2021 Stocking Stuffers

 Steve Perry "The Season"

With an artist that was given a gift and is one of the best vocalists in not only rock, but in general, and left a big chunk of his legacy behind, it was inevitable that he would record music for The Season of giving. The selection of songs on this extended play are tried and true, like his voice, you can tell they are tired too.

Shaggy "Christmas in the Islands (Deluxe)"

Over the years there have been some surprise gems mined from Christmas Canon mountain, and this is one of them. There are a lot of fun songs that can be listened to all year round, with enough to let you know the intended season, but not too much to deter you from listening to them in the summer. It's Still Christmas in Ontario and Montego Bay on December 25th regardless of the weather, right? Two of my favorites would be "Warm and Easy" and " Catch Myself Some Rays." I almost had a "Holiday in Jamaica," but this is a good enough substitute.

Eagles of Death Metal "EODM Presents: A Boots Electric Christmas"

When I saw this release, I could not believe it. While I have heard enough of the band's music to have a certain set of expectations, I was hoping for a little more holiday boogie, and a little more Halford "III: Winter Songs" rather than Scott Weiland "The Most Wonderful Time of the Year." I say that with as much respect as possible, may the latter songwriter rest in peace, because I do like all three records, but it was tamer and more traditional than I expected. 

Bryson Tiller "A Different Christmas"

I have heard Bryson Tiller music before

This is A Different Christmas album for sure

When it comes to length, there are features galore

one you may have heard of, but another's reach is exponentially more

Is it really that great? that's subjective for sure.

If you cannot spare twenty minutes, you can walk out the "door"

But then you would miss a nice treat before album number four.

Something Old, Something New, Something Borrowed, Something Blues

Jimmy Buffet "Tis The SEASon" 

Tis The SEASon for Christmas records

 Fa La La La La! La La La Laaa! 

After creating one classic, why not another?

Fa La La La La! La La La Laaaa!

I am not a Parrothead, but I do know what I like, and this Christmas Island Shuttle Captain comes sailing in with three breezy classics reworked in the key of cruise, before shifting gears to "Drivin' The Pig(Manejando el Cerdo)." 

I have to say one of my favorites is the "Twelve Days of Christmas (Parrothead Version)" which sounds like a buffet of good humor and good times, and the charming list of "What I Didn't Get For Christmas" with all sentimentality and fun intact.

Another song that undoubtedly captivated my attention with its glaring truth, that has most in the know with occasional alternate facts and humor in tow, is "Santa Stole Thanksgiving," which is no longer as relaxing because it led to Black Friday eating some of Thanksgiving too.

What follows is an appropriate and then two questionable covers. Whether you celebrate in Hawaii you can still sing "Mele Kalikimaka," right? Of Coarse, Toucan.  The soft white sand can serve as snow for a "Winter Wonderland," so it's not as questionable, I guess. I digress when someone says "Baby It's Cold Outside," we think of thirty degrees or below and in three-layer dress. It can get colder at night, just not as cold as New York State, but that is just one of many places where the statement would be right.

Norah Jones "I Dream of Christmas"

Norah Jones finally answered the call, and this Jolly Jones opens with a song that embodies holiday anticipation, that can also score a beautiful snowfall. Her rendition of "Christmas Don't Be Late" re-enforces that feeling of anticipation in this one-two punch that can bring that feeling that a child may have at Christmas. 

But we know that it's not all sugarplums, gingerbread, candy canes and merriment with the cover of "Blue Christmas" that really prepares you for the next tune. As last year was one example, to which Jones documents in her original "It's Only Christmas Once A Year" and urges everyone to "Gather all your loved ones, hold them close to your heart/ 'cause one never knows what lies ahead or when you'll part." It fits center in a nice sandwich of songs that realize and express that holidays cannot chase the blues away. The original that follows sounds like it could serve as an anthem for those that suffer seasonal affective disorder, yet it assures all who care to listen that "You're Not Alone."

Her cover of "Winter Wonderland" seems to denote a shift, and the word "ethereal" comes to mind, it may not be heaven but it sounds like you are experiencing that walk during snowfall in another world. While "A Holiday With You" does seem to address the SAD a little more effectively, she is hopeful, and after a selection of two more joyful covers she is even more confident in asking "What Are You Doing New Year's Eve?" 

A Very Kind Beats Christmas: The Music of A Charlie Brown Christmas Interpreted by Andrew McCauley

Schulz's characters are synonymous with the Christmas season, and every other major American holiday to put it plainly. The album that inspired the re-interpretations is one of the best albums to honor the season and more transcendent than most seasonal offerings, when it comes to listening to it outside the traditional time frame.

 The classics are included, and "Christmas Time Is Here." The latter includes an exploration of the season on another planet. "Christmas Is Coming" for sure, and it seems it arrives faster every year, and to acknowledge this, the tempo has been sped up, not for lack of patience, but for a subconscious imperative. Whatever the reason, we have more fanfare for the Christmas stan. 

The major change in "Fur Elise" is the Merry-achi vibe brought to you by the horn section replacing Schroeder's iconic piano, it is an extension of a good time. All in All, there is enough to warrant the whole project, aside from proceeds going to charity, which is a very kind gesture, if you want to listen to a reinterpretation of a holiday staple. If not, it's your choice. My one complaint is that it cuts out "Greensleves," but I am a bigger fan of the color red anyways.

