Ariana Grande "Christmas and Chill"

Not only is the title altered from the multi-faceted dating query "netflix and chill," but it can also serve as a parallel to document how quick Christmas can come to a close, especially when it comes to the prep. Yes, the album is short, even shorter than Christmas Kisses, by a few seconds, and that had only four songs. However, It never feels rushed, or that you may be listening to stocking snippets; the songs feel complete without overstaying their welcome, while many songs tend to bludgeon the chorus and sentiment in your brain, like those relatives we all know of.
 Although there are no covers, the Intro and the succeeding songs are seasoned with enough holiday music elements to set spirits bright without having to hear another rendition of a tired yet true canon classic. I do like her covers, especially her opening kiss to the ears on her 2013 E.P. That cover of "Last Christmas" is tied with Jimmy Eat World's rendition as the best cover version of the tune.
She does avoid heating things up too much to keep in context with the chill mood, so that's a plus, even on "Wit It This Christmas" she keeps it G, pushing PG. It's always nice to hear new original tunes, since many new offerings often are addled with the overdone. I believe she could release a consistent full-length holiday album, but she's been excelling at the short and suite odes to the holidays, why not keep the tradition?

Five For Fighting "Christmas Under The Stars"

Although I am not a fan of Five For Fighting, I respect the artist and the craft.
"What is your favorite single?"
The answer has always been "The Devil in the Wishing Well," which not only sounded different the two major singles that preceded it, and while I am aware that "Superman (It's Not Easy)" and the first single from The Battle For Everything are by the same artist, its "Easy Tonight" and every night, to make that connection. However, I have been pleased with some of the later singles off succeeding albums, especially Bookmarks
The question that may follow to those who may still be reading is "Why the introduction?"
What will follow is an example of how a live experience can alter the perception of an artist, even if the experience was recorded for an album. But first, more commentary and short prose.

As it becomes more of a burden to sift and differentiate between the holiday releases each year
As disenchantment sets in and the magic and faith in merry intent disappears
I approach the year's holiday releases presuming boredom, mixed with trepidation , not fear
But to what my wandering eyes should appear
as I scrolled through the roster of releases last year (2017)
This live album featuring some friends and this merry balladeer.

I did not expect Ondrasik to present himself in the manner that he did, but that is keeping in mind his higher registers and his weapon of choice, although a piano can be a very powerful compositional tool indeed; yet some word associations may remain "fragile," and "weak."
There were some moments that felt forced and awkward at times but he kept those moments to a minimum focusing on the performance aspect, which only is an issue if you prefer the former. He was a gracious host, and his treatment of "It Came Upon A Midnight Clear" set the tone for what was a great performance. Before a string-assisted performance of his song "100 Years" we were graced with "The First Noel," another pleasant rendition.
That awkward I had alluded to was the introduction of his daughter for their rendition of "Santa Claus is Coming to Town" or the introduction to his new original "Christmas Every Day of The Year." I appreciate the intent and message of what the latter presents.
Although "Silent Night" was another satisfactory rendition, I enjoyed the collaboration with the International Children's Choir for "Edelweiss" and the harbinger of Christmas joy, "Christmas Time is Here." It cannot match the original, but it brings an equitable amount of elation.
The Five For Fighting Quartet demonstrate why Ondrasik's favorite part of the quartet show with "some of the best string players in the world" with this aurally appealing arrangement entitled "Six For Christmas." The two previous selections  could raise your spirits "In The Bleak Midwinter."
The association between Christmas and gifts is longstanding, and in his introduction Ondrasik mentioned that he has written numerous songs of all levels of quality, and thousands of songs (hyperbole?), that have ranged from taking a year to forty five minutes to compose, but remarked this next song was gift; one that really willed his career to soar. While on the subject of Christmas associations, you may be able to think of Christmas without thinking of Jim Brickman, but I am not sure you can say the same for thinking of Jim Brickman without thinking of Christmas, or "The Gift."
The following two songs included a performance of Jim's "Hymns and Carols Medley" and then the song that Jim and Jon co-wrote for the troops, "Christmas Where You Are." The heartfelt explanation was a kind buffer for this tune honoring those guardian souls, and was full of goodwill and good intent, yet simultaneously I cannot help but foresee an arousal of a soldier's lament.
Funny, yet not surprising that the first album I heard from beginning to end, more than once, would be a Christmas album. This is another one of those albums that may find itself in the roster for holiday time rotation because not only did it override my preconceived notions, but it was memorable and strayed from the beaten path of Christmas albums.

Kylie Christmas (Snow Queen Edition)

Although I originally cringed at the thought of a Kylie Christmas, I found out that the album fell farther away from frightful than I expected. Part of the reason is that I expected more songs like "Santa Baby" than "2000 miles," and that goes for the originals too.  While there are songs that flaunt her sexuality in a toned down and tolerable way, she does have songs that are more sentimental, still fun, and feel more attuned to the season. The triplicate of canon classics that initiate her holiday sound brassier, it doesn't hurt to have "The Voice"  assist with "Santa Claus is Coming To Town" or those holiday bells and choir in "It's The Most Wonderful Time of the Year." Some of my favorites have to be her original tunes, and "Only You" with James Corden is a good start.
I would say that I prefer the new additions to the catalog of Christmas music over her new renditions, but Iggy Pop's appearance in "Christmas Wrapping" makes a cool yule tune even cooler. Mika may be no McCartney but he suits this new rendition just fine. While I have only heard rock bands cover "I Wish It Could Be Christmas Every Day" written by Roy Wood, it sounds like Kylie and Steve Anderson can hold their own. While the last cover on this edition may not be Christmascentric, it is a very positive choice and is aligned with the spirit of the holidays, "Everybody's Free (To Feel Good)."
Since I mentioned that I prefer the originals over the covers and I had to choose only three, they would include At Christmas, Only You, and Every Day's Like Christmas, or White December.

R Kelly's 12 Nights of Christmas

I understand it is late, and was it worth the wait? Find out shortly. One of those critiques I wrapped up but did not give away until now.

Bublé in Buffalo February 27th, 2019 Recollection

Due to his detestation of the classification "fan," I am allowed to call myself part of the Bublé family, and have been so for over a decade now, to which I am honored to be a part of; further context expanded upon at his concert toward the end of the show. Being part of the "family," it could cause criticism without bias to be elusive. However, the main objective is to recollect what was seen, heard and felt, and let me tell you, there is more than non-bublievers and first timers would expect, like Gia. This was the seven year old's first concert, who was probably glad that his "...all Christmas songs" setlist was a joke. I knew it was a long shot, joking aside, but I really did want to hear "The More You Give (The More You Have)" To YouTube! Later on!
Being as what follows may only interest a select few, tens of thousands people, if we consider the attendance, I'm going to suggest that you skip the next few paragraphs, if you just want to hear about the music; though there will be some more of the commentary unrelated to music further on as well.
I may not be adept at acknowledging and addressing the various types of performers out there, but I know that there are two basic approaches; artists that just focus on performing the music, and those that want to perform their music and do it well, but also give their audience something more.
There is no doubt as to which approach Michael takes, and aside from giving the audience a great show, he gave some fans low fives, selfies, a formerly unsigned can of Bubbly, and a chance to appear on "Buble's Beloved," a concert feature brought upon by his love of showers, and his profession of envisioning himself singing on "the Voice" of "American Idol." "You cannot say that there is not one song that you sing in the shower, and you kill it" Bublé proclaims, paraphrased, before he gives a fan a shot to sing that shower song. He admits the trial the night before did not fare well, and was leery when one prospect was uncertain in their ability. A testament to their being balance in the world, the next prospect requested that her husband hold the beer, to which Bublé joked "that is not always a good sign, and look at that, its almost as big as your head." Safe to say she did kill her shower song, to Michael and our amazement. The song? Leonard Cohen's "Hallelujah."  Before the next contestant, trumpeteer for the orchestra, Michael Bublé  sang the chorus of Cohen's classic in a higher register; while both performances were notable of recognition, I prefer the latter "You're Nobody Til Somebody Loves You," I cannot recall the names of the performers.
 This may be one of the first concerts where I had no fear of the artist performing some of the big songs, and only a shortlist of obscure requests. To end on a high note, in my opinion, is more important than starting off on one. First impressions can be very hard to shake, but there was nothing to worry about. People can halfheartedly state that the first song "set the tone' for the night, but this time it truly did, and continually renewed that state of "Feeling Good."
You could tell Michael was feeling "...maybe too comfortable" with the crowd; was genuinely ecstatic of the awe-dience.
"I cannot believe it, I cannot believe that you are here. I heard the forecast and it snowed all day and thought 'aw sh**! They're not gonna make it, and you came! I thought I was going to have to mold my own audience, to which I would be king" before he made a Game of Thrones reference; paraphrased from what I could remember. He was extremely grateful for the crowd, and praised Buffalo as being an "Adult Disneyland" including the best of both Canada and the U.S.
I understand that when someone may praise you, it can hamper your ability to perceive their person and what they say objectively, but I believe he was truly genuine, and it was great to be there.
Considering there may not be another place to interject this statement, I could see Bublé as a talk show host, and on the gradual rise as a comedian, because he really engaged and interacted with the crowd, interjected some monologues, and kept this aspect of his concert on the same level as the musical aspect.
 Many artists may play some of their biggest hits later on, but "I Just Haven't Met You Yet" found its place number two in the roster to the delight of the crowd, and it was as great as could be expected. "My Funny Valentine" followed with some commentary, "it sounds creepier than I remember. I love you, but I may kill you," and his rendition is not without its sense of foreboding.
 Such a Cover! Such a Song! "Such a Night!" was had by many, especially that girl who had boisterously professed her love for Michael numerous times throughout the evening. I do love the original recording, after just hearing it recently for reference, but the energy in Bublé's rendition was equitable with the enjoyment Buble and his backing orchestra, and all of its extraordinary components, some of which were from Buffalo, brought to the crowd. There was a lot of love, respect, and admiration on stage and off of it.
Yes, this tour may be in support of love, and not just the album either, but much more. There were some touching tributes, especially when it comes from someone performing with passion, and the first was dedicated to his best friend, to which he addressed "age is just a number, sometimes you have that connection with someone and that gap doesn't matter," paraphrased, his Grandfather who would have been 93 this year, had he not passed during the Christmas season.  He reminisced about sitting in his grandfather's room and listening to Sinatra, Bennet, Martin, Fitzgerald, to name a few. "But one of our favorites, was Bobby Darin," which served as the Segway for his performance of "(Up A) Lazy River."  He remarked that albeit sad, it is better that the late Darin wouldn't be able to see that only four people raised their hand when Michael asked who had heard of him before. Michael hoped that he did Darin justice and that he had made his best friend proud remarking how  he would bring him on tour with him forty more years if possible.
The next tribute I must mention was that to his wife, to which the night before was really difficult to perform, but he managed to pull it through to perform his more recent original "Forever Now."
 While it was nice to hear songs I recognized such as "Sway" and "When You're Smiling," the latter a favorite Louie Armstrong song of mine, originally recorded by Seger Ellis,  songs like Louis Prima "Buona Sera Signorina" and "Just a Gigolo/Ain't Got Nobody" opened my ears to some new classics to love, and another artist to explore, and in honor of Michael's grandfather I may give more of Darin's music some eartime. The latter medley perfectly led into another Michael Bublé original from the preceding album, that wasn't even on my radar of expectations, it was a favorite from that record and the title track; who else would declare it a hippin-hop tinged tune? Who else would remember one of their favorite songs after hearing it live? "Nobody But Me," that I know of.
There were more touching moments to be had, the one I may mention now is more personal to me because this song was one of my aunt's favorite dances, and it was said at her funeral that nobody they knew could do it better; it was also the first time I heard it in full, and not just live, but I thought about my Aunt Karole the whole time Buble and Co. performed Chuck Berry's "You Never Can Tell."
One of his biggest songs was initiated with a dedication to all of the heroes we may never see, or know their name, but are heroes regardless, whether on the home front or in the same neighborhoods you or I may reside: to the heroes that must wait months and years, to those that may only have to wait hours and/or days to return "Home." A visual accompaniment was playing on the screen behind Bublé that showcased the multitude of heroes he was dedicating the song to.
There was more that I could talk about when it came to Bublé and his stage presence, more humor or monologues he decided to present to us, or the fact that a lot of the songs he is performing are not his own, and when that is the case, then what are you really contributing to the world of music? It certainly causes complications to make a name for oneself when one's career involves "competing" or honoring legends of yesteryear by recreating those songs and presenting them in a new light. We are both cognizant of the fact that he will not be able to replace, compete with, or be Frank Sinatra, or even Bobby Darin, to name a few, but that is not the intent; he is aiming to be the best version of Michael Bublé he can be, and performing songs he loves and bringing them to a new audience, and he is succeeding. His personality and his charisma also differentiate himself from other artists who perform songs of yesteryear and pay tribute to those classic icons and their songs.
The best scenario would be to end the show as well as one begins it, and when it came to the traditional finale, he dedicated to bold and hearty Buffalonians with the bombastic and Bond-esque rendition of Julie London's "Cry Me A River," certainly a song I have Crazy Love for, and an unexpected surprise.
You can bet that there was an encore, and while I did enjoy the covers of "Where or When," and "Always On My Mind" by Rodgers and Hart, and Brenda Lee, respectively, it was his 2007 original that was "Everything" a good percentage of the audience wanted to hear; a favorite song of my brother and his wife when they were dating.
So it ends, and I have little more to say, and no, there was no heartache tonight, and that is fine with me. However, there is a question that comes to my mind: how can you build a career on critiquing others for how they perform and what they create, or recreate, and not fade into the nameless? This is not what I plan to pursue, but if I do, I would write honestly, candidly, and interject some traces of my own personality in what you may read. When it came to performing, it works for Bublé, and when all is said and done I would do it my way.

