To be Overexposed to the opinions of others cannot only stifle one's self discovery or blur one's self identity but it can also drain the creative spirit. I may have made this remark or implied my dwindling excitement with new music at the outset of that review. All of the aural radiation had affected how I would predominantly react to new music in the present. The pursuit of reviewing every album I listened to all that time ago, caused me to reconsider the intent, and while I am thankful and blessed that I can still enjoy music, its not the same.
Revisiting that album, it's more consistent and engaging than I remember; as they say, absence makes the heart grow fonder, or allows you to experience an album with rested ears. I can say the same about V, but that is not while we are here.
Congrats Maroon 5. You have released another album full of bangers, and the occasional dud, but it is safe to say that the majority of albums have both, and not just those released by Maroon 5.
When it came to the Red Pill Blues, a lot of those emanate from relationships, but that is not surprising considering their past output. The choice of the real world and all it may offer including pain. It was far from a fair trade when all Adam received was unrequited love and a synthetic rose, or when regret served as an accessory to his former lover's "Denim Jacket." Unrequited love can be some of the most painful of love, but would it be classified as red pill or blue pill? In the hopes that the focus of one's affection may eventually return the love blurs that line, yet "Cold" is pretty straightforward where the author stands, even though there is that glimmer that a chance still exists.
Relationships that were not meant to be? "Best 4 You" opens with a red-pill realization that a bond may exist, but its future is bleak, and that it may not be the healthiest of connections to invest in for one, or both parties. "Wait" was the reactive banger involving another relationship never meant to be, it was the saccharine optimism on the tongue that kept the preferred pill pigment blue, until it was too late.
When it comes to the end of any relationship, "Closure" is often required just so neither parties are left wondering "what if?" and both can move on with their lives. Although this was the finale of the original full-length, it serves as an intermission , or a breather before the listener takes some more hits to the ears of the deluxe edition. While the instrumental suffix was nice and served well as background music, I was expecting more; as for whether this will indicate their future direction, that's up in the air.
I can see why the singles are often the first few songs, but this album has bangers on both ends, it's just that the final few singles are a tad more depressing than the others at the outset.
Tuesday, January 28, 2020
Thursday, January 23, 2020
Who-bilation at this Moving On! Tour Stop- May Ninth Memories
Who am I to submit written statements regarding the experience of seeing this iconic band for the first time, from the perspective of my generation? A person with enough confidence to write a review, regardless of the fact that I had listened to none of their full length classics prior, yet devoid of enough arrogance to presume its merit.
I would be remiss to disregard the opening set of a band by the name of Arkells. I heard them once before at Firefly in 2016, far from the stage on its "Early Bird" night, and did not expect much from them at this set. While many of the concertgoers had their "Eyes on the Prize" of seeing the main event for the first, or even tenth, time I couldn't help but notice how claustrophobic the stage felt from where I was sitting. When in the company of a band of this esteem, it would be wise to up the ante, and though I have not kept up with the band, I can see they have, and they recruited a marvelous horn trio for those traces of Motown. It was through a local promoter and Townshend relation that had opportunity "Knocking at the Door." While I cannot speak for anyone other than myself and my father, who had complimented the band's vocalist, Max Kerman, and the band as a whole, they converted me to a believer, I would say the volume of the applause would suffice for agreement with that notion. The Arkells were appreciative not only of this occasion, but for the early arrival of (insert fandom name of the who here), and the crowd could say the same
So the debate as to review or not also was due to the fact that fans, and even those casually interested members curious as to what they might have missed on this tour, may expect a higher caliber critique, and then there goes the dreaded initiation of the recollection, from what angle shall it be approached?
While I was cognizant of the general synopsis of their first major concept album, Tommy, this was the first time hearing the exploits of the pinball wizard, and not just in its current orchestral accompaniment context. The first five songs were played in exact succession to the original album, while skipping a few songs each to play "Pinball Wizard," and "We're Not Gonna Take It!" I remember at one point in the first segment of the set laughing and grinning not only out of enjoyment, but due to the sheer grandiosity, and to the chagrin of others, nonsense of it all.
I went back and listened to the original recordings to decipher which tune brought out that involuntary exclamation, but to no avail. With the inclusion of the orchestra, they took creative liberty and advantage of this opportunity with some of the numbers; the previously mentioned puzzle was an example.
While each concertgoer had their own specific requests on the roster of their wishlists for this performance, there are some safe bets. "Who Are You" was one of them, and I agree with Buffalo News' Jeff Miers in stating that it was "... the set's first high point."