Sabrina Claudio "Christmas Blues"

After listening to her voice, "I Just Melt," or my preconceived notions of how good this album can be do. Yes, her voice is so smooth and sexy without any effort that I can detect. The first single, "Warm December" perfectly describe the sentiment and temperature of the album, as described by Claudio herself, and set the tone for the record. Even though there is that fire of passion she sets, she manages to temper the flame to a bonfire, enough to warm chestnuts over. She remains faithful with her cover of  "O Holy Night" and two other classics. While her duet with The Weeknd focuses on the "Blue Christmas" that living away from your loved one can bring, her duet with Alicia Keys lists some the past and current wonderments of "Wintertime." She keeps it classy throughout the whole project, even with a song like "Short Red Silk Lingerie," and how many Christmas albums can you say have achieved that?

Eric Clapton "Happy X-Mas"

Although I am not attuned enough to his music to call him by his nickname, Slowhand, or say I have heard all of his albums, I can say that I respect him as an artist.
As I am a major fan of holiday music,  I was intrigued to see an artist of his stature release  a holiday-themed album after all of this time. Some may scream, "Cash grab! Clearly the revenue is his version of a Christmas bonus!" 
He bookends with the canon classics, "White Christmas" and "Have Yourself A Merry Little Christmas," and while they were good, we know the true value of the present lies inside. One of the most beautiful songs written finds itself on this record, Silent Night. One of the most intriguing covers was "Jingle Bells," which on first listen might be missed, but most of the elements of the original are there, just rearranged and repurposed; a Christmas dance party anyone? However, with its parenthetical appendation, it is not as surprising, in Memory of Aviici, which makes it even better.

 He throws in a few Christmas classics of the blues persuasion "Lonesome Christmas" and "Merry Christmas Baby," both of which were covered on A Christmas Celebration of Hope recorded  by another legend, B.B. King.
While now would be the time where I mention the rest of the album's "originals," I come to find that aside from "For Love On Christmas Day," the majority of the album is one of covers. I had my suspicions that "Away In A Manger (Once in Royal David's City)" was another blues interpretation, but the rest caught me by surprise. It's wonderful to hear more of the obscure Christmas tunes unearthed and included on more recent Christmas albums; all good songs that need to be heard and be paid their due, with your attention at least once, but worth more than that.
So while it took over five decades to release a Christmas Compendium, my final judgment is that it was well worth the wait; a consistent newsy, bluesy classic.

Keb Mo "Moonlight, Mistletoe, and You'

 I don't listen to a lot of Christmas records seeped in the blues, but when I do, it is BB King's "A Christmas Celebration of Hope" or Eric Clapton's "Happy Xmas"

It is without question that a record of this caliber should be added to the Christmas Compendium of records that circulate through my consciousness and natural audio processing units every year.

While I am not the biggest fan of redundant covers, Keb' Mo' manages to bring his own style and give reason to recording another version of classics such as "Please Come Home for Christmas" and "I've Got My Love to Keep Me Warm," a duet with Melissa Manchester. Clandestine covers (songs not generally covered outside its genre) such as "Santa Claus, Santa Claus" and "Santa Claus Blues" pay tribute respectfully to Theodore Edwards and Charley Jordan, whilst adding his style to the tunes.

Some of my favorites happen to be the one-two punch of the eponymous second song and "Better Everyday," both of which are love songs, and worthwhile additions to the ever-expanding collection of holiday songs. 

In fact, the whole album is a labor of love, paying tribute to the classics of old, in his respective genre and some more common ground recordings to name one. It also pays tribute to the holiday and the love of family and the holiday. Even the song "Christmas is Annoying" is written with love, and the lyrics sound like a testament to that; not only the notion where Christmas is like a dream and as you get older that dream fades away, or the magic of it all seems to dissipate, but the 'Auld Lang Syne' addition as well.

The latter was a little tongue in cheek, but also genuine frustration, because there is a lot to love about the season. He even mentions in another original, "When the Children Sing," found later in the album, that it is his favorite time of year, but what one loves about the season or the significance of what was originally cherished...changes.

If you love your Christmas blues a little funky, then this song may give you a "Merry Merry Christmas"

Zaytoven and Deitrick Haddon "Greatest Gift"

 I have been trying to write a review for this extended play for several years, not because I feel like I have to do it, but because it is that good, and I want to. However, most know that when it comes to a Christmas list, they are merely suggestions and possibilities, not guarantees.

I just want to do the album justice in the review, and sometimes with albums I enjoy, I just don't have it in my heart to do so. For some, reviewing a record or a film is merely a job, and does not require much consultation from the heart, merely the mind; that is not the case with me, and I am certain I am not the only one who feels this way.

Anyways, Christmas Hip-Hop and Rap is not really utilized when it comes to full length albums. with singles and songs, yes, but albums and even extended plays, not so much. There are compilation albums with original tunes by various artists, but that is not what I mean. I am talking about an album by a singular artist or collaboration between two artists that is more family friendly.

 I have listened to Snoop Dogg's Christmas in Tha Dogg House, which is good and has become an annual tradition, and I have yet to hear A Colt 45 Christmas by Afroman, which sounds interesting, but is probably not a good suggestion for the fam. One of my favorites that I had heard before this one is A Very Random Christmas, and until this record, Mega Ran's modern holiday classic was the only one that was the best fit; Snoop's was close, but not friendly enough.

While I like to include critiques of certain song selections, instead of merely critiquing in a general sense, this may be one of those records where I may not delve too deep and pull out surprise references from the magic bag of St. Nicholas. I must applaud the production and consistency of the record, for there is no fat on the Christmas Ham, or Tofam; I was going to use Turkey and Tofurkey, but the former felt more appropriate.