Maren Morris "GIRL"

There are several words that electrify the interest of the person on the fence as to whether they should check out that album or not, aside from the singles released; this applies to other media as well, but that is besides the point. While the overuse of "epic" has diluted its initial effects, there is still at least one word that may convince that person to do so. While I liked the singles, it was this word that shocked this kat , who fell in a well of appreciation for the album. The word? "Iconic."
Hearing this word to describe the album before its release by her husband, Ryan Hurd,on an interview stuck with me until I dove in.  Words such as this sets a certain expectation, although they may vary slightly from person to person, there is a general foundation, and the bones are good.

This audio "Girl" is a bombshell and accurately addresses some of the stresses, which transcend eras, or at least the weight, of being a young woman, and the inevitable comparisons made to others, and "The Feels" that can hit harder than a freight train; for some more than others. The emotions the following song refers to are a lot more positive, and the song nearly as catchy.

It is true, there is "A Song For Everything," you may not have found it yet. Nods to Springsteen, Katy Perry and Coldplay are made, as well as the notions that certain songs can take you back to some of the worst or best times in your life. It is a moderately catchy song that steers you in the direction of the emotional gravity of what follows.
While we all have our differences and use those to divide ourselves, or claim superiority over another, by race, religion, belief system, gender or sexual orientation, physical state, IQ, etc. the next song states that we have too much in common to be engaging in derision and violence; with all of the problems that we may have, why create more by accentuating differences or what makes us "better" than another?
While I am not claiming to be original, I agree with the sentiment that it can take awhile, and I applaud her intent, because I attempt to create my own flavor with whatever I create, while remaining true to myself.
The two lines at the outset of "Make Out With Me" clearly state that the second half of the record has begun, and while the details are not as explicitly stated in the "RSVP," you know where they both may lead.
To have found your significant other in life is something of great magnitude, and cannot occur without its positive effects; the content of the final eight songs refer to her relationship with Ryan Hurd. I will not say "better half" or the "person that makes another whole" because that should not be the case; finding that person will help improve your life and improve you as a person, and she acknowledges it best by singing "think I finally discovered/ you're my perfect shade" in the finale of this declaration of womanhood. She expresses her gratitude and appreciation for her husband in songs "To Hell and Back" and, one of my favorites, "Gold Love." Yet she is confident enough in herself and her place in the relationship, I would not call it arrogance, to write a song called "Good Woman." The strength of their relationship is addressed in her hit song, "The Bones" and "Great Ones," both noteworthy tunes.
It would be remiss to fail to mention  Bros. Osbourne and Brandi Carlisle's appearances on " All My Favorite People" and "Common" respectively.
As mentioned before, a word such as "Iconic" sets the foundation for certain expectations, and may vary slightly between two different people, but I cannot say it meets those expectations; simply because that is not a word to be used lightly. However, the record is a very consistent and enjoyable album, as her debut was, maybe even better.

St. Vincent "Masseduction"

Take one look at the cover of the album, and you can assume that Masseduction may reel in a whole slew of new fans. The music can be quite sexy, if you aren't intrigued by the lyrical aspect of  "Pills" and its subtly suggestive nature, the title track's production, refrain and Clark's vocal delivery ooze sensuality and visions of love being made. Mass Destruction? Only for the weak.
You don't need to be a 'Sugarboy" to question the collaborative reference of Queen and Ghostbusters  but soon enough it would make sense.
There was proclamation of Mass Destruction, but it may not be on as grand a scale as we presume, or as simultaneous as we expect, but the answer lies in "Los Ageless." The mind might be hidden there as well.
Sentimentality and Slink can make strange bedfellows, the former of which sees Clark in a multitude of roles in "Savior," as she professes she isn't; she cannot save her lover from the fantasies and desires which may evolve into something more outrageous. or from this scenario she has found herself in, "Love you to the grave and farther," and with that maybe there is some sentimentality too. "Happy Birthday, Johnny" and "New York" leave me with little to comment, but not without a heavier heart.  Do I "Fear the Future" of St. Vincent's music? Clark can go in a completely different direction and she can still be just as engaging as long as she remains true to herself. Pop music has a bad rep, but that didn't stop Clark from diving into a genre of music that some may classify as "derivative" of those that came before it, and upping the intelligence quotient while keeping it fun.

Jonas Brothers "Happiness Begins"

While I am a fan of an engaging swan song, or a valiant attempt at one, whether the aim and concept were too high to express in music or just overblown, I am a sucker for an effectual comeback.

In This Moment, I Lost Track of Where My Point Was Headed (Ritual review)

The weaker connection may have been due to the expectations left unmet, in spite of some of the songs arousing an adrenaline and or blood rush, while others just becoming noise. Judging by Brink on voice alone, she sounds like she is dirty pretty, a sex metal barbie, and she is no red riding hood, unless its of blood, and the role as a ruse, because she can also be the "Big Bad Wolf." She takes on other roles, and while the title track is appreciated, its the final quarter and other end of the spectrum that regains that connection. Bible verse John 8:7 introduces what becomes an aggro-declaration of Brink's status as a "Natural Born Sinner" and owning up to it; her decision to be who she is, and let those believe what they wilt, just because of how she looks, or what she does.
Trekking "Into The Darkness" can be jarring, and especially in a literal one, fumbling and falling is much easier, but what may sound like self-indulgent and extraneous, sets the tone for that journey "Out of Hell." 

The last few tracks playing as minopera where introspection was utilized, fostering self growth and self worth, testing her strength of spirit and heart; she is still not one to messed with.

Returning to the silk, willingly, I found that I initially judged the album too harshly in comparison with its predecessor several years ago, but it seems that the creative blood is still flowing. The first track continues the ritual of a more instrumentally based tune, that has initiated the past three records. While some may equate the first full track with an eye roll or an "Oh Lord" unenthused, it improves. The consecutive punch of coloring in an original tune and then covering another may release some serotonin. Their reworking of Idol's "White Wedding" and Collins' "In The Air Tonight" revitalizes anticipation. However, the iconic drum fill of the original is muted, so much of a knockout that it revved up Tyson to knock out Alan. You may have heard the following songs before, but are still good in their own right, "River of Fire" would be preferred over the second track. I'm not reviewing this in the "Witching Hour" but the whole beat might is what is alluring. "Half God Half Devil" may be half-right, but which half is predominant is partially up to anyone that associates with Madame Brink. As for gratitude, especially when it comes to success, it is important to return, or even pay tribute to your roots.

