Swift, it can be a document of her transition of the genre's golden girl to its outcast, with a vagabond heart, and "Don't Blame Me" for disrespecting either genre because it is not intended, but the latter sounds like an experiment in lite-gospel, as well as a repentance and apology of past transgressions and an entreaty of forgiveness. Yet when it comes to sequence, she throws away her shame and projects blame, with her single "Look What You Made Me Do."
If the old Taylor is dead, does that mean she will no longer date future muses to use for her next album of passive aggressive tunes? Look what you made me do. It felt okay to do so, but I am not the only one who sees this as a truth you may be in denial of.
And as the pieces fall, with this nice breather from it all, we find Swift stripped of her dominance when it comes to someone so "Gorgeous" she is beside herself.
Could this be the king of her heart? Could it be the happy ending her career is not ready for? Is projection and self-denial the reason Taylor can't have nice things, or is it the pre-conceived notions of her intent and personality that cause these relationships to dissolve, or forge her Reputation? "Call It What You Want" but it is a possibility, as well as the lover she refers to in the latter. This unconditional love can find Taylor, and while I have little to say about the second half, I can say that as a whole, there is hope, and that a happy ending does not have to end her career; that final kiss before "New Years Day" is proof of that possibility.
Whether or not, the stylistic shift of Swift will be introduced by T-Swizzle.
We are all aware of her Reputation, and while I may be inferring to the one regarding her relationships, I am referring to the one as a pop songstress. She has a future in it for sure, and why not affirm this with the man proclaimed as the future of a whole genre at his initiation into it, and the ever-talented Ed Sheeran.
I can see "I Did Something Bad," as an anthem for girls next door willing to dirty their image for attention from that special someone, and while this is not a scathing criticism of Swift, it can be a document of her transition of the genre's golden girl to its outcast, with a vagabond heart, and "Don't Blame Me" for disrespecting either genre because it is not intended, but the latter sounds like an experiment in lite-gospel, as well as a repentance and apology of past transgressions and an entreaty of forgiveness. Yet when it comes to sequence, she throws away her shame and projects blame, with her single "Look What You Made Me Do."
If the old Taylor is dead, does that mean she will no longer date future muses to use for her next album of passive aggressive tunes? Look what you made me do. It felt okay to do so, but I am not the only one who sees this as a truth you may be in denial of.
And as the pieces fall, with this nice breather from it all, we find Swift stripped of her dominance when it comes to someone so "Gorgeous" she is beside herself.
Could this be the king of her heart? Could it be the happy ending her career is not ready for? Is projection and self-denial the reason Taylor can't have nice things, or is it the pre-conceived notions of her intent and personality that cause these relationships to dissolve, or forge her Reputation? "Call It What You Want" but it is a possibility, as well as the lover she refers to in the latter. This unconditional love can find Taylor, and while I have little to say about the second half, I can say that as a whole, there is hope, and that a happy ending does not have to end her career; that final kiss before "New Years Day" is proof of that possibility.
Wednesday, January 3, 2018
3 Doors Down "Us and the Night"
I have always been a moderate fan of 3 Doors Down, and still occasionally listen to the anomaly that is Seventeen Days. The quality, consistency and energy present on the album recorded in that time frame still astounds; in a modern-mainstream rock context. I enjoyed the albums that have followed, but something was missing; whether the energy or consistency was lacking. With Us and the Night, they make the argument that their band is not one of "The Broken" success stories, in sound. Experimentation can drive a rock band into popscurity, but the club-rock anthem feels right where they belong; although it does not feel as passionate or energetic. The shadows of funk lurk "In The Dark," before the passion assures us that it's 'still alive' on the recently mentioned southern rocker, and you best believe it; the fourth track is a poppier retread. "I Don't Wanna Know" is another standout with its funk-arimba, I'm making up words, but the groove is undeniable, and reinvigorates interest, to the point where you will listen to the beautiful confessional that is "Pieces of Me," an ode to the road? It may bring opportunity, but not without sacrifice. The title track is a collective of both spectrums, until the subtle riff in the bridge crumbles during the second half of the song, and is perfect segway to the piano-laden denouement.
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