I must say that while the lyrics are generally family friendly, there are traces of coal in "Make Love on Christmas" and "Holiday Bae-cation." It does balance out the songs that celebrate the real reason of the season and explicitly state it in the eponymous audio blessing "Greatest Gift," an abbreviated nativity story found on "Silent Night," and the beautiful "Christmas Prayer" that follows through with one before the second song.

The last song, sounds like it would be effective in scoring a "Good Christmas."

Now that I think of it, this record may not be another answer to a family friendly Christmas rap album, but a solid one, nonetheless.

Christmas Surprises

 So it is safe to say that in 2020, we needed a little more Christmas Joy than usual, and the season is oft generous in its gifts of new holiday recordings, and this year was no exception. For this post, I will highlight some releases I did not expect, from names you may recognize. 

JoJo December Baby

 "Get Out! Leave! Right Now!" It's the end of disbelief. Still recording music and released her fourth official full-length months before this record. It is Good To Know, for those fans that like her but don't follow her every move. You may have heard the majority of these songs, but what is cool is that you hear a lot of terse snippets and interludes, not full-blown covers, aside from "The Christmas Song," "Have Yourself a Merry Christmas" and "Silent Night"; which does add intrigue. The rest of the tracks that exceed two minutes are original charmers such as "Wishlist," "North Pole" and the eponymous song number four. 

Carrie Underwood My Gift 

I am fan of this songstress and her music, even saw her live with one of my favorite people in the world, but I was not sold on a collection of songs, some of which were tread too many times. However, after hearing "Joyful, Joyful, We Adore Thee" for the first time, and Carrie co-writes, such as "Let There Be Peace" and "Sweet Baby Jesus," along with her rendition of "O Come All Ye Faithful" and her duet with John Legend in "Hallelujah" I changed my mind. When she had stated that a Christmas album was on her musical bucket list, and that these songs are "close to her heart" I believe it, and her performance corroborates those statements, and the fact that her son sung on " Little Drummer Boy" doesn't hurt.

Tinashe Comfort and Joy 

To those that may recognize her name, they may also state that she is a criminally underrated talent, and this a seasonal sleeper hit. In spite of the countless re-recordings of these canon balls Tinashe manages to make these versions memorable, and required listening throughout the year.

A Legendary Christmas: Deluxe Edition

There is elegance in simplicity, and while sometimes the best solution may be the straightforward cover, it will not help you produce a memorable and timeless album. Especially when it comes to tunes that have been re-recorded to the point where almost any cover can be deemed as a mere, and often bland, imitation. Classics of the canon such as "The Christmas Song (Chestnuts Roasting On An Open Fire)," "Have Yourself a Merry Little Christmas," and "Please Come Home For Christmas" utilize the former approach, changing it enough to warrant a reason, aside from the appreciation of the songs.
While other classics such as "Silver Bells," "Christmas Time is Here" and the medley "Merry Christmas Baby/ Give Love on Christmas Day," among a few others are arranged in a more creative manner.

 One of "My Favorite Things" happens to be Christmas music, and music in general, so when I choose to review an album or collection of tunes, I intend to do so with constructive criticism (and creative license.) The latter was another tune that had altered more than its aural arrangement.
The re-recording of Stevie Wonder's classic is timeless, and does not sound derivative, albeit its slight alteration; it holds the same energy and excitement the original bolsters, while including the Wonder-ful artist himself on harmonica.
I tend to "muddle through" the covers on most albums, giving them a chance, to listen to the new tunes an artist contributes to the immense, ever-expanding, and dizzying collection of holiday music.  My favorite had to be "Bring Me Love," with "No Place Like Home" and "Merry Merry Christmas" coming in second. "No Place Like Home" covers the majesty of a quiet holiday night with loved ones and snowfall, while the latter captures the energy and excitement of celebration with several generations of family walking, or running, through the abode adorned with jovial spectacles.
The sentimentality of "By Christmas Eve" earns the song an honorable mention, even though all of the new entries are good songs.
The inclusion of "Christmas in New Orleans" and "Purple Snowflakes" were intriguing additions, especially to find out the backstory, of the latter song; which until now, thought was an original tune.
So, although it is subjective whether this is A Legendary Christmas album or not, it will not change the fact that John will always be a Legend, by stage name (at the very least).

A Very Kacey Christmas

With holiday albums, some artists tend to lose themselves in the music; their individuality evaporates, or is diluted. It is almost a written rule that every holiday themed album include at least one well-known, and this record is no different in that regard, but holds true to its title. The album is undeniably Kacey, which might not register until after the initial two tempered tributes to the holiday are through. But by the third track, her cover of "Christmas, Don't Be Late," you realize it's true. In all honesty, who could compare with the cuteness of three singing chipmunk brothers? Even when in actuality it was voice modulation and effects; the accordion on her version add to its quirk. 

The first original tune on the disc promises "A Willie Nice Christmas," and an exceptional duet follows, with who else? Willie Nelson. She helps convert a holiday breakup into a gift of song, with well wishes for everyone, including he who may have broken her heart, figuratively and possibly, and the island guitar suits the sentiment. 

She then hones her well wishes to one holiday with her version of "Feliz Navidad," with an appropriate latin flare.
While her second original, "Christmas Makes Me Cry," is not my favorite it can stand with other tunes written for the lonely and broken hearted around the holidays; many would jump to "Blue Christmas," but I thought of Dean Martin's "Christmas Blues." 