At one point Daltrey had remarked how beautiful it can be when members of both sides of the stage "Join Together" and revel in the power of music, and what followed was a perfect example; to which Roger had praised the crowd for their accompaniment. "Eminence Front" off the appropriately titled album was another highlight, because it can be hard to express the emotions aroused from a certain selection and the enjoyment it brings; the song , but is not riddled with a presumed superiority.
While I was not disheartened by the absence of "My Generation" on their set, I did find it peculiar that it was not chosen, and another song off that album was played, but at least "The Kids Are Alright." The latter of which was the first tune in the orchestra's intermission, and while it was an acceptable replacement, the tone might not have hit as hard with an acoustic; simultaneously, there is no substitute for an acoustic guitar and its impact on the emotions of listeners, when it comes to a song like "Behind Blue Eyes." It was on the roster of my own wishlist and brought a smile to my face.While this may contaminate any credibility I may have, I still find the Limp Bizkit Edit a little more effective in beckoning those tears or the inclination to cry, but it is not better than the original
The first seven silver balls served as a reminder that orchestra and angst may not always agree with our ears, but it was not without respect being earned, after an arduous affair akin to the multi-ball feature on the machine inspired by the album, Tommy, and its cinematic accompaniment.
It goes without saying that the band's performance was exceptional, and when the orchestra realigned with who we came to see after the acoustic intermission with the Daltrey-Townshend Duo, they redeemed themselves. You may begin on a bad note, but tis much better than leaving with one, and what better way to end the set with not only of a suite from the album Townshend hails as " the last great Who album," but an iconic track that my father simply refers to as "Teeeenaaage Wastelaaand" in sing song manner?
This band is another testament to the power of rock, and music in general, and its ability to enrich the longevity of a youthful spirit. I could hear Townshend playing with a tenacity and ferocity that dated back to some of the initial recordings of the selections from Quadrophrenia, and earlier. I am still blown away by Daltrey, and the fact that at 75 he can still hit those notes with an equitable energy, especially the final howl heard in "Love Reign O'er Me," and respect simultaneously followed. The answer as to how is by practice, he made the analogy to a car's engine and stated "If I stopped singing at the age I am now, I would lose my voice within two years. So I've gotta keep it going." While praising the band backing the final two original members of the band may appear anti-climactic, the talents of Simon Townshend, Loren Gold, Jon Button, Billy Nichols, and Katie Jacoby must be commended. While the drummer may oft be forgotten when it comes to recognition, Moon's legacy lives on. He may have passed on, but that energy is still vibrant, and Starkey may be no Moon, but his performance shone bright that night.
I would be remiss to disregard the opening set of a band by the name of Arkells. I heard them once before at Firefly in 2016, far from the stage on its "Early Bird" night, and did not expect much from them at this set. While many of the concertgoers had their "Eyes on the Prize" of seeing the main event for the first, or even tenth, time I couldn't help but notice how claustrophobic the stage felt from where I was sitting. When in the company of a band of this esteem, it would be wise to up the ante, and though I have not kept up with the band, I can see they have, and they recruited a marvelous horn trio for those traces of Motown. It was through a local promoter and Townshend relation that had opportunity "Knocking at the Door." While I cannot speak for anyone other than myself and my father, who had complimented the band's vocalist, Max Kerman, and the band as a whole, they converted me to a believer, I would say the volume of the applause would suffice for agreement with that notion. The Arkells were appreciative not only of this occasion, but for the early arrival of (insert fandom name of the who here), and the crowd could say the same
So the debate as to review or not also was due to the fact that fans, and even those casually interested members curious as to what they might have missed on this tour, may expect a higher caliber critique, and then there goes the dreaded initiation of the recollection, from what angle shall it be approached?
While I was cognizant of the general synopsis of their first major concept album, Tommy, this was the first time hearing the exploits of the pinball wizard, and not just in its current orchestral accompaniment context. The first five songs were played in exact succession to the original album, while skipping a few songs each to play "Pinball Wizard," and "We're Not Gonna Take It!" I remember at one point in the first segment of the set laughing and grinning not only out of enjoyment, but due to the sheer grandiosity, and to the chagrin of others, nonsense of it all.
I went back and listened to the original recordings to decipher which tune brought out that involuntary exclamation, but to no avail. With the inclusion of the orchestra, they took creative liberty and advantage of this opportunity with some of the numbers; the previously mentioned puzzle was an example.
