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!