The subsequent original, "Present Without A Bow," may be in a similar vein, but is a little cheerier with two. Misery loves company, and I feel a little merrier after listening to this modern classic, in spite of context. Consider this song a bridge to a more mirthful time when the significant others are celebrating together. 

Which brings me to my next point. It almost feels like there is a loose narrative because the final original, and second last song, express the joy in finding that special someone, and the love they offer is more than any amount of gifts in "Ribbons and Bows" can give.

The other three songs in the final quarter gradually veer from the quirky, with "I Want a Hippopotamus For Christmas" to the tale about an outsider with a red nose, and finally an inquiry, "What Are You Doing Christmas Eve?"

Usually, the holiday is a bust, but...right. It wasn't an invitation. 

I may not know Kacey, but I am acquainted enough with her music to say that this album was an accurate designation to score what A Very Kacey Christmas could be.

Christina Grimmie "All Is Vanity"

I debated sharing this for a long time, and stumbling on this draft again, I thought that maybe it is time. This time I came around it, I felt that maybe now is the time. Not that it will have any impact, but respect that I intended to pay her will finally come to light, and some can say it was a vain decision, but this is not about you or I. It is about this young lady and her impact on the world, even if it appeared to be a small fraction of it, and I was just writing about it.

Kadesh Flow "Room Service 2"

 So I can say that I have been a fan of Ryan Jamaal Davis, or Kadesh Flow, and his music for at least five years; a real cool guy that I am glad to have met on the internet and social media, and I consider him a friend, but I cannot speak for him if he considers me the same. So while this may be the first time you are reading a review from me, just know that I try to be as constructive, genuine and unbiased as possible. Heck, I am not even sure if I am human, but that is besides the point. 

I have always debated whether I should write reviews for his albums and that of my friends, and the gap present in the ratio of albums reviewed to listened to keeps on expanding. I am just not interested in voicing my opinion on creations of others as much as I was years ago. There is something about this record that poses the question "if not now, when?"

 It is not that the past records were not worthy of review, there just has to be an angle I can enter, or even just one song that I have a potent and unique connection with, and although songs and records past did resonate with me, this album offered me a foundation to start. 

I really liked the opening eponymous acronym, in all aspects of its creation, as well as it serving as a recap or refresher for those who have yet to experience Desh's music. You can feel the anticipation in the tune, even as you hear "...working all the time now" and "all I got is moves on the mind now" with that steady and slow beat in the background. It is best described as Desh in the driver's seat anticipating the green light, ready to "Beep" his horn, and GOOO, as soon as it changes.

The next song does change the tone, and the tune that parallels the verses of Desh, Ohm-I and Creative Mind Frame is just concentrated cool. While their flows prove they have some experience in keeping others "satisfied," and this song does, even though I am aware that is not what they are referring to. That brief brass whisper during Creative Mind Frame's verse is a perfect blast of nostalgia. While Ohm-I's lines concerning his multiple consoles including PS4 and PS5( and using the word for more than one meaning) is another winner. While it was not my favorite, I did appreciate Desh's opening verse, and the authenticity of his career's effect on his personal life.

The song that convinced me to do a review was "Useless." 

The self worth of a person that creates media for their career, whatever it may be, is partially dependent on what they create and their frequency of creation, to name a few factors. Even though we know that each person is more than what they create, this correlation between worth and creation is inherent; it is something that can be modified, but not completely eliminated. Especially when there is no guarantee that after the finalization of said creation that there will be compensation worthy of the time and effort spent, or that the impact one hopes they have with their art will meet expectations.

 It is something that every creative person faces when they make their career based on what they create, because it is not a nine to five, and they often spend even more time than the standard set of hours with less stability. So this song hits home because I can see the struggle, regardless of me keeping my creative pursuits as side projects and not my main focus, or source of income. Especially when Desh mentions the effect this has on his relationship and on his self-image (\as expected, but it does not dilute the poignancy of the pain, especially when you want to help those you love, but cannot do everything you would like to be able to help.)

I find the sequence of the third and fourth tune to be ironic and even more poignant because after the third song and "all the feels" that came for the ride, the beat and the message of the fourth song drops them off, allowing none of the previous entities in attendance but hope; because hope was there, just buried deep.

 I know most have heavier things on their mind, but I cannot help but think of John Mayer when I think of how "But Hope" begins. Listening to the opening track from his 2003 record may offer some clarity for the reference.

What better way to start the morning off then with "Whiskey in My Coffee?" It is one of my favorites when it comes to accompanying instrumentals and vibes, even though Desh does not recommend it as a practice. Trevor Turla nails the necessary notes to take this to the next level.

Although I cannot speak from experience, I can empathize with this unfortunate reality that too many people deal with. Discrimination has many faces and is inspired by a multitude of differences, which often beckon the chagrin or sadness, and/or anger and darkness.  Personal reflections from Desh and The Epitome drive its effect home.  The contribution that Marcus Lewis made must be acknowledged, and enriches their catalog of music they had created together so far.

The line "I smile to disarm you" is directed toward the preconceived notions and even inherent fear we may have towards another component of the human race, specifically the "black" community. This specific fear is a smaller component of agnostophobia (fear of the unknown) that resides in everyone, and what triggers the symptoms of fear is specific to each person. This may not be understood the way I intend so I will give an example: Not everyone is afraid of books, many just choose to avoid them. Not everyone is afraid of heights but they can be afraid of what could happen if they do fall.  