While each concertgoer had their own specific requests on the roster of their wishlists for this performance, there are some safe bets. "Who Are You" was one of them, and I agree with Buffalo News' Jeff Miers in stating that it was "... the set's first high point."
At one point Daltrey had remarked how beautiful it can be when members of both sides of the stage "Join Together" and revel in the power of music, and what followed was a perfect example; to which Roger had praised the crowd for their accompaniment. "Eminence Front" off the appropriately titled album was another highlight, because it can be hard to express the emotions aroused from a certain selection and the enjoyment it brings; the song , but is not riddled with a presumed superiority.
While I was not disheartened by the absence of "My Generation" on their set, I did find it peculiar that it was not chosen, and another song off that album was played, but at least "The Kids Are Alright." The latter of which was the first tune in the orchestra's intermission, and while it was an acceptable replacement, the tone might not have hit as hard with an acoustic; simultaneously, there is no substitute for an acoustic guitar and its impact on the emotions of listeners, when it comes to a song like "Behind Blue Eyes." It was on the roster of my own wishlist and brought a smile to my face.While this may contaminate any credibility I may have, I still find the Limp Bizkit Edit a little more effective in beckoning those tears or the inclination to cry, but it is not better than the original
The first seven silver balls served as a reminder that orchestra and angst may not always agree with our ears, but it was not without respect being earned, after an arduous affair akin to the multi-ball feature on the machine inspired by the album, Tommy, and its cinematic accompaniment.
It goes without saying that the band's performance was exceptional, and when the orchestra realigned with who we came to see after the acoustic intermission with the Daltrey-Townshend Duo, they redeemed themselves. You may begin on a bad note, but tis much better than leaving with one, and what better way to end the set with not only of a suite from the album Townshend hails as " the last great Who album," but an iconic track that my father simply refers to as "Teeeenaaage Wastelaaand" in sing song manner?
This band is another testament to the power of rock, and music in general, and its ability to enrich the longevity of a youthful spirit. I could hear Townshend playing with a tenacity and ferocity that dated back to some of the initial recordings of the selections from Quadrophrenia, and earlier. I am still blown away by Daltrey, and the fact that at 75 he can still hit those notes with an equitable energy, especially the final howl heard in "Love Reign O'er Me," and respect simultaneously followed. The answer as to how is by practice, he made the analogy to a car's engine and stated "If I stopped singing at the age I am now, I would lose my voice within two years. So I've gotta keep it going." While praising the band backing the final two original members of the band may appear anti-climactic, the talents of Simon Townshend, Loren Gold, Jon Button, Billy Nichols, and Katie Jacoby must be commended. While the drummer may oft be forgotten when it comes to recognition, Moon's legacy lives on. He may have passed on, but that energy is still vibrant, and Starkey may be no Moon, but his performance shone bright that night.
Thursday, January 16, 2020
Zac Brown Band The Owl Tour 2019
When a standard fan has seen one of their favorite bands live once, it is enough, but it is not the case with everyone. I am one of the former, yet will give a band a second chance given the company and/or circumstances.
But first, let's talk about the big fire that Drake White and his band brought to the stage. While I cannot remember most of the songs they had performed in their set, they appeared to be "Livin the Dream," and having a good time bringing one to others. They even enlightened us to their state of being with a short rendition of "I Feel Good."
Safe to say they had a good rapport, good vibes, and good times covered; encasing a cover for Kings(Of Leon) in their original tune "Heartbeat," and covering Queen in an ode to "Fat Bottom Girls" that make the rockin' world go 'round. "Take Me As I Am" could be the spark to engage in more audio bonfires.
.
A few years ago I saw the Zac Brown Band with family and friends, not as in close quarters with the band as with fellow fans and I don't think I will forget that feeling I had that night. Nor will I forget that set on Saturday.
Love of music needn't be "Homegrown" to be enjoyed, it can be initiated anytime and anywhere. Hearing a familiar friend at the outset set my heart free, uncaged if you will, and before taking a trek in "The Woods," a new tune, I could visualize myself knee deep in the water somewhere.
I don't visit Zac Brown country often, but occasionally choose the "Highway 20 Ride," which was the same road the band took us on, to the chagrin of my concert cohort, before "The Devil Went Down to Georgia." Their cover was a high energy parallel to the original, and a testament to the notion that they could be one of the great cover bands that aren't.