Dusted Off A "What Makes You Country" Review

The debate and question of what defines a genre is rather transcendant of any, and no artist is safe from the debate of whether they even "belong" in their presumed genre, media. Traditional country Bryan is not, not even close, and this is not the audible clarification of What Makes You Country that I initially assumed it was at first glance, but a question. listening to the title track, it was clear that it was not in the plan to list all of the factors that make you a country artist, but a song that may urge introspection, and inquires people to be proud of who they are, and if interested, what "gives 'em the right to wear a pair of beat up boots." In a cowboy boot, or out of one, a song of self acceptance that scores the first point.
Does that mean its country? It has a nice message, as well as a few others that utilize some country boy charm. I agree with sentiments in "Most People Are Good," and that it does remind me of a earlier tune from Bryan, but it doesn't assist in the point. "Like You Say You Do" follows through with a simple yet elegant truth, that actions speak louder than words, and that one can only accrue so much belief in "I Love You" before they need a confirmation by action. The song is a gentler way of calling out, and even challenging the suitor to the woman of his dreams; to side with truth may not be appear to be the easiest, but it is the better of choices.
The message? I was able to "Pick It Up." I love that the song is illustrating one of the ways you can not only be a good parent, but a good person. 
There are parents that aim to live and succeed vicariously through their children, because they had failed or would simply like to continue the tradition, and those children are lead to believe that the talents their parents may or may not exploit, are their only avenue to a better future.  Here, Bryan hypothetically and indirectly shares some of his interests with his progeny and then gives them the chance to decide what they would like to do; it may be in the blood, but if there is no passion, then I'll leave it up to you. Being someone to look up to can be one way of reinforcing the best elements in a person, and inspire them to be the best person they can be, which is also illustrated.
People often have a dual nature, and I am not calling it a dark side, no, but while a role model has certain standards to uphold (general sense) they can still party, and it wouldn't be the same if there weren't songs about the less reserved aspects of Bryan's persona. A feel good sing along  about "Drinking Again?" I'll toast to that, but no alcohol. It may sound excessive when it lists all of the scenarios that instigate the act, but it can be a year long time frame.
Songs about relationships are ubiquitous. There are a few here that I don't mind listening to, and while "Hungover in a Hotel Room" is subtle duet, not nearly as catchy as hit duet on Kill The Lights with Karen Fairchild, it is a good one. There is that ode to the hot mess, yes, but "Nowhere Girl" sounds like a hit; the delivery outside the chorus fishes for association words like 'samba' and 'flamenco.' It is a good song to countrock out to, and nearly as smooth as a precedent hit from KTL. I cannot really mention songs concerning relationships, without mentioning the most well known of these newbies, "Light It Up."
At the end, this album did not set guidelines or give instructions on how to "be country," or even tips on how to be the next country star. However, it did give us soundbites found on  Bryan's expanding audible playbook on how to "Win Life."

Ded "Misanthrope"

All that aggression with a DED connection. After a while, depending upon frequency of engagement in aggro-metal, and any other sub-genre of the aural element, the scream can become what vocalizing in death metal is to its own, not that I listen to much, but that perception can become reality, to which we are our own architect of.
While anthems are meant to be uplifting, it's good to have listening options when you're in the mood to break stuff or songs to listen to when you're mad at the world, and while there are plenty of songs that fit the bill, this appears to be more of an anthem for those feeling "Anti-Eveything" with just enough aggression for some vicarious catharsis, and a chorus to give you that extra bite you might need to avoid becoming a snack.
 Yes, I am aware of the similarities between Jonathan Davis and lead vocalist Joe Cotella, including the ferocity and passion, especially in the days of Korn yore. The Serenity of Suffering is a jarring concept, but the album was surprising, or merely cyclical; the band has been effective in shifting and switching up its sound the last decade and a half.
This subgenre and its unfortunate negative connotations wouldn't be the same without its fair share of songs concerning a funeral of feelings for someone, like "Dead to Me," or a declaration of detestation, where to "Disassociate" from that source of that hatred will be the healthiest of options before you reach the end of your toleration rope; which still exists in the latter.
You can "Hate Me" for saying that differentiation between tunes can be difficult at times, but detecting that passion is not at the same level. The childlike catchiness of the chorus and defiance of the sheeple mentality stand out in the latter.
Add unrequited  love to the mix; the treacherous, frayed sanity, recurring torment and self-loathing variety with a "less is more" mentality when it comes to the vocabulary, but who needs verbosity when there is elegance in simplicity.

 "I Exist" whether your hate does not, and again, this can serve as a different classification of anthem, but one that can still uplift, isn't that a twist? That sinking feeling, it urges you to resist. Its probably another one of my favorites.
As difficult as it can be for some who have yet to believe, the value of beauty is worth more if it's on the inside than what you can see. It stands out, not only for its lack of aggression, but for its tone and delivery ; previously we have heard the vocal protagonist at his most defiant and self-assured, yet now that confidence has shifted to the pessimistic and engaged in that self loathing that tends to arise in times of an identity crisis, or when mistakes and wrong choices can be confused with vices, or when we compare our achievements and skills to those of others' and believe we're better or worse. That in spite of our personal scars we can be still be "Beautiful" as long as that hate does not cement and contort our hearts.

COrey Feldman and the Truth Movement "ANgelic 2 The Core"

A short blurb of a record from a career in music I didn't know existed; belated in release. Here is what was written

Seth MacFarlane "In Full Swing"

I could sug-jest that Macfarlane keep his day job without even considering to compliment his talent. One may ask, "which one?" As it is multifaceted, and perception subjective, like anything else. But I am not referring to the creator of three hit cartoon shows, that speak for themselves, that I am aware of, and his trek into space on The Orville of which he stars, but I am referring to his music career; some may refer to this as a mere charade or impersonation of Sinatra with a modicum of talent. Still debating whether I could call it a channeling of the voice because that would resemble a higher level of praise, and may take it too far. He cannot replace those who have inspired his love of the music he is attempting to recreate as tribute, but he can stand on his own as a vocalist. Four albums in, and its clear to see it is not some fling, but just another facet to express himself, and do it well.
With albums such as these, it is more of a challenge to listen to the reinterpretation outside a casual sense; some may call it a betrayal, and why listen to a derivation when you can listen to the original versions by the giants of the genre? That is the conflict that often accompanies these records, but that doesn't detract from the talent that artists, such as Buble, one of the first that came to mind, have. Another factor in its favor, is that standards we have heard numerous times are not present here; that is an Achilles if there ever was one, and the crutch of familiarity can often have an adverse effect on prospective listeners and genre aficianados. This album sees MacFarlane on the other side of the fence when it comes to love, a more positive and jubilant tone In Full Swing. Stepping toe to toe with artists such as Fitzgerald and Martin, with his own renditions of tunes they made classic to name a few. I haven't heard enough of Gershwin or Berlin to have their names grace this review, but heard enough to know he hit some home runs throughout. His duets with a nu-Jazz vetran, Norah Jones, and another multifaceted talent who could also make it in music, Liz Gillies, were cause for celebration. If their respective titles were any indication of the light heart which you may find yourself with after listening, you'll find out soon enough. The latter of which was a bonus track, aptly categorized.

All I See Is Showmanship- Sevendust at The Rapids Theatre on February, 20th 2019

While I have waited nearly two hours after a show was meant to start before, this was the first time I was left "in the dark," literally; there was some recessive lighting, but due to a power outage encompassing the venue and a radius of a few miles, the show was delayed an hour and a half before some of the members of the first opening band, Kirra, lit up the spirits of the patrons with an engaging acoustic set.
The first song choice was intriguing because it was a cover of "Vitamin R (Leading Us Along)" by Chevelle; the first band I ventured there to see. I'm sure part of it was me,and not dressing warm enough, but their second tune expressed how I felt at the time, "So Cold" by Breaking Benjamin; the  crowd responded with wide appreciation and involvement. This set was the "Remedy" to ease some of the tension this predicament procured, and while nearly everybody was patient and respectful of others and their personal space, their acoustic cover of "Whatever" really expressed that inner angst the concertgoers may have felt, and they enthusiastically obliged; the songs of Seether and Godsmack, respectively. While I cannot recall the rest of the selections, aside from 'Black Honey" by Thrice, I must applaud the vocal performances of Ryne Mcneill and the adept acoustic guitar playing of Daxton Page.
 

Due to the outage, all bands had to shorten their sets, yet they made each one count, and while Kirra sounded almost like a different band once their gear shifted electric they still commanded the attention of the crowd, and while I cannot remember their original song selections, I will applaud them; I could see why Kirra was picked up for this tour because Ryne McNeil's vocals bear a similar growl to that of Lajon Witherspoon, and a decent level of soul, even as the backing vocalist he holds his own.
To correctly recall the songs of the miniscule set that Lullwater had undertaken by circumstance would be an undertaking after hearing their songs only once. I will praise them for their sound and their performance, and will eventually take that trek into their world, which from their merch and designs, seems pretty cool; So I commend you John Strickland for your lead vocal and rhythm guitar performance; Daniel Binnie on Lead Guitar; Roy "Ray" Beatty on Bass and BackVox, and Joe Wilson on Drums and BackVox; until next time, rock on!!!
While I prefer the latter that was Lullwater, Cane Hill served as a balance to the darker side of rock, and offered a sufficient dose of heavy to whet the appetite with those who have that type of sweet tooth; however, I do not recall them playing "Strange Candy," yet I distinctly remember a song where the inferred influence of Korn was apparent; regardless of whether this reference is a ball and chain or badge of honor, "It Follows." So I thank you Elijah Witt and your vocal performance; James Barnett and David Henriquez for your lead guitar and bass performances, respectively, along with the backing vocals, and the percussion accompaniment brought to us by Devin Clark.
I have always have been a fan of Tremonti and his work with Creed and Alter Bridge. His talent cannot be understated, and have heard some of his music as a front man, but have never considered seeing them live; only because the extravagance of the sound may be overbearing, may be taken for granted and may be inadvertently registered as monotonous. 