The reason of this fear is usually due to subliminal conditioning in media and may be strengthened by opinions of the people closest to us; what do they see when they see another human being with more, or less, melanin? Racism is a two way street, and I don't need to place the actual definition in here, so I will spare the redundancy. The fact that I am having trouble finding the right words to say is telling that it is a wound that has yet to heal, and although there have been a few strides, racism is still more prevalent in the world than people want, or care to, admit ; most relationships do not even begin because some people may not like what they see, and it is not only regarding race, but that is part of it. 

I was ambivalent about mentioning the song and its impact, and there is more that could be said, but I am not educated enough to say any more than I have. However, I cannot just ignore it. Racism is not going to just go away by ignorance, in fact that will only exacerbate and strengthen its hold.

This could just be me and my musical experiences, but Davis seems to sound a lot like Craig David; specifically in this track, or it is most apparent to me.

Phew! "Destiny Becomes Me" is a really engaging instrumental that is a host to some illmatic vibes, and says more in an instrumental than one may expect. It is a fabulous intermission and a nice cleanser of the emotional baggage that preceded it. 

The relevance of  re-dos is transcendent in "Take Backs," even if some of those "mistakes" lead to a brighter future, it does not clear the past of everything we wish we did not do. We all have the same amount of time in a day, but it can be discouraging when nothing seems to come of your efforts, or that it takes longer than expected, and there is always "should I have done it this way instead?" 

The latter was indirectly asked with "What does 'making it' even mean?" There is a general association of what success entails at a basic level, but it is subjective to what someone values. Ryan Heinlein, I hear you, and your contribution is appreciated; I'm sorry, I did not know what else to say, but I could not just say nothing.

When it comes to the impact that this artist and his music has had on my life I can say that there is no way he will be forgotten, nor can I also go any farther without thanking Mega Ran; so any accusations that include "Forgot About Me" are not true. If I had not crossed paths with Mr. Jarbo on the twitterverse all those years ago, I am not sure if I would have came across Desh's music a year or two later. Also, there is nothing strange with the flow he utilizes on this track, but there is a reason he was able to record with TechN9chians. That's also not mentioning the killer keyboard in the back that shines towards the end.

"Outside" features the other half of the dynamic duo that includes Andrew the Only...Andresh the Flownly? Deshly Flankrew? Cheesy names aside, the two artists complement each other well. The instrumental accompaniment is alluring and haunting; it could even be an entry in the Ghouls N' Ghosts album series by Mega Ran and Richie Branson, if there was something to scream about. However, with someone used to the grind and given some free time, it can be a teensy bit terrifying to decide. Being taken out of one's comfort zone even more so.

If you want to hear more of these two talented artists working together you can check several holiday tunes they recorded together like "Lit 4 The Holidays" or "Grindin' 2 Give." However, "Run Away" from the third installment off the aforementioned series, featuring two hosts with the most to scare some ghouls and ghosts,  is what drew me towards these two artists instead of listening to their advice. The real reason I wanted to take this detour was to promote another project they both are involved in, and that is The Enclave(WTF); they have a four song EP on Bandcamp.

"Cry For Me 2" is one that leaves me baffled at what to say, but it makes you think, even if you hadn't been in a relationship it still tugs at the heartstrings.

The hook in "Never Give Up" is persistent and uplifting like the verses. I like all of them, but this set stuck with me. "When you got heart and you're consistent/ put some ( not sure) and you miss it/ no one's ever going to get you off your game because you maintain grip with the foundation of persistence." 

If the last song was the final boss, then "Mirror Talk" is the victory lap. The instrumental components and that refrain "I get E-X-P from adversity. Level Up 'cause it's still workin' out for me!" sound like they corroborate my theory. Take that, glass ceiling!

Christmas in July Reviews: Five from Four Years Ago

It is always exciting and overwhelming to find out which artists will contribute to the Christmas Canon, and after the sensational surprise that R Kelly left us at this time last year, I thought "could this be a competitor" after finding out that Fantasia Barrino was releasing "Christmas After Midnight," not speculating that she could outdo Kells when it comes to sexing up the season; well, that was also part of the surprise, the majority of the songs were not only new tunes but more family friendly; still Kells. So I kept it in my mind that this album is predominantly covers, yet still kept a solid hope that it would deliver. It featured selections with a multitude of reinterpretations and covers, that are seasoned "veterans" for sure, such as "This Christmas," "Have Yourself a Merry Little Christmas," "Silent Night," and "The Christmas Song" to name a few. "Baby, it's Cold Outside," "What Are You Doing New Year's Eve?" and now "Hallelujah" are finding themselves reinterpreted more. What was more surprising and delightful was The Jackson 5 Cover "Give Love on Christmas Day" and James Brown's "Santa Claus Go Straight To The Ghetto." Then she managed to record and place the Sinatra classic "In The Wee Small Hours of the Morning" on the album without it disrupting the seasonal thematics. What to say about "The Snow is Falling?" Well, it's to be expected, from my location, it's winter; check it out. Even though this was an album full of  reinterpretations there is still Christmas magic present on the record, and would not be a shabby gift under the tree, its worth more than initially believed.