My only request this time was to hear "Someone I Used To Know." The visual aspect was a pleasing addition to the performance. The song itself, in my interpretation, refers to someone we all know; someone who not only dilutes our own identity, but initiates amnesia to our sense of self, and the only way we could rise like the phoenix, as in the narrative, is by separating from that person.
To the polar, there are people, not only meant to be present within our lives, but help to improve those lives; would it be a stretch to mention "Sweet Annie."
The setlist is a valuable tool, that only appreciates in value as the discography deepens, even if it can foster a stagnancy in its construct.
However, the band has a remedy called the "Wheel of James," which includes Rick James, James Brown and James Taylor, to name a few; the latter especially. It could even be more specific, like the "Wheel O' Willie," or one involving Michael.
Their cover of "Country Road" began this interlude distant from the electric influence of the sound, and the allure of the acoustic guitar still remains prominent. While their next tune may not have your "Toes" tapping, it could, but this is not exactly the intent of this extended acoustic interlude.The denouement debuted another new tune, which led you to believe that they were "Leaving Love Behind."
After the ten minute intermission, they played a set that reminded me and others of why, Zac Brown Band music, we find "Loving You Easy." Aside from the aforementioned, we had the laidback tone of "No Hurry," and then the dance-friendly, serotonin circulating earworm "Beautiful Drug."
Another new song I had heard would feel right at home with the rest of the band's music, the welcome one would expect for a "Warrior." The song in sound is a marriage of the familiar with something different. I couldn't hear all of the passages, but what I did hear, the chorus especially is what was striking:
"no one is born to be a warrior,
no one is born an average man
we may be one or the other
then we try to understand."
The song, as well as the style that the band has been pursuing as of late may serve as a dividing line between older and newer fans, and I can see why; while I liked the sentiment, I'm not ready to give this song a hero's welcome into the fold.
For the sake of familiarity, they played some favorites like their original/cover companion of "Free/Into The Mystic" which did present a sense of satisfaction and had a calming effect, on me at least. "Day for the Dead" was a song released several years prior before I heard it, but sounded like a marriage of earlier Zac Brown, with a more rock infused sound; it was a reminder that they can still rock, even with some of the songs they have been releasing. This was another time where the visual improved upon a captivating tune/performance.
The retrun of "Colder Weather" was more than music to the ears, but was akin to a reunion with an old friend that you missed more than you expected to, in spite of its tone. While hearing "Chicken Fried" was a similar scenario, the buzz was expected.
The encore began with a duel between guitarists, Coy Bowles and Clay Cook, with an introduction often preceding a boxing match and three rounds to spar with those six strings. The riffage that I recall the easiest would be the times they had channeled the White Stripes and ZZ Top, respectively.
The encore encased three metal covers the hair metal of the Halen Bros. with "Hot For Teacher," as well as the syrupy sing-along of Def Leppard's "Pour Some Sugar On Me," and the last cover which may bring upon an explosion of excitement which may have caused some fans to become "Calm Like A Bomb," me included; to see the alter ego of Jimmy De Martini, channeling De La Rocha was surprising and interesting.
But first, let's talk about the big fire that Drake White and his band brought to the stage. While I cannot remember most of the songs they had performed in their set, they appeared to be "Livin the Dream," and having a good time bringing one to others. They even enlightened us to their state of being with a short rendition of "I Feel Good."
Safe to say they had a good rapport, good vibes, and good times covered; encasing a cover for Kings(Of Leon) in their original tune "Heartbeat," and covering Queen in an ode to "Fat Bottom Girls" that make the rockin' world go 'round. "Take Me As I Am" could be the spark to engage in more audio bonfires.
.
A few years ago I saw the Zac Brown Band with family and friends, not as in close quarters with the band as with fellow fans and I don't think I will forget that feeling I had that night. Nor will I forget that set on Saturday.
Love of music needn't be "Homegrown" to be enjoyed, it can be initiated anytime and anywhere. Hearing a familiar friend at the outset set my heart free, uncaged if you will, and before taking a trek in "The Woods," a new tune, I could visualize myself knee deep in the water somewhere.
I don't visit Zac Brown country often, but occasionally choose the "Highway 20 Ride," which was the same road the band took us on, to the chagrin of my concert cohort, before "The Devil Went Down to Georgia." Their cover was a high energy parallel to the original, and a testament to the notion that they could be one of the great cover bands that aren't.