It so happened I did not have to worry, and if I did, I was there, so I might as well make the most of it for lack of another chance. While there were the speedier and thrashier moments, songs like "Flying Monkeys" diversified the tempo, and afforded songs like "Throw Them To The Lions" more appreciation, from my perspective. The sentiments, and sound, of "You Waste Your Time" and "Wish You Well" are worth that fist raised fervently in the air, while their performance individually, and as a unit, needed some time to be processed accordingly, and allow some of my face to reconstitute itself. 

Nope, I have come to the conclusion that this band is not A Dying Machine and with the praise of their latest, there is more to come. But first I must also commend a few members of the band for also lightening the mood with their acoustic set before live turned electric. While I could not recognize the majority of the songs, or even the title of the first, but I remember that riff, it was a fantastic performance distracting us from the prospect of being "hopeless." So I thank you Eric Friedman on rhythm guitar and lead vocals; Tanner Keegan as a touring bass guitarist; Ryan Bennet as a touring percussionist, and Mark Tremonti for holding it all together leading the band in guitar and vocals and being a pleasant host, I may take you up on that offer and see you again if the chance arrives.
 

With the anticipation built of seeing this band live become a reality, and even meeting them,it brought about complications when it came to rising above expectations, or so I thought. It was awesome to be able to meet the band that had taken me through the difficult times, and to give them a hug to show my appreciation, and even feel like a part of the Sevendust family; for even a moment.I also had to remind myself that they would not be able to play all of my favorite songs considering the quality and consistency of their output.
While at the time I drew a blank when it came to the first song, even after all of the times I have heard it, I sang along anyways and it set the show off to a rousing start.
I also had to remember that they would not be able to play the full album, and easily one of my favorites, that began my journey with Sevendust, Seasons. However, I would at least be able to hear "Pieces" of this satisfying album full of soul, melody, aggression, passion, positive energy, among a lot more.
As a connoisseur of sound, I don't listen to my favorite bands all the time, I separate myself from their music for a few months, or even a year, and eventually I will reconnect. It was great to immerse myself in their full catalog and even hear their new album for the first time; there's the rub, for I may not react in the traditional way as a fan might, but it doesn't mean I am not one. As you can see, I am a little biased, and I aim to be the antithesis, but it does not detract from the fact that they are worthy of "Praise."
While it was excellent to  hear "B*tch," "Dirty," and "Dead Set," which it was far from, along with "Waffle," the euphoria was elevated when I had engaged with "Enemy" and danced, sang along and whispered expletives with some lively members of the family. I had yet to descend and listened to one last song, in honor of an "Angel's Son," and the soul did "Shine." 

That moment I heard the latter still plays clear in my mind, and for giving me another entry in my "book" of best days of my life, I must "Thank You" Lajon Witherspoon and your soulful and exceptional vocals; John Connolly for the rhythm guitar work and your stint as lead; Clint Lowery for leading the guitar sound toward distinction; Vince Hornsby for kickin (b)ass, and Morgan Rose for being a darn good drummer, and another expression of gratitude to you all for not only being great people, but synergizing your different influences and ideas to create a unique sound that still remains potent as it was from the onset.  

To hear some of these songs in a live context brings me a new level of admiration for them. For some of my favorites I was not able to hear, there is always their Southside Double-Wide Acoustic album, and  youtube; I would be remiss to fail to mention their Time Travelers and Bonfires album. I don't do this much, but after thinking about it, I may even see them again if they return to the area, it would be great to see them again. Their encore, "Face To Face," was the icing on a killer cake.

Good Charlotte "Youth Authority"

This review may be late, but was never released accordingly.

Where Are They Now? Where Was I? An Unreleased Review of Chiodos' "Devil"

I have been a moderate fan of Chiodos for about six years, and what I have come to expect is that the "Devil" is in the details. Either there aren't as many present in this album, or there aren't enough aural concepts and mechanisms that coincide with the title. They possess their own identity, yet I believe they have a tendency to take advantage of it. While I know differences exist between the first three songs, not including "U.G. Introduction," I felt I was listening to the same song. My favorite of the first four happened to be "We're Talking about Practice," and while on the subject, Craig Owen's vocal performance has improved; though I found the lyrical denouement of "Why The Munsters Matter" more engaing. While "3Am" sounds out of place, it was a pleasant tone shift from the  tracks preceding.  One of the heaviest tracks exercise alliteration and in name and contemplation in context, while "Expensive Conversations in CHeap Motels" seems to exercise whoreable contempt of an ex-lover, while engaging in nonconsensual S &M , as well as blasphemy, but with a title like "Devil" wouldn't you expect some sort of sacrilege?                                                                                               "Duct Tape" itself is versatile, while the song is not as much its equivalent as a sturdy entry in their catalog and a favorite off this record. "I'm Awkward and Unusual," I would say so, but the song has the potential to resonate with millions of people who feel the same way, despite their career path, and is an acceptable statement and expected in concerns to their lifestyle:"The life I live is taking all I have." While music can be an extension of its creator, it can also absorb what gives that person their identity and standardize it.                                                                                                                                                                       While the final trio of tracks did not possess the same issue as the first three, I could feel that I have heard them before, somewhere else, but still appreciated their sound; the honesty and instrumentation of the aforementioned;  "Under Your Halo" as a whole; or the digital canoodling and effects on"I am Everything That's Normal"                                                                                                         Favorites: We're Talking About Practice, 3 AM, Duct Tape, Expensive Conversations and Cheap Motels, Looking for a Tornado, I'm Awkward and Unusual, and Under Your Halo.

Firefly 2018: A Recollection

The prospect of recalling my exploits in a music festival was daunting, especially with so many variables to consider. I disregarded the notion for the first Firefly excursion, but I feel different the second go-around; not that the first trip wasn't memorable.
What may follow will not be a recollection of each performance to the same depth, but a recollection of most sets that I have seen, with the commentary I feel is appropriate and intriguing; length may indicate a deeper connection with music, but will not always depict quality.
While I remember the last excursion having more well known and regarded indie stalwarts on a Thursday, this year's first official day left much to be desired. The days that followed more than made up for it, but it would have been nicer if some of the bands were spread out; some circumstances can be held without our control. The festival was akin to a steam train.
 Two artists that I have discovered and heard for the first time were Zeek Bruse and Chicano Batman. While I favored the former for the artist's sound, message and intent of the music, I have to give Chicano Batman props; they can best be acknowledged by the idea "come for the name, stay for the show." With their matching uniforms and equitable talent in their respective instruments , they embraced their "underdog status" and proved their worth. I may not remember any track titles, but I will listen again.
Zeek Bruse presents a potent blend of soul and rock. His voice has quite the range, and does captivate as the Fireflio proclaimed. One song I will not forget, as will many others who have seen him perform would be his rendition of "Smells Like Teen Spirit" They proved their mettle, and that they can rock. Although this selection is an overused classic to demonstrate that rappers and artists of other genres can rock their set with the best of them, it was effective, and it did draw fireflies to the performance that set hearts ablaze. I did enjoy their cover of Kings of Leon's "Sex on Fire" and Jeff Buckley's "Lover, You Should've Come." I cannot name all of the titles, but I did like "Broke Man" and "Winter" which I remember, and the denouement entitled "One People" left others, and me at peace.
The first set that I caught on Friday was Lights. I came because nostalgia suggested I do so, and I might have missed a song or two, but the set was not for a lack of The Listening, not in album tracks, but in attendance. I did hear songs I never realized were hers until after I heard her perform "Up We Go" or "Same Sea." I have been considering "Skydiving," but the visualization this song instigated will do for now; until my courage reaches that level. I have to applaud her for her cover of Cher's "Believe," it was a different approach, but it's a tough one to cover.
The real reason for the excitement had to be Jimmy Eat World, they have been on my "must see live list" (not actual name) since their 2004 masterpiece. The band has released some quality albums since their breakthrough album and the aforementioned, but I still wanted to hear their older songs. They did play the title tracks of those two albums.  "Bleed American" opened their set, and was the former title of their breakthrough until the tragedy that engulfed America occurred; they shifted to S/T. While "Futures" was on my wishlist, it was "A Praise Chorus" that released those endorphins and accompanying nostalgia; an unexpected surprise worthy of praise, and those vibes it brought, angelic. A few numbers from Integrity Blues made an appearance, as well as a new song that did not hint at their future direction, but "Love Never" criticized without doing so constructively. Before slowing the set down, Jim stated that not all songs are "Master of Puppets," some are best heard when "Nothing Else Matters" (paraphrasing). For Jim to use this analogy before jumping to "Hear You Me," uber cool, although I am not an authority on cool; it's the little things. "The Authority Song" was my second favorite of the set. The set would not be the same without playing their break out hit, so we could revel in the sweetness of its sound, positive message, and good memories associated with the song.The host band was engaging in sound and also with the crowd, endowed with manners and gratitude.
I may not be as big a fan of Foster The People as my friends, but it was worth it to "Pay The Man," one of my favorites included with my admission into the Sacred Hearts Club. They played an equitable portion of each album, and while I do not remember most of the songs played, it was enjoyed regardless. To see the smile on Mark Foster's face was more than enough confirmation that he was feeling the vibe. The dance across the stage, multiple times, as well as the energy lead guitarist Sean Simino; keyboardist, Isom Innis; and drummer Mark Pontius all displayed affirmed they were in the zone. About three or four songs into the set, some fans in front of us raised their sneakers in the air; they were not pumped up kicks, but they saved that for second last; plenty of time to outrun the gun. They ended with "Sit Next To Me," and in the sardine scenario, it does not sit well; the statement stands. Their cover of "Blitzkrieg Bop?" "Hey Ho, Pre-mo!"
I admit that I cannot call myself a Logic or Rick and Morty fan, but I respect the integration, and the debate taken place between the eponymous characters as to which Logic was better; we heard both sides. Logic kept the crowd in line with a few rules/requests to ensure everyone was involved and reciprocated the energy and effort Logic had released. I forgot the exact number, but it was an illogical percentage, yet there were more than enough fans to match that, at the least. Aside from the songs I heard prior and had recognized ( "Everybody," "Take It Back," "Killing Spree," and "44") there was more left to be inspired.
He had engaged with the crowd in a more paternal manner, one scenario involved an invisible basketball and a hoop of arms. He was full of gratitude and reveled in the fact that he could do what he loves for a living and that his aspirations have become achievements in present and in wait.
He engaged in nostalgia, recounting his last stint at firefly in 2016, where he put his positivity to use after an incident preceding. He also reconnected with an old pal in the name of Plank, given to him by a fan.
 One of the reasons Logic resonated with me was his spreading of peace, love, and positivity, which is what I aim to spread. I also really dug the song and accompanying video to the song with the number of the American National Suicide Prevention Hotline as its title; the message of both, spoke to me; suicide is no joke, nor is one of its instigators, depression. I have seen their effects, and the allure of the former, so I took it to heart. The song played its part in the set, albeit a shortened one.
If you have yet to find out, he is bi-racial, and an intense performer.