To have yourself be discovered by a Christmas album? Sounds like a gift that reciprocates in the form of a brighter future in the music business, as long as heart is in it, deserved it is. To tackle the iconic and overplayed Bruce Springsteen and E -Street Band arrangement of "Santa Clause is Coming To Town" as well as Andy Williams' "Holiday Season" in the first period, sounds like a Long Haired Country Christmas. What is that pray tell? It is an album full of covers by a musician that can pull off a steady rock version of the latter, and make a decent version of the former without upsetting the Boss. While the energy level on most of these tracks may be a little lax, I can sense the passion and I can feel the Christmas spirit, not just because I choose to be constructive, but this music generates it. Whether he rides on the spirit of Christmas with the "Little Saint Nick" or glides on the glory of The Eagles as holiday memories come home for Christmas. While staying true to the original doesn't necessarily make his renditions unique, they become memorable; which is partially what holidays are about, and yes positive ones, and although most people would prefer the source material over JD's versions, it does not mean they are without merit. In this case, less is more and "The Little Drummer Boy" was able to pull it off.

I should have expected that she had shed her "Oi to the World" sentiment earlier in her career, but there is no doubt that she has talent, and serves as a captivating host. Her voice has matured well, and although her re-entry into the genre finds her dashing through aural territory with renditions aplenty, her version of "Jingle Bells" still packs a punch.
As with there are only so many vacancies a heart can hold for other people, there are only a few vacancies for favorite version of "Last Christmas" which remains held by Jimmy Eat World, and Ariana Grande, yet Gwen's version is enough to find a space with potential.
So I have been comparing her new additions to the canon with renditions past, but isn't how these work? Unless we completely ignore a half record of original tunes, which would be a loss for the listener. The title track and duet with Blake Shelton is nearly as charming as the man himself, its an upbeat number swinging for the top of the Christmas tree; cause it's a star. While "Under The Christmas Lights" offers some mariachi horns along with some audio eggnog; insert a selection more agreeable to your taste if you're not a fan.
There are more covers and originals to discover and enjoy, and although I cannot recount to "When I was a Little Girl," I can empathize, yet still believe that "Christmas Eve" could be referring to the love of her life, or the Lord.

Let it be known that when it came to "Takin' Care of Christmas," Dude York came through with an indie/garage rock Christmas album, Halftime For The Holidays. It has enough holiday sprinkles to let you know it was themed accordingly, yet is not too sweet to rot your teeth. The recipe included a punkish attitude with a pop sheen, heartbreak, love gained, and their take on the "True Meaning" of the holiday season. Still not sure how I feel when it comes to their version of "Silent Night," seems a tad sacrilegious, yet still a good version.

As for A Kaskade Christmas, less is more. I expected less of the record and received more because of it. Not that I have anything against the artist or the genre, its just that I was unsure of how either would handle reinterpretations of holiday hits

Leona Lewis "Christmas, With Love"

 I remember when this came out I turned away. 

"What need do I have for a festive album from an artist I merely tolerate?"

Several years later, I heard "One More Sleep," and no, I was not in love that deep.

I heard "Mr. Right," Now to review? To be a significant other? not tonight. 

Then it hit me like a brick, Leona has an album and I was quick...

To disregard.

It was mentioned in another review that Kelly Clarkson, who released a Christmas album around the same time as Lewis, merely flirted with that "wall of sound" that is much more prevalent on this record. Those two songs, "Underneath The Tree" and "Wrapped In Red," are modern classics in their own right, and the two original songs Lewis has recorded, "One More Sleep" and "Mr. Right," have met the same fate. Songs such as "Oh Holy Night," "Ave Maria," and "Silent Night" have a tasteful foundation of sound where it would not be out of place on the record, nor polarize the expectations of the listener when they play these versions of classic songs. "Winter Wonderland" recalls the version Darlene Love recorded with Spector, and if imitation is the sincerest form of flattery, then consider it a near perfect copy with a little punch. This album may not be regarded as that which as inspired its sound, production, and style, but is an album worth revisiting annually.

Justice "Woman"

I cannot always grant any artists that I review justice, but I aim to be fair and honest, injected with my own sensibility, or call it what you may. A woman deserves respect, and this is no different.

Sam Hunt "Southside"

 So I have been trying to compile my thoughts on Sam Hunt's return with his sophomore record. How can you follow up a Juggernaut? With an iconic, and overrated, character like Deadpool? This reference may seem to be incorrectly utilized, but there is a similarity that these two sets from different media possess; the sequel is good, but not the same as the original. I do not despise Deadpool either, I just recognize that maybe he is held a little too high.

"But we don't want that! Do we?" No. Was the sequel as good as Merc with a Mouth's first official Cinematic Experience? It's all subjective, but it was good enough to stand on its own two feet.

Based on the usual schedule that occurs with artists, "2016" was the projected release of Hunt's next crossover smash, or juggernaut if you prefer( or would you prefer I say Deadpool?) but instead it became the title of the vulnerable opening track that may have revealed why the wait between records was so long. Life waits for no one, but that cannot be said for loved ones. However, they can only wait for so long.

It's not that we weren't treated to new music from Hunt a la carte over a several year period before the full record. The most recognizable and biggest hit that came from it was "Body Like A Back Road." I read that part of why he released songs years before the album was finalized was because he wanted to release songs that were relevant to him at the time of their release, instead of waiting until he had a full tank of tunes to drive his loyal fans wild. If that's the case, had he already found someone Pre-Valentine's 2017?

I didn't even know that "Downtown's Dead" was a single, but I can see why it was, and it does tie in to his single release philosophy and recalls the opening track. Was it someone else then preventing Hunt from painting the ghost town red?