My only request this time was to hear "Someone I Used To Know." The visual aspect was a pleasing addition to the performance. The song itself, in my interpretation, refers to someone we all know; someone who not only dilutes our own identity, but initiates amnesia to our sense of self, and the only way we could rise like the phoenix, as in the narrative, is by separating from that person.
To the polar, there are people, not only meant to be present within our lives, but help to improve those lives; would it be a stretch to mention "Sweet Annie."
The setlist is a valuable tool, that only appreciates in value as the discography deepens, even if it can foster a stagnancy in its construct.
However, the band has a remedy called the "Wheel of James," which includes Rick James, James Brown and James Taylor, to name a few; the latter especially. It could even be more specific, like the "Wheel O' Willie," or one involving Michael.
Their cover of "Country Road" began this interlude distant from the electric influence of the sound, and the allure of the acoustic guitar still remains prominent. While their next tune may not have your "Toes" tapping, it could, but this is not exactly the intent of this extended acoustic interlude.The denouement debuted another new tune, which led you to believe that they were "Leaving Love Behind."
After the ten minute intermission, they played a set that reminded me and others of why, Zac Brown Band music, we find "Loving You Easy." Aside from the aforementioned, we had the laidback tone of "No Hurry," and then the dance-friendly, serotonin circulating earworm "Beautiful Drug."
Another new song I had heard would feel right at home with the rest of the band's music, the welcome one would expect for a "Warrior." The song in sound is a marriage of the familiar with something different. I couldn't hear all of the passages, but what I did hear, the chorus especially is what was striking:
"no one is born to be a warrior,
no one is born an average man
we may be one or the other
then we try to understand."
The song, as well as the style that the band has been pursuing as of late may serve as a dividing line between older and newer fans, and I can see why; while I liked the sentiment, I'm not ready to give this song a hero's welcome into the fold.
For the sake of familiarity, they played some favorites like their original/cover companion of "Free/Into The Mystic" which did present a sense of satisfaction and had a calming effect, on me at least. "Day for the Dead" was a song released several years prior before I heard it, but sounded like a marriage of earlier Zac Brown, with a more rock infused sound; it was a reminder that they can still rock, even with some of the songs they have been releasing. This was another time where the visual improved upon a captivating tune/performance.
The retrun of "Colder Weather" was more than music to the ears, but was akin to a reunion with an old friend that you missed more than you expected to, in spite of its tone. While hearing "Chicken Fried" was a similar scenario, the buzz was expected.
The encore began with a duel between guitarists, Coy Bowles and Clay Cook, with an introduction often preceding a boxing match and three rounds to spar with those six strings. The riffage that I recall the easiest would be the times they had channeled the White Stripes and ZZ Top, respectively.
The encore encased three metal covers the hair metal of the Halen Bros. with "Hot For Teacher," as well as the syrupy sing-along of Def Leppard's "Pour Some Sugar On Me," and the last cover which may bring upon an explosion of excitement which may have caused some fans to become "Calm Like A Bomb," me included; to see the alter ego of Jimmy De Martini, channeling De La Rocha was surprising and interesting.
Monday, January 13, 2020
Bebe Rexpectations
Listening to her two most recent E.P.s had caused me to raise Expectations when it came to her debut. I had her pigeonholed, and like Rita Ora and Dev, I counted her out before I found out she was more of a Pheonix, or in her case, a "Ferrari." I still recommend Dev's The Night The Sun Came Up, which took you through unexpected avenues, and although I only heard it once, it was enough of an impression.
There are two songs that made the debut cut, " I Got You" and the sign that told Rexha this path was "Meant to Be." "I'm a Mess," I know, but when you can sense that you were meant for more, yet cannot find what it is, and struggle in the belief of its truth, it can leave you a tad unhinged.
Love can be the same way, for all the good it has done, can do, and will do, it can also be the sole entity that can cause as much destruction as it can repair, especially unrequited love; all those questions we know the answer to, the signs that tell us to stay away, yet we keep striving to be with that person. "Self Control" is another song that finds the songstress vulnerable, and sounds like a sister song to the aforementioned, and both sound like the object of affection is the wrong type for Ms. Rexha.
I can say that the wrong person can bring us to our "Knees," yet that doesn't mean they are bad, but just bad for us, and Rexha realizes this as she begs for release from a stagnant relationship.
Imagine finding that person that is everything you have ever wanted to find in a significant other, and does everything right, yet your heart and your conscience tells you that you do not deserve it. What do you do? You handle the situation with "Grace."
The song is a slower number that does tug at your heartstrings, even if not everyone has been in that scenario, it can still hurt to find the right one, to be the wrong one for you.