If I had more to say about the Arctic Monkeys, I would, but their live show is likely to knock you off that fence if you are uncertain. They managed to play at least one song from every album, and temper their energetic cuts like "I Bet You Look Good on the Dancefloor" from their debut with the title track off of their latest.

I've heard from my cousin that Royal Blood rock one heck of a show, sounding like a band twice as large, at the least, compared to this dynamic duo of rock. They even honored the prince of darkness with an instrumental interlude, before playing their biggest hit; its not that hard to figure it out. It was as if the heat did not deter, and they played with the intensity of the sun.

Its only fitting that the "greatest rapper alive" be accompanied by the best DJ, and hype man, in the world. DJ T Lewis really prepared the crowd and Wayne for an unexpected experience. It took me by surprise at how humble and how awestruck by the crowd Wayne appeared. The gratitude he expressed to the fans, and even GOD, shocked me, because his persona does not convince you otherwise. He started with "Mr. Carter" and another big Tha Carter III track. He would play "Ms. Officer," "A Milli," and "Lollipop" later. Snippets of other features were performed, and the legacy of Lil Wayne may last "Forever." I heard songs I could not recognize, and still connected to the energy. "The Motto" had  "Every Girl" and guy in the crowd amped.
While I knew "Mirror" would be a long shot, I at least heard "6 Foot 7 Foot" from the same album. Well done, Wayne. I'm on my way to believe the hype.
In ad-Vance, Joy was not an artist I would see solo, merely because the majority of his music does not connect with me, but since an opportunity arose, why not? He did captivate his audience with his manner and song choice, how timely was "Saturday Sun?" "Lay It All on Me" and "Riptide"
were saved as the best for last, but his medley of "All Night Long/Sorry" from Lionel Richie and Justin Bieber, respectively won "best of the set."
The Killers have spent half of Firefly's lifetime (not consecutively) on a stage at this festival. "It's not easy to put on a rock show" Brandon Flowers said before quoting Evel Knievel, "People do not come for the perfect landing, but the intent..." and then Flowers promised they were going to give it all that they have. They certainly followed through, and nailed every song on the set list. They managed to play a lot of hits. from each album. While the finale of Day and Age would have been perfect to send off those leaving the festival that night, they opted to inject some energy with their perfomance of "Spaceman" which may have helped reinvigorate the battle born through the set, after a long day, considering the "The Way It Was." Their cover of "American Girl" with a "Free Fallin' outro was another standout. What I really liked was when they gave a fan a trial on the drum kit, and gave their energetic percussionist a break. Their journey through Sam's Town was brief, but they played a flashback hit and "Read My Mind." While the three minutes of silence was perfect for recalling "All These Things That I've Done." It added more to the performance once they laid everything on the line, and brought a favorite to life on stage, before ending with "Mr. Brightside."
Eminem was easily one of the top three artists that convinced me to make the trek.. The possibilities were endless, and potential to let down the crowd was equitable with overwhelming it. With all of his hits, it was hard to determine which would make an appearance. His career was not in need of a Revival, but his latest presents the notion that his confidence yearned for reassurance. How a "Rap God" can curl up in a ball of insecurity, insignificance, and inadequacy, I cannot tell you, because I am far from one. In spite of his affliction, he was as potent and engaging as ever; tag teaming with Mr. Porter and the almighty Alchemist.
The cinematized Rapzilla intro and the warning that preceded the performance on the screen on the side of the Firefly stage: "If you are easily frightened by loud noises or offended by explicit lyrics. You should not be here" was enough to let you know that Shady's back. After vying for Donald Glover for Pres, he jumped into "White America."
Shady also featured his protégé, Skylar Grey, on a string of three songs where she took on the role of Beyoncé for "Walk On Water," while hardly as volatile, and not as visceral as earlier material, it is quite accurate in the context of confidence, and a moving piece of music; coming from the source. The selection segued perfectly into the opposite end of the spectrum, from perspective of icon to "Stan." Questions of "Why am I an Icon?" surfaced in his mind. He even wore a shirt ordering everyone to "Get Off My Dick." Could this be the product of overwhelming praise?
As "Sing for the Moment" is a favorite of mine, I didn't expect him to perform it, and even more surprised to hear "Cinderella Man" from Recovery, which does depict Em justly. He honored Proof with his "Toy Soldiers," and it wouldn't be the same if Em did not honor Tupac on his 47th birthday.
At one point, they took a loose total of what albums the crowd had owned. With "Stan" and "White America" we had a preview, but would he play songs such as "The Real Slim Shady," or "Without Me?' Yes. Along with "I Am" and a few others that I could not recall. We heard a few throwbacks to when Em was a tad more off the wall. As for hits, more recent ones, that surely was not all.
Whether you regard him as a profanity and vulgarity ridden "Monster" or an artist "Not Afraid" to tell the truth, he still coasted effortlessly across "The River" with his latest, Ed Sheeran assisted, hit.
As the outer lights were replaced with a stagnant cosmic display that escorted a stillness in the air, the awkward silence awarded the patience, and those willing to prepare to lose themselves within the music; a song that had HOVA thinking "I wish I wrote that s---"
It was nice to see Royce Da 5'9'' pop in to perform "Fast Lane" with Eminem. The gratitude he expressed to the crowd and honoring all involved, as well as reminding all in the crowd to honor their fathers for Fathers Day was endearing; not something I would expect to take place if you told me a decade ago. The utilization of a full orchestra and a talented guitarist and drummer, really helped to elevate the experience as well.
One band that I have yet to hear before the show was the Glorious Suns, a band full of vigor in spite of the weather that may have hindered my focus a bit. They may not have been as volatile as a "Sawed off Shotgun," but they did earn my respect as I look back. They managed to slip in a Fatboy Slim cover?  "Praise You" like I SHooooooould.
Kamasi Washington played alongside "the man who taught me everything I know" for a special Father's Day performance of "The Rhythm Changes,'' before giving us a preview of his upcoming album. At one point, Washington remarked how traveling all around the world, music is a uniting force transcendent of any barriers we set for ourselves or others set for us. Even if some festival guests were early for an artist they wanted to see, they still appeared to enjoy Washington's contributions to the music.
MGMT incorporated some trippy and odd visuals, but I would not expect a poopmoji dancequeen on loop for one of the songs, yet nor would I put it past them. They embraced all of the eyes on themselves and then incorporated googly eyes and a stick figure aesthetic into the screen.
A gator-ode was played after a survey of who likes Gatorade was taken. Lemon Lime was Andrew Vanwyngarden flavor of choice, while orange was Ben Goldwasser's flavorite.
 In honor of the ten-year anniversary of Oracular Spectacular they offered a decent helping, but not without playing one for the "Kids." Over half of their set included new tunes, but that is to be expected, why wait to play with new toys when given the chance?
Alt J is an odd bird, one of which may be too high for me to accurately capture in text. Their music is worthy of  any praise and attention it receives, but if you are not well acquainted with their direction or fail to pay attention, you may get lost in the music; that is not a bad thing. I feel I might have enjoyed their set more had I been more prepared and not distracted.
Although Kendrick Lamar was in my Firefly 2018 Top Three, I came ill prepared, in all honesty. The only full length I heard prior was Good Kid, M.A.A.D. city, only singles and snippet from the following albums. In a congestive climate of artists, in any genre, it is necessary to stand out, but the problem is when other artists chase success by what is proven to work, they may be noticed, but they may not survive; especially when image takes importance over the music. Lamar proclaims "there is a difference between black artists and wack artists"

Black Eyed Peas "Masters of the Sun, Vol. 1"