The pain of unrequited, or lost, love can be "Hard To Forget." While there are some more upbeat songs off of his first record, this selection sounds upbeat, although it deals with an ubiquitous affliction when it comes to love and everyone's journey in it. Everyone's path is different, but there is at least one breakup where that person cannot be erased from memory, or their impact disregarded, and the focus of "Drinkin Too Much" reveals to be Hunt's.  Also, the hook of the former is pretty unforgettable too.

It is nice to have a song like "Kinfolks" to balance out a song that bears the painful realization that "Nothing Lasts Forever," which depending on the situation is also subjective. The love of , and shared between, family and friends can remain with us, even after they pass. Those same people that may assist one through that heartbreak in various ways, such as late night assurances that the break up was better for the person , or suggesting to avoid tactics in "Ex To See" from Montevallo  or avoiding actions found in the same track number on this album  because "That Ain't Beautiful," or worth the effort.

"Breaking Up Was Easy In The 90's" sounds like it could be the sequel to Hunt's major hit, "Breaking Up In A Small Town," While the former may have been easier, breaking up was still difficult to do, social media just complicated the process.

So now how does this record stand?  Well on its own, and appreciated for what this record is and not what it could have/should have been.

Dusting off a Pair of Engaging Christmas Rocks from 2017

There are some Christmas albums that are indisputable in their "Classic" status, and some merely subjective. While I prefer the more rock-oriented or untraditional music of Christmas, I do love the classics. These next two bands may now be lumped in the "Classic Rock" category, but their seasonal outings still prove they have yet to relent to laurel-resting, in fact they both released  another album aside from these holiday selections.
CHeap Trick "Christmas Christmas"
The band acts as a riotous child raising mirthful heck, then realizes it's really close to Christmas, changes their tune and tone, and then reverts to their antics in this romp of a Christmas album. Its safe to say that their cover of "Silent Night" felt out of place, for me anyway, among all of the energy and vibrancy of the rock, in good faith. The one two punch of their original tune "Merry Christmas Darlings" and their cover of "I Wish it Could Be Christmas Every Day" set your spirit alight and even encouraged that sentiment. I'm not a big fan of the band, but they brought a seasonal treat for the fans, even with another cover of "Run Run Rudolph" which incites me to run away at the mere thought, but the execution is appreciated; then covers of edgier Christmas tunes by Slade, the Kinks and The Ramones. "The Father of Life" is a song that while more tender than their cover of a traditional classic sounds more genuine, and not as displaced ; a pleasant original that allows the listener to breathe and contemplate the serenity of the season, before throwing the listener back into the bustle of the season with the title track.
"Not So Silent Night: Christmas with REO Speedwagon"
An important mantra to remember before opening that mystery box from a familial wild card or an  anticipated gift from a family favorite: It's the thought that counts. While a majority of the songs have been heard countless times from a multitude of musicians, there is still some magic left to be shared in another interpretation. The blend of gospel and rock in the seldom heard, and hardly covered, to my knowledge, "Children, Go Where I Send Thee.  is an example. However, I would not skip the yuletide extravagance of the songs that precede it, especially "I Believe In Santa Claus ( Remix 2017)." While there have been newer versions of "God Rest Ye Merry Gentleman" that rock, this was recorded before they were conceived and is worth the listen.
The majority of this record was released eight years prior, I did not know until recently, and while I cannot name any others that stand out to me, it is merely because the quality of the renditions and their components are of similar quality and these compositions have been overdone., but have aged well.

Good Charlotte "Generation Rx"

The production of new music often remains unopposed, but I believe there is a point in a band's career where they should just let it be. While The Chronicles of Life and Death was not as beloved, or sold as much, as the album that preceded it, I believe it to be the better of the two. Experimentation is often a sign of maturity, and both are present on the finale of their first trilogy. With the realm of possibilities they had opened, it made it all the more disappointing when my expectations collided with the reality that they will create the music they want; some of the more "epic" tunes may have been a tad cheesy with those aural accessories, but I overlooked that because I liked the songs. 
Good Morning Revival had more value than I may have lead myself and others to believe, but the point of the paragraph was to say that Cardiology was the album I had expected to immediately follow.
So while Youth Authority was a nice return, its music did not say that this was the reason to overturn Cardiology's swan song status. 

I understand that as a creative person, a feeling of self-worth or sense of purpose may partly be aligned with output, and the quality of it. Every executed idea may not offer 100% satisfaction to the creator or the audience, but sometimes it is best to let it out, so the idea does not rot within the mind; this is referring more to Revival, and although it was repetitious at times it did have some memorable tunes and utilized some good ideas. Just because the execution of the expression of emotion may not been the most mature does not mean that "Actual Pain" was non-existent, or that it did not serve as a reason for conception.
Now, to the point where you question whether the time you spent was worth it.
I will first say that the album seems to replicate the experimentation that The Chronicles of Life and Death had, in a more mature and subtle approach. While they have retained the pop essence of the aforementioned, the riffs are meatier and the sound edgier; a great example would have to be "Self Help" for the latter, and the former listen to "Leech" or "Better Demons."
The themes found in Youth Authority re-emerge, even if one has found their purpose, it does not shield that person from a negative presence that will still exist; whether it was derived from previous trauma, or that existential angst that affects everyone to varying degrees. The journey of finding yourself doesn't really end, even if you believe you have found what you are meant to do on Earth. It may sound odd, but the "scars" of success, such as the penetrated barrier of a "private life," or the scrutiny of millions to billions of opinions at any given time, the latter especially, are also referred to in "Shadowboxer."
The album is a concise and consistent collection of songs that are constructed from catharsis, even effective at type vicarious, to a lesser extent. Some of the songs exclaim "I Just Wanna Live" from their Chronicles album, though not in as direct a manner. The song that I can associate with social media and the intentional ambiguity that may be present in tweets or posts is "Prayers" where the delivery may include a wish for the strife to end for that person, or those people, and while the intent may be good we cannot truly know whether it is for show or genuine, unless we know the person.  As the lyrics commentate:
"Prayer
They don't mean a thing at all
Do they answer when you call?
These prayers, when you don't mean what you say
Would you die for me today?
No, I just can't relate."
The album opens with questions on the title track, which builds the tension that leads to the explosive energy of "Self Help," and the questions do not cease until the ode to "California (The Way I Say I Love You)."