Well, if this hasn't made you feel a tad bit 'o "Sad," I cannot say that this one will. Lyrically, it sounds like a recipe to drive you mad, yet after you acclimate to the depths of despair long enough you accept it because it is all you have known, apathy sets in, and if you rip away that familiarity, you lose your shot at surviving the whole ordeal until you can find the solution to free you from it.
The signs warn you "Don't Come Any Closer," yet the piece of the puzzle you see beckons your soul to plunge into their darkness, to release them from their own insecurities and demons, and still save yourself from the damage they may cause to your spirit; sounds like of trope of teen drama television. CW? I'm sure there are more than few stations, but it sounds like the martyr lives up to the label of "Shining Star."
While the majority of songs on the album seem to focus on the negative perspective that relationships can provide, at the least it was "Steady" in its delivery, its funny to me that all of the collaborations offer a positive perspective of relationships. Even with its simplicity "2 Souls on Fire" speaks to me, yet I cannot decide if I like it better than the Tory Lanez collabo?
Yet, "I Got You" depicts Bebe as a strong young woman willing to give what she has to help another ailing heart in need; pain is a powerful teacher, and you can sing about heartbreak and feeling hopeless and co-dependent and still be a strong person with love left to give.
"Ferrari" is where the music of Bebe and Gotye intersect, right after she pulls off on Mulholland Drive, merging on the highway of life, she sings like her heart's a mess, yet she has all of the freedom to express and soon to live a life of excess, yet I digress; what is the commentary of a clunker to a budding superstar songstress?
There are two songs that made the debut cut, " I Got You" and the sign that told Rexha this path was "Meant to Be." "I'm a Mess," I know, but when you can sense that you were meant for more, yet cannot find what it is, and struggle in the belief of its truth, it can leave you a tad unhinged.
Love can be the same way, for all the good it has done, can do, and will do, it can also be the sole entity that can cause as much destruction as it can repair, especially unrequited love; all those questions we know the answer to, the signs that tell us to stay away, yet we keep striving to be with that person. "Self Control" is another song that finds the songstress vulnerable, and sounds like a sister song to the aforementioned, and both sound like the object of affection is the wrong type for Ms. Rexha.
I can say that the wrong person can bring us to our "Knees," yet that doesn't mean they are bad, but just bad for us, and Rexha realizes this as she begs for release from a stagnant relationship.
Imagine finding that person that is everything you have ever wanted to find in a significant other, and does everything right, yet your heart and your conscience tells you that you do not deserve it. What do you do? You handle the situation with "Grace."
The song is a slower number that does tug at your heartstrings, even if not everyone has been in that scenario, it can still hurt to find the right one, to be the wrong one for you.
Well, if this hasn't made you feel a tad bit 'o "Sad," I cannot say that this one will. Lyrically, it sounds like a recipe to drive you mad, yet after you acclimate to the depths of despair long enough you accept it because it is all you have known, apathy sets in, and if you rip away that familiarity, you lose your shot at surviving the whole ordeal until you can find the solution to free you from it.
The signs warn you "Don't Come Any Closer," yet the piece of the puzzle you see beckons your soul to plunge into their darkness, to release them from their own insecurities and demons, and still save yourself from the damage they may cause to your spirit; sounds like of trope of teen drama television. CW? I'm sure there are more than few stations, but it sounds like the martyr lives up to the label of "Shining Star."
While the majority of songs on the album seem to focus on the negative perspective that relationships can provide, at the least it was "Steady" in its delivery, its funny to me that all of the collaborations offer a positive perspective of relationships. Even with its simplicity "2 Souls on Fire" speaks to me, yet I cannot decide if I like it better than the Tory Lanez collabo?
Yet, "I Got You" depicts Bebe as a strong young woman willing to give what she has to help another ailing heart in need; pain is a powerful teacher, and you can sing about heartbreak and feeling hopeless and co-dependent and still be a strong person with love left to give.
"Ferrari" is where the music of Bebe and Gotye intersect, right after she pulls off on Mulholland Drive, merging on the highway of life, she sings like her heart's a mess, yet she has all of the freedom to express and soon to live a life of excess, yet I digress; what is the commentary of a clunker to a budding superstar songstress?