As the acronym suggests, the energy never dies, it just  finds another outlet. The E.N.D. was the outset of the former hip-pop quartet's demise, while The Beginning was a sign that it was time for a change, or a hiatus. They were no longer behind the front (woman), but now bridging the gap between where they began and where they could go.
Their decision? "Back 2 Hip Hop," and a pleasant return it is, with none other than the man who claimed it dead twelve years prior.
There are several similarities between this song and another Nas feature, "Too Many Rappers" by the Beastie Boys. Is it just me, or were they another trio whose skills came into question, and were under appreciated?
While the construction of the content  in "Yes or No" heavily relies on listing states of being and/or polar opposites, it still is relevant to the human condition, and an uplifting and poignant song as well, with its occasional turntable brought on by the objective to "pick a side." I was never against them, just some of the choices they made toward the end of their "peak" in popularity.
Even with the stylistic and lineup changes throughout their career their positive message and bent is what remain "CONSTANT." I found out recently that the female vocalist in this tune, was added to their roster. I can only hope that the next album is a continuation of "the comeback" instead of a sequel to The Beginning.
Hooked on "Dopeness," a braggart with a lisp, that you insist, has a controversial fetish, at a loss for words, and their lyrics leave my intelligence  peckish. Only two components true, questioning if there is a third because words typed, half right, a dim writer with an occasionally abrasive inner bright light.
That was fun!
Most hooks are not active by what is said,  and that is with every genre that has lyrics as a component, but more so what is heard. There are plenty of songs where I don't pay attention to the lyrics because of their sound, yet that does not mean I don't appreciate lyricism and wordplay, and there are songs that have both in equal measure, but this is not one of those songs. Although their lyrics can be cheesy at times, they are creative; songs "Get Ready" and "4Ever" also fall under that classification.
" You are now tuned in to the sounds of /A Tribe Called De La Peas"
With a heightened lyrical game and components of legendary groups that received critical acclaim, unless I am over-rating, and understating their offerings that preceded, but
"EMC Squared means I'm on that microphone sh*t/Dead to the mumble rap, attack of the clones/
I'm on that Jedi, I'm in that ziggy ziggy zone."
The Star Wars references will.i.am. makes continue on "New Wave," but my favorite line has to be what sounds like a continuation of the commentary on the genre's current state
where popularity resides, and the lyrics still take
"What the f*** they be rhymin' 'bout these days?
They be mumblin' like, "What the f*** did he say?
So please speak clear and enunciate
Don't be in my ear and irritate"
 Should we call it dual irony? Is the title referring to this phenomenon that has taken over popular rap for the last few years? What about when they refer to the peas' sound as a "new style?" New to those that are used to those undecipherable vocalizations the Black Eyed Peas refer to, which may be Taboo for those that appreciate lyricism? Or is it merely cyclical? Good music will transcend popular trends even if it doesn't ascend to that level of recognition.
"VIBRATIONS pt1 pt2" addresses their sound's reset: "We Takin' em back to the vibe, the original format," and  the claim is corroborated earlier in the song. I agree with the statement that this return is long overdue, partially due to personal issues, and that can also be referring to their restoration to that sound they commenced their career with. The shift in part two is also nice, a trick they utilized more frequently in  their career as a quartet, with Fergie,when it came toward its endgame.
Nicole Scherzinger assists the peas in the the bewitching tune "Wings," that sees them sampling some soul food from "Tom's Diner," and let me tell you, that is not where I would expect to find some, but what you can expect is some sexual-based lyrics.
While their 2003 breakout hit alerted the majority presence of the peas, it was their previous album that rang the alarm to the party's denouement,and possibly their career. "Ring The Alarm pt.1 pt.2 pt.3" is a miniature suite of their style of conscious hip-pop, a what's what of the issues of the time, and not only the relative of, but relative to the state of the human race and its foibles.
The grand finale comes with a lyrical nod to the Beatles, intended or not,where all you need is love, and the subtle declaration that we are each a microcosm with the power to change the world for the better with "Big Love."

Carrie Underwood Cries Pretty at Keybank on October 13th,2019

Although she was not the first winner of Idol, she was one of the few that has achieved a high level of success, and for a good reason. I can say that her music speaks not only for itself, but for others and to others. However, without the person writing and/or performing that music, it would never be heard. Carrie Underwood has been a positive role model for young women and people in general, including her opening acts,  Maddie and Tae and Runaway June.
What this presents is not only an engaging night of good  music, but a statement championing female artists in another genre that has a tendency to incorporate clichés and catcalls in song; as told by, and  Carrie's fellow tour mates, Maddie and Tae in their song "Girl in a Country Song," which they performed Sunday.
  It was a very delightful experience, all the more better attending with one of the female champions in my life, my mother.
While I hadn't heard a lot of Runaway June's tunes, I heard a couple I recognized like the song that realizes love can be messy, but if you can love someone to ruin "Lipstick" instead of mascara, to go for it. Their most successful tune,"Buy my Own Drinks" was also on the roster, and reinforces the theme of female empowerment and independence, within the confines of a catchy tune.
Maddie and Tae were up next, and while their vocals sounded a little muddled under the instrumentals, the set still included some good songs like the aforementioned and songs like "Friends Don't,"  Die From a Broken Heart," and "Fly."

Now it was the set many have been waiting for, as Carrie took us all "Southbound" opening with that summer smash and feel good hit before she performed the "cautionary tale" involving a "Cowboy Casanova," a song that still sounds as good as it did a decade ago. Shortly after we heard the sister song about a similar type of sonuvagun that says "stay away!" ("Good Girl.")
After some of the catalog "Backsliding" Carrie performed one of her favorites from her most recent album. From what I have heard over the span of her albums is a steady progression and / While I am still determining the status of this album, my favorite is still the previous release. One of the songs I was hoping to hear, and the sound that many good girls may like to hear, is that of "Church Bells, and it did not disappoint.
To the pessimist, adding visual accompanient can serve as a distraction when it comes to an artist's shortcomings, and to answer the rhetoriquery, there were none with Carrie. The only time I was left dumbstruck as to what song was being foreshadowed was when I saw a crown, then after hearing the initial banjo it all made sense. On the other end of the spectrum, to where the visuals really stood out and enhanced the experience, was during the song "Drinking Alone.'" The pull down screens at varying lengths were used to portray a bar setting, and what made it even better was the saxophone and big daddy bass duet that set the tone for the song before it began.
There were other instances where the visuals did assist, such as the deteriorating building that assisted "Two Black Cadillacs,"symbolizing the eroding faith in that man's good name as his secret exposed. This song blew me away when I initially heard it eight years ago, and with its appropriate visual of a stormy sky, sparks flew. The last one I will mention may not have been the most interesting, but it was very effective and really hit the message home;  family members mourning the loss of loved ones who had suffered the fate of "The Bullet," and its lasting effect on the people who have outlived their beloved relative.
While the latter focused on the harsh reality of loss, Carrie performed another song that simultaneously balances the tragedy with the faith that a reunion in the afterlife will be possible in "See You Again." the tune was played in a medley that also featured a song concerning Carrie's faith in the afterlife, "Temporary Home." It was nice because she played "I Know You Won't" and "Just a Dream" with a surprise cover center, which was more engaging than surprising as she hit those notes that Tyler of Aerosmith hit when the tune was released.
That  was merely a warm up to a marathon of a medley that would follow songs such as "Low," "Something in the Water," and the crowd pleaser, as well as a favorite of two strong women, Carrie and my mother, "Jesus Take The Wheel." It was nice to hear "Wasted" as well, which does initiate thinking about one's life and current situation, considering what they may want to change but are fearful or indecisive, but it was the former that really pulls those heartstrings and instigates that urge to make that change for the better, while reminding one of the blessings present in their life.
The maramedley performed  by Underwood and her tour mates paid tribute to several generations of female country artists that laid the foundation for future opry hopefuls. These artists included: Loretta Lynn, Reba McEntire, Tammy Wynette, Patsy Cline, Faith Hill, Trisha Yearwood, Shania Twain, And Martina McBride. It was a notable tribute indeed, not only reinforcing the value that the female perspective has added to country music, and the message of female empowerment, but good songs added to the ever-expanding country cannon.
To have ended at that point would have been acceptable, but there is still more to say. A quote comes to mind when referring to "Before He Cheats." I bet you may be able to guess, but if you do not know, "Hell Hath No Fury Like A Woman Scorned." This performance had even the guys singing along. It was a cautionary to warn prospective infidels and a little empowering, but not nearly as inspiring as "The Champion," a song that can score the triumph of any sexual orientation, and motivate the to the next level. Before she performed the tune she remarked that one of the most rewarding aspects of creating music is to hear the stories of what the songs have done for others, and how they have helped a person persevere. Little did she know that this "little hype song to work out to" (paraphrased) would have the impact that it did, so on this tour she chose a fan, after hearing their story and who they believe is their champion to perform Ludacris' verses.
If that was not enough, her encore proved that she had more to say and more inspiration to relay; whether on the notion that its okay to let it out, and you don't have to "Cry Pretty." The other, about the resilience of love and the power it can hold.

"Honest" look at Drake Bell's EP in 2017 (le gasp!)

When I heard that Drake dissed Justin Biebs, I thought of one of the most prominent names in Rap, and didn't believe Drake was the jealous type. I found out it was the other Drake found on Nickelodeon; it may not have been on Nick directly, but a relative station. when I consider how passionate Bell is about his music, I could understand the outrage instigated by the jealousy, resentment and pride. When you have that passion for your music and value the impact it could have on others, and those expectations were much greater than the value that your audience has given it, if they had even gave it a chance, it can be extremely frustrating and disheartening, especially when the music was overshadowed by an artist in a genre not always known for possessing much substance. While some may wear a smug expression, think hypocrisy, and laugh at the change in tune. I see it as Drake Bell coming to terms with his own frustration and jealousy when comparing their music careers and respective fanbases, and changing his tune, and style; I do not see it as selling out to cash in, but attempting to understand the style's appeal and how he could use it as a vehicle for his own artistic expression, that is my honest perception. He gives us four tunes that may be overlooked, but well worth multiple listens, and almost as cool as the Drake and Josh Theme song.