Sam Hunt "Montevallo"

So I probably listened to the record a year after its release and planned to release the review before the next record, or at least before I reviewed the sophomore album, but I just didn't expect the return to take  over five years. So that is why the few that may care are seeing this now.

Miley Cyrus "Younger Now" (Toddler of a Review)

If anything, the full title should  have been "Bangerz and (s)Mash; pre-conceived notions and original impressions be dam-ned" and may have been just as successful, and still as true. Her last album, not referring to the low profile experiment, because how else could you release an album with dead petz, if not underground? The album was full of Bangerz and noteworthy collaborations, Ludacris remains one of my favorite "feature artists." There are even some somber bangers, but a lot of songs that may not possess the longevity of Bad which was Miley's intent when it came to releasing this album, one of them; to have an album that sounds just as bad arse decades later, and she still has a long way to go, but it rocks so far. One track that still stands the tallest to is "FU" and it doesn't even have its hands in the air, but that is another banger too.
The album was a catalyst, it initiated the public's severance from Miley and her old image. It may not have rewritten the book, but it started the next chapter, without question, through the occasionally contrived actions and surreal expressions of herself that were over the top, but helped reinforce her "rebirth."
This album is the fresh start that she sought after the best of both world collided and Hannah Montana was no more. While her 2013 album was nothing short of a spectacle, in sound and sight, Miley was still searching for herself after her initial childhood fame stage, this album is the true rebirth of Miley Cyrus.  Although pretension is the word that comes to mind with its initial simile in the title track, it addresses the journey Cyrus has taken since her alternative ego's inception, and the fame that came along with it; she seems to have reconciled with what came of it, even if she was not prepared or pleased with some of the steps taken with where she is today (creatively, musically, or careerwise). She was able to reboot her career, but in a more mature manner.
One can fall in love with someone else without knowing their name, just as one can fall in love with a song without knowledge of the same. That happened before going to "Malibu," yet in my heart I knew it was Miley, and this has happened before with Bowie and some of his music. As I read more into the song, I love it even more, just not as much a Miley loves Liam; or loved for that is in the air.
I wouldn't call myself a rainbow, but I would like to be a part of "Rainbowland," a utopia with its own gold concerning society, no longer Them vs. Us, but Together We "where we're free to be exactly who we are," cast aside the judgement and fear, but leave the scars. How surreal the prospect seems, but I agree, actualization is possible, with action, and open mind it can be more than just in dreams. It may be the closest to a duet with her Godmother and Matriarch of Dollywood, but is a pleasant vision of what could be, and the candid call added some joviality.
When you found who could be the love of your life, that love will be expressed in various ways, and even in various tones, because when we love them unconditionally, we love them through their most difficult manners and moods and at their best, of course; through the heartache they may haphazardly or intentionally cause ( because a person can be loved to the point it hurts.)  That is what these songs are about. The first of which contemplates a week without that love of her life, now , who could still be her soulmate, and the pain from her heart stomped on the ground does not overpower that yearning for that love, expressed in sound.

 The following two songs could be sisters, writing about the same subject with similar feelings, but with polar approaches. The tragedy of "I Miss you so Much" lies in both lyric and accompaniment aspects, and is of love uncertain. while the comedy lies in "I'd Die For You." A love that powerful can drive one to madness, or selfless martyrdom, but when the significant other is "better than any childhood dreams" which can be the most wondrous of those procured from human beings, it sounds like a love worth it all. The sound could be classified as upbeat faux-k or folk, depending on what your level of snobbery may be, but it really suits the song.
Some songs have me "Thinkin'" too much, while others not enough,  While it may appear to be somewhat of a gray sheep on either album, I cannot help but think of Bangerz when thinking of this one. The iteration of the final word on each chorus line accentuates a chorus's repetitive nature and sounds like a future hit. The selfless and sacrificial love may be in jeopardy, but its true, a relationship doesn't add up to much, much, much, much, if it does not include trust, trust, trust, trust.
The struggle of living or describing what is beyond your reach can place you in a "Bad Mood," and while its production is following a trend heard in the last few tunes, the same can be said for the love regarding her significant other, because unconditional love can only last so long when it is unrequited or sparsely reciprocated with something other than torment.
The lyrics say it best "to make somebody stay , you gotta love someone," but if you truly love them, let em' go. As counterproductive as it sounds, it can be effective, because one can find their significant other too early in life. The lyrics remark how Miley immediately knew the intended recipient wasn't the one, but nothing ever stops her from forgetting or moving on; slightly baffling because there seems to be some baggage or another force doing just that, and if it is a retrospective relationship she is referring to, ok, but if its the yo-yo that seems to involve Liam, ok? All I know is that it would "Be a cold day in hell before I'd ever be your wife (that's right)." That and the spunk on this track