Friday, January 3, 2020
A New Year's Disc-overy "These Are Special Times" indeed
It's safe to say that I arrived to the Celine Dion listening party late, under the impression that it was released New Year's Day of 2019, only to find it was released over two decades prior leads me to laugh at myself. I remember the classic "I'm Your Angel," but never associated that hit with this album
The album itself includes the holiday hits she has recorded over the years including "The Prayer" with Andrea Bocelli, "Don't Save It All For Christmas Day," as well as her cover of "O Holy Night."
Celine Dion is still a vocal powerhouse which makes her selections of "Happy Xmas (War is Over)," "Ave Maria" and "Adeste Fidelis (O Come All Ye Faithful)" expected, but appropriate. "Feliz Navidad" or "Blue Christmas" may not be choices you expect, but are worthwhile additions, and preferred; "Brahm's Lullaby" and "Le Cloches Du Hameau" are even better, tempering her powerful voice to suit the aural context.
The reason I decided to look up this album was after hearing "The Magic of Christmas Day (God Bless Us Everyone)" and "Christmas Eve" for the first time this year on radio or streaming app, and I am glad I had.
I had always had an appreciation for Celine Dion and her music, although I was far from an adoring fan. The fact that the album still stirs the emotions, including joy, after all of these years prove its transcendence of its time,and while it may not convert a non-believer, it will give them a holiday album to cherish, if they give the music a chance.
The album itself includes the holiday hits she has recorded over the years including "The Prayer" with Andrea Bocelli, "Don't Save It All For Christmas Day," as well as her cover of "O Holy Night."
Celine Dion is still a vocal powerhouse which makes her selections of "Happy Xmas (War is Over)," "Ave Maria" and "Adeste Fidelis (O Come All Ye Faithful)" expected, but appropriate. "Feliz Navidad" or "Blue Christmas" may not be choices you expect, but are worthwhile additions, and preferred; "Brahm's Lullaby" and "Le Cloches Du Hameau" are even better, tempering her powerful voice to suit the aural context.
The reason I decided to look up this album was after hearing "The Magic of Christmas Day (God Bless Us Everyone)" and "Christmas Eve" for the first time this year on radio or streaming app, and I am glad I had.
I had always had an appreciation for Celine Dion and her music, although I was far from an adoring fan. The fact that the album still stirs the emotions, including joy, after all of these years prove its transcendence of its time,and while it may not convert a non-believer, it will give them a holiday album to cherish, if they give the music a chance.
Thursday, January 2, 2020
Weezer (Black Album)
The Black Album has accompanied artists such as Jay Z and Metallica, and even AC/DC when they went Back in Black. Now we can add Weezer to that list, with their ever expanding spectrum of albums associated with colors. Everyone may not appreciate the quality of the output, but you "Can't Knock The Hustle," which is an upbeat anthem for the can-do community, and a conundrum lyrically; best expressed as the indomitable spirit, overriding indecision and feelings of inefficiency to achieve those goals and follow through, even if others may question "why?" like writing this review.
Although I had no wind in my sail, I was able to breeze past the first two songs, thanks to those "Zombie Bastards," that inspired this nugget of defiance, and although they did not make it to the point where they could devour brains, they did arrive, with the chorus engrained, as well as their dissatisfaction, captured within the recorded history of the band.
Although, I am grateful for girls, it is nice to be able to rise above the need to be accepted by members of the female persuasion, or anyone for that matter, and ascend to the state where you were meant to be; to be aware of your worth without being pinned down by the self-doubt and harsh criticism, it can leave a person feeling "High as a Kite"
"Living in L.A." could best be described as a pop star or boy band aiming to produce a straightforward rock song, it is good, but it lacks an edge, or you can replace the aforementioned with an "easy listening" crooner having the same intent. This is not an affront, but it reminds me of Rihanna or the Backstreet Boys, yet no specific crooner has been associated yet. While the song itself addresses life on the road, and even being married to THE ONE, there will still be complications; no matter how much of a good thing they have.
Chemically-induced escapism comes to mind, whether with the one you love, or using it to transcend the pain when thinking of people one has loved in the past, when listening to "Piece of Cake," and its 2016 parallel.
While the eventual antithesis to the 2016 eponymous was going to focus on polarities, and not just aesthetically, it would be remiss to remark that the pair bear no similarities. The appeal of the songs that followed track two were not as instantaneous, but they had their charms and "I'm Just Being Honest." The single off their 2016 album embraced the use of honesty, and transparency, when it came to some painful memories While the former does utilize honesty, there is regret expressed in the chorus.