Three for One: Three Years Later, Three Different Genres

Tim McGraw and Faith Hill The Rest of Our Life
While it is not misleading to call this an album of duets, the term does have its own pre-conceived notions; this is not an album of standards or covers, but all new material. The passion and commitment that these two country singers have for their music and each other, as well as family in general starts this album one step ahead, and the title track is a perfect example, while the chemistry is undeniable, but we knew that already. There is a variety of tones and textures that broaden its appeal and make it appropriate for the whole family. There are also tale of love, that are open to interpretation, are transcendent of the journey that may have led the pair to marry or inspired their marriage, and relatable to others as they live through their own trials of love.   It's not the first time where a significant other was referred to as Satan, but the "Devil Callin' Me Back" is a lighter approach in referring to the darkness a relationship may endure in its toughest times, but is a catchy one at that. Another favorite of mine that incorporates family values as it  addresses the right way to "Speak to a Girl," and to treat them as one would a mom; with love, kindness and respect, emphasis on all three.
Keyshia Cole 11:11 Reset
There are certain artists who are immediately associated with their respective genre, and for a good reason. Some of those artists have to work a little harder, and it takes more time for them to gain recognition, not necessarily because they lack the talent, but have difficulty differentiating themselves from their peers. I would have to say after diving into the "Cole World (Intro)" that I insed off some of my doubts. The instrumentals are reminiscent of a famous Jazz musician of a similar surname, and features the motivational monologue from DJ Khaled, who only associates with the best artists, of this generation (there are too many to mention when it comes to those he has yet to associate with) so that's a good sign. "Act Right" is another standout just for what it stands for, even if I am not sure how I feel about this Young Thug collaborating with Ms. Cole. Maybe "You" could tell me why, that's another standout. I am incapable of eloquently representing my feelings sometimes, but that's why music is transcendent, even when it's hard to display your emotional state or remedy it, music can be an excellent remedy. The album is bookended by praise from Too $hort on the outro of Cole World, of Keyshia's music and her character, and I would say it is deserved and if the prior promotions, as well as her association with 2Pac, is not enough, then I am not sure what will be. All I know, is that I should delve deeper into her catalog.
Evanescence Synthesis
The future or a band's longevity is not predicted by its debut album sales. In spite of the uncertainty of the band and its continuation was existent during every gap between albums, they release another and avoid falling victim to its own foreshadowing?  The extended edition of "The End of a Dream" may have sounded like a simple inclusion, but the finale was the spark to wake me up. The most noticeable change between reinventions would have to be their biggest and most well known tune "Bring Me To Life" which has some of its energy drained in the new version, partially because the absence of the co vocalist Paul McCoy, but then it also rids the song of its call and response which can sound like clunk hop; enticing for some, yet alienating at the same time.It could be Phantom Riff phenomenon, or the familiarity factor, but when I listen to the new version of "My Immortal" I feel numb and not the ache that accompanied the dual attack of the solo and strings; I cannot say that the emotion is gone from what is full of it, but to say its effect is not the same can be purely subjective. As for the new inclusions and recordings, they are all worth their mettle. The collaboration with Lindsey Stirling finds itself on the hi end of lo; attach "wbrow" and you may find

2018 Reviews Released Slower Than Molasses

Blake Shelton Texoma Shore
If I'm honest, I will say that Blake manages to surprise me with his ability to record a full album of good songs. I'm not talking about hits, because he manages to extend his list every cycle, but I don't always find the deeper cuts to be as appealing. His last record was a consistent entry into his catalogue, while his trip to the Texoma Shore was a pleasant walk alongside the aural aquatic. The opening tune remains my favorite, but what is a shore without the wave? While not as engaging as the aforementioned, its sentiment can be appreciated and rinses out the initial distaste of hearing its water related metaphors that have already been established. "Got The T-Shirt" is even better in its own metaphorical apparel, no sarcasm adorning this statement. I would be remiss to mention that Miranda comes to mind, and that it was a wave goodbye to his last ex while the preceding track is Gwen Stefani and her welcome embrace. With all of this heartwork, Shelton has a hangover due. Some of these tracks are just feelgood pleasantries that may end up making Shelton a little money, the hick-hopper of the bunch,  and balance out the numbers a tad more taxing emotionally. "I Lived It" is a  memoir of sorts, listing some risky business, or some things that sound so when it comes to the standards of today. It is high on reminiscence and is a serene vignette of what Shelton had conquered.
Kid Rock Sweet Southern Sugar
Rock has always been cocky, and has lived u to his name as an "All -American Bad-A--," but along his musical journey he has shown that he has a softer and sweeter side, and sometimes the speakers pour out honey, the "Tennessee Mountain Top" comes to mind with its own version of utopia and a backing vocalist reminiscent of Billy Gibbons.  "The Greatest Show on Earth" is an energizing and adrenaline fueled ride that fosters visions of that show in action. After seeing The Greatest Showman, I can see this musical number being choreographed by the circus troupe of misfits P.T Barnum had assembled. Although, it does heighten expectations with this song worth the price of admission, the rest of the album may not excite as much, but it engages you all the same. While "I Wonder" and "Po-Dunk" are good enough, Rock serves a few uplifting tunes that are the trapeze artists that may catch their counterparts not as likely to hang on.
Although an American is ultimately born free to live how they prefer to some degree, the same can be said for how they want to die; or "Stand the Pain" and thrive. The prevalence of suicide is asserting itself, and is appearing to be a more viable option for those considering an early retreat "Back to the Otherside." The song is honorable in aim, and is accurate in its description of how everyone may feel at some point living "in the age of this life where it seems that love ain't enough." It offers reassurance for the optimistic as well, because even they experience existential crises, and true believers "because God is great and he always forgives." We may not know the reason why  some things happen or why our plans never come to fruition, but it can be said that God is more aware of what is better and interjects his idea while we may struggle with indecision. "Take it easier on yourself, don't ask why," and that is one of my resolutions I should shift its prompt to more than try. The former tackles the same subject, and is another uplifting anthem to arm oneself with when an existential crisis rears its ugly head, or you feel that you may have missed the mark when it came to achieving your dreams: "Sometimes life's plans can be postponed,  and it's hard to step back into the unknown."
KId Rock's cover of "Sugar Pie Honey Bunch" may not posess the same amount of energy that the Four Tops had mustered, but it is just as sweet. "Grandpa's Jam" sounds like Rock is in the mood to break someone off with Uncle K in a condiment of sweet nostalgia with a pinch of all the best ingredients to make it ring true.

Demi Lovato "Tell Me You Love Me"

Before we start, I must say that it could have been love at first sight, and moreso at first song but I still cannot tell you that I love you. "Sorry Not Sorry," but there is no need to be apologetic in the approach when what follows is honest and predominantly constructive when it comes to criticism; quirky at times, but it's real and its me.
I am not calling it synesthesia, but am I the only person that sees purple? or is it the posthumous phenomena? Seeking traces of greatness and influence of an artist we love in artists still active. The purple one's reputation precedes, and leads me to believe he still wouldn't mind sexy dirty love now and then.
 I haven't felt that saccharine infused perfection, and endorphin induced rush since that step into "La La Land," but this sugar in the microphone may come close. I may not have found a song to replace that pop-spunk attitude, but instead have heard and seen her grow into a confident young woman; there's nothing wrong with that. We have heard songs addressing her "Daddy Issues" before, but not in this manner or tone. This may not be a wake-up call to fathers absent from their daughters' lives or fathers dreading the inevitable; ready or not, your little girl will grow older, and not always "grow up." This is not calling the artist, or song, childish, but synchronized. It manages to capture the essence of a young teenager and a young woman at the same time, and that can be a little unsettling to think of one's sister or daughter "rolling with the frenches." The first few times I heard the title in the chorus I could have sworn that is what it was; odd, aware, but then it was rectified later.
The next song documents the struggle of friends on the fence, on the verge of a fling, or something greater, but the passion cannot be denied, and that horn sets the mood right. The struggle is not specific to an era or generation, and this song could track a scene in the teen drama of the year, or another vehicle, with or without teens, those in their twenties, thirties, or forties inside; we can go farther, but I should stop before I ramble.
It's best to refrain from investing your time and love in a "significant other" who makes you feel alone, and Demi seems to know, but she is not alone. I am not talking about the backing studio vocals which sounds on point, but it is the man whose protégé is known for writing songs that really vibe with the "Lonely."
If you concentrate hard enough you will realize that it is not a suite, but two separate songs. the pair did not bore me, they just seemed to end the record on a more submissive note. I'll be forgiving, as long as she is not the hitchhiker slipping in the car of her ex because I was rooting for that girl "...lookin' like revenge, feelin' like a ten," and continue to do so. 
Still a lovatic, in love, with that indecision to profess it,  eighty percent's not enough. I could play games with words and translate them into more critical frivolity, but I would rather not go overboard; I have reached the shore. There was also the vocal performance and production of "Cry Baby" that did not bring me to tears, but spoke to me, just not in a manner confident enough to resonate past the short term mem.

Thomas Rhett "Life Changes"

It's only natural, and whether you are ready for it or not, everybody goes through Life Changes, for better or for worse, but it doesn't have to be for the latter; before we delve deeper on what may appear to be a review of a dark album, it's just a reminder and aside for those going through a tough time, because the album is quite upbeat.
While Rhett is no longer Tangled in hick-hop production, and this album is more ballad prone, it is still quite fun as well, with some unforgettable tunes; such as the techno-twang of "Leave Right Now" or the bouncy title track that reminisces about Rhett's dorm daze with a "notebook full of bad songs..." that wound up on more than just the CD shelves of Walmart. The latter mentions the song that may have indirectly inspired the incorporation of more songs akin to balladry.  I could not disregard the single with Maren Morris, "Craving You," or the urge to "Drink a Little Beer," when it is appropriate; the latter climaxes with a Rhett Sr. solo.
When it comes to the ballads, we'll start with the unforgettable and unescapable tale of unrequited love currently on country radio, "Marry Me." Then, there is that ode to Rhett's exquisite memory when it comes to the love of his life in "Unforgettable." If you prefer a song with a familiar and more doo wop sound, there is always "Sweetheart," but one of my favorites would have to be the closing tune, "Grave." It is more about undying love, than mortality in a morbid sense; the notion can be energizing to find that a love can transcend the physical plane and follow those that have passed, it is also reassuring of love's potential to help change the world. Yes, we tend to veer off the tradition of merely reviewing an album.

Sumo Cyco "Opus Mar"

An album may be able to define a career, but it does not mean it can determine the direction of that career afterwards. While at the time it may have not seemed like much, Sweetnam's debut album was a declaration of the sweet teen personality with a punk (pop) attitude. Ten years later, She re-emerges as Sever while  Lost in Cyco City. Sweetnam integrated her pop sensibility into a sound already melding different styles. While their follow up can be more aggressive, it also accentuates that influence. It's full steam ahead from the band who declared "My Name is Rock and Roll."
"Anti-Anthem" serves as a contradiction and a uniting force for the outcasts; it was inspired by the refugee crisis, but is now open to interpretation. While "Free Yourself" is an anthem inspiring independence, and self reliance, or that's what can be read and heard on the surface; taking control of what can be, and not lazily lying in wait for time to do the work. Though as the album progresses, we find that even someone who can "Move Mountains" can still find themselves at the whim of life and its ups and downs in "Passengers," we even find a stowaway in club-beats breakdown. The former found the band collaborating with Skindred's Benji Webbe, which is an ideal one considering his band's penchant for their melding of styles. 
We're already aware of the energy that this band exuberates, but "Sleep Tight" reminds me of  the explosive energy that P Roach demonstrated on their own document of Lovehatetragedy. When it comes to the rest, I would rather let the band and music speak for itself, instead of using my "Words" to intrigue or possibly deflate interest.

Sugar Ray "Little Yachty"

As per usual preparation before I see a band live, I revisited Sugar Ray's catalog, and upon re-evaluation of Music for Cougars, have found that maybe I had judged their former swan song a little too harshly. It just never had resonated with me as closely or excited me as much as their earlier records had.
The same could be said for this album. I would not blame the detachment on the decade hiatus, but the current that this album has seemed to submit to. This is yacht rock we're talking about, the only tide here is the typical divide that has existed since the first major paradigm shift in an artist's sound; and this is not one of those, for their music has shifted from their initial style gradually over the years. I did not expect Little Yachty to serve Lemonade and Brownies, and the sounds that accompanied their sweetness, but I would have liked a little more variety that previous albums had presented.
Although the first song may be a hint as to what the album may sound like, the highest tree will not necessarily enlighten you to the elevation of that island, but have you heard of a hybrid palm-redwood? The song? A reminder that they still sound like summer, and evoke the pleasant vibrations affiliated with a warm and relaxing day on the beach, or on "Coconut Bay."
On the shore of the chorus, in the latter tune, you can hear the waves of the reminiscee, and you may realize what I mean.
The following songs each have their own points of appeal like the instrumental passage toward the end of "Sunday Love," the depiction of "Perfect Mornings" with a loving family, which evokes joy, or the message in "What The World Needs" to name a few, but it doesn't change the fact that some of the songs sound bland. However, track nine, you "Make It Easy" to dig the sound, and I cannot place why.
While lemonade is not served on this yacht, they do serve Pina Coladas, and that sounds like the perfect escape, and a very appropriate cover for this genre of music. "California Gold" is a funk-lite, piano lead dance number that livens the party, a little too late.
Overall, I did like the album, and will listen to it again, if I feel so inclined to do so, but in the background, but that's not an insult because the music is often not the sole focus, isn't that what yacht rock is about?

Sugar Ray, Better Than Ezra, and Emerson Hart at Artpark (July 9th, 2019)

While I have never been much of a Tonic drinker or listener, I saw things a little differently after hearing the band's most recognizable hit in a live acoustic setting, and although that was the only song I caught in the set, I can say that the song itself and Hart's vocals have aged as a fine wine.

While I am at it, why not make a toast to the nineties and all of the talented bands and performers that either rose in prominence or formed in that decade. Yes, feel free to debate whether the following bands deserve the general description of great, but as performers, it would not be fair to understate.

While I have heard of the band, and only listened to a song or two, a full in-depth familiarity with their catalog was not necessary. It may have been Better Than Ezra's set, but they paid homage to many other artists that came before or around the same time. From the Sublime teaser encasing
"Santeria" and "What I Got" in a medley that also consisted of "Extra Ordinary/ I Can't Feel My face/ Sumertime" to the mic-drop worthy medley of "Juicy/Rapper's Delight/O.P.P." If neither of those struck your fancy they surrendered to the Jam band leanings and performed a fusion of Phish and Widespread Panic, even incorporating a Dave Matthews impression, warning us about the water; Matthews may not front what many may call a genuine Jam band, but they are an engaging artist. If that was not enough, they played another medley that initiated a Rush of serotonin, by the order of "Limelight/Free Will/ The Spirit of Radio." I'm not even a big fan of Rush or have acquainted myself with a lot of their music, but this was my favorite of tributes; it served as another example of their chops as musicians.
Not there was a competition brewing, but before their final cover, Kevin Griffin had mentioned that because they were playing with Sugar Ray, they wanted to raise the bar, to the point "where the odds were stacked against them" in jest; in all seriousness, it was a self fulfilling prophecy. I am not sure how his name is correctly spelled, but a pianist by the name of Ben Alleman traveled all the way from N'awlins to serve as Sir Elton on a performance of "Tiny Dancer," even after becoming a victim of food poisoning; the fever broke right before he tickled the first keys, playing from the tour bus.
Later, Mark McGrath from Sugar Ray had stated "There is no order. We know how great those guys are."
Now what about their originals? I wasn't exactly impressed with "King of New Orleans," but I hope that this commentary is not "Misunderstood."  One of my favorites had to be their first hit, which is more than "Good," and left me "Desperately Wanting" more of that energy, which was sufficiently spread throughout the set. The latter was a tune I could never attribute to a certain artist before this; the same could be said of "A Lifetime." If you think of "Jumper" by Third Eye Blind, I would understaaand. While I haven't listened them long enough to declare that B.T.E. stands for "Better Than Ever," I can claim that the backronym could also stand for "Better Than Expected." so Thank you  Kevin Griffin on lead vox, piano and guitar, James Arthur Payne Jr. on guitar, keys and back vox, and Tom Drummond on bass and back vox, and Michael Jerome on drums for the experience.

I had my expectations when it came to this band, a fan of their music since their name started to "Fly" to the top of the charts, and I had my set wishlist in place. I knew I could not expect all of them to be granted.
I could feel the anticipation rise as I awaited the band to set foot on the stage, and smile to myself as I recollect what had transpired that night. While a fan of the albums that had preceded it,  I was hoping to hear a few more songs from their self titled record; "Words to Me" was the perfect way to start.
It is an accurate assessment to claim that when you think of Sugar Ray's music, you think of summer, especially some of their later and breezier fare, and this new tune takes you to a state of mind filled with sunshine and good vibes, courtesy of "Coconut Bay." It was one of the newer tunes that I took to right away. "Someday" I will appreciate some of the other new entries in their repertoire, but for now I will fade away, and coast back to nostalgia shore, or nostalgia cove, because the next tune rocks.
While the riff  was a little muddled compared to the studio version, and to some of the other tunes in the set, I still had that inclination to do that mid air split, answering the phone call from "Will Tojump."
Before they jumped into their next hit, Mark McGrath mentioned that they almost found themselves on a One-Hit Wondercruise for a month, with the likes of Kajagoogoo and Chumbawamba, aiming to be the voice of reason and encouraging some of the other members to give it a chance. All it took was some divine inspiration, and they were able to escape the fate; while his version was more compelling, you get the gist. "Every Morning" was that hit that shook off those shackles.

With a new song introduced, many find themselves with a choice to hear it first, if it is not already on youtube, or take that bathroom break, and McGrath gave us a warning. With the reception from the first one well received, "Highest Tree," they decided to play their first single from the new album. These songs, in my opinion, may take a few more listens to decide where they stand.
I don't think I can continue this reollection without mentioning how grateful Mark McGrath was throughout the set, praising the sets of Better Than Ezra and Emerson Hart, and expressing his gratitude for the fans and their interaction and appreciation multiple times throughout the set.
He also went to thank one fan who has stuck with the band for a long time, giving MGrath and his cohorts daily encouragement, and "there has not been one time where it did not help" (paraphrased).
It's true, we may not know the effect our actions may have on others, or as artists, our particular art or media may have on another, but I imagine if I listen to this song after the breakup with my hypothetical girlfriend, that it would leave my heart lighter "When It's Over."
Speaking of relationships, Mark McGrath debuted a new song they were working on earlier that day before he had opened up about is family, and the "Perfect Mornings" they often have. It was the only time in the set where he donned that acoustic accessory for heartfelt expression, and proof "that I can still play guitar." It was another humbling reception to a song that meant nearly as much as his family.
Before they took us further 'into yesterday' they played their contribution to the Surf's Up soundtrack, of the same name, and while it was nice, it was not as fun as their first album. Around this point in the set, McGrath had addressed his appreciation for the only other founding member of the band, Rodney Sheppard, still a component after thirty years "...and to still be around after thirty years is something worthy of recognition" (paraphrased). They had then to speak of their debut, Lemonade and Brownies, which both founding members admit it was their album they had the most fun when it came to writing, and then queried "Do You remember the Ramones?" How can you not, when their "Blitzkrieg Bop" finds itself in all the right places? They went to mention that the song they were to play was inspired by the band. The terse conversation was the cog that set the "Mean Machine" in motion, and while the song itself was not my favorite in their catalog, it was one of my favorites in their set; it was the vanguard of vitality, that beckoned a "Hey Ho, Let's Go!"
While they did play some of their classic summer breeze hits, that could be heard on nostalgia shore, to much appreciation from the crowd and I, there was another cover that rivaled the appeal of those  tunes, and the energy of their moshpit medley, and that was Violent Femmes' "Blister in the Sun." It was the song that began a trifecta of what makes the live experience so great: the energy, the interaction between band and fan, and the improvisation that may await you. It all started with the  promise of a 24-minute blues epic, before those recognizable notes were "misplayed" and the scab remained from that blister, then a change of plans occurred. Oh those happy accidents.
While they had mentioned numerous times that "Fly" would not be found on this set, it was half of the final hybrid of the evening; along with "What I Got" by Sublime.
It would be remiss to not mention the talents of Dean Butterworth on Drums, and Kristian Attard, formerly a contestant on Australia's "The Voice,"  on bass and backing vocals.