While they may not always be elegant, intelligent, or even interesting, sometimes there are too many thoughts in my head, which may hamper the progress of those I seek to express. The aforementioned has a lot to like within, but what I find comical is that the dynamic duo of Summer Elaine and Drunk Dori produce a song that sounds perfect for times when you have too much on your mind and need to let loose.
Until recently, I believed "The Prince Who Wanted Everything" wanted to save the world with punk rock riffs, only to realize after reading the lyrics and annotations, that this song eventually became a nod to one of the greatest artists to walk this Earth; who had also released a "Black Album" of his own. I wonder if they will re-record this song for their impending "purple" album.
While the ninth track had to be one of my least favorite soundwise, "Jacked Up" had to be one of my favorites on their 2016 album, so that existing polarity is personal. After analyzing the lyrics and reading some annotations, the latter portrays a man who instantaneously dives too deep when it comes to love, and renounces his any power he ay have in the relationship, all for acceptance, even when the source of his indefatigable devotion may not feel the same, and to alter that approach when it comes to love, it 's "Byzantine." With the context of 2019's offering on nine, that perspective possesses a little more power.
This strain of "California Snow" may have traces of pinkerton, but the initial reaction is that Cuomo sounds like an overrated feature, of the hip-hop persuasion, on their own record. The song is a little cheesy, but it does showcase a triumphant spirit. "Endless Bummer" is a summer love song, where a happy ending is elusive, and the poor protagonist is left to stew in his own misery after another failed attempt at "summer love."
Although I had no wind in my sail, I was able to breeze past the first two songs, thanks to those "Zombie Bastards," that inspired this nugget of defiance, and although they did not make it to the point where they could devour brains, they did arrive, with the chorus engrained, as well as their dissatisfaction, captured within the recorded history of the band.
Although, I am grateful for girls, it is nice to be able to rise above the need to be accepted by members of the female persuasion, or anyone for that matter, and ascend to the state where you were meant to be; to be aware of your worth without being pinned down by the self-doubt and harsh criticism, it can leave a person feeling "High as a Kite"
"Living in L.A." could best be described as a pop star or boy band aiming to produce a straightforward rock song, it is good, but it lacks an edge, or you can replace the aforementioned with an "easy listening" crooner having the same intent. This is not an affront, but it reminds me of Rihanna or the Backstreet Boys, yet no specific crooner has been associated yet. While the song itself addresses life on the road, and even being married to THE ONE, there will still be complications; no matter how much of a good thing they have.
Chemically-induced escapism comes to mind, whether with the one you love, or using it to transcend the pain when thinking of people one has loved in the past, when listening to "Piece of Cake," and its 2016 parallel.
While the eventual antithesis to the 2016 eponymous was going to focus on polarities, and not just aesthetically, it would be remiss to remark that the pair bear no similarities. The appeal of the songs that followed track two were not as instantaneous, but they had their charms and "I'm Just Being Honest." The single off their 2016 album embraced the use of honesty, and transparency, when it came to some painful memories While the former does utilize honesty, there is regret expressed in the chorus.
While they may not always be elegant, intelligent, or even interesting, sometimes there are too many thoughts in my head, which may hamper the progress of those I seek to express. The aforementioned has a lot to like within, but what I find comical is that the dynamic duo of Summer Elaine and Drunk Dori produce a song that sounds perfect for times when you have too much on your mind and need to let loose.
Until recently, I believed "The Prince Who Wanted Everything" wanted to save the world with punk rock riffs, only to realize after reading the lyrics and annotations, that this song eventually became a nod to one of the greatest artists to walk this Earth; who had also released a "Black Album" of his own. I wonder if they will re-record this song for their impending "purple" album.
While the ninth track had to be one of my least favorite soundwise, "Jacked Up" had to be one of my favorites on their 2016 album, so that existing polarity is personal. After analyzing the lyrics and reading some annotations, the latter portrays a man who instantaneously dives too deep when it comes to love, and renounces his any power he ay have in the relationship, all for acceptance, even when the source of his indefatigable devotion may not feel the same, and to alter that approach when it comes to love, it 's "Byzantine." With the context of 2019's offering on nine, that perspective possesses a little more power.
This strain of "California Snow" may have traces of pinkerton, but the initial reaction is that Cuomo sounds like an overrated feature, of the hip-hop persuasion, on their own record. The song is a little cheesy, but it does showcase a triumphant spirit. "Endless Bummer" is a summer love song, where a happy ending is elusive, and the poor protagonist is left to stew in his own misery after another failed attempt at "summer love."
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