Chris Issak "Everybody Knows It's Christmas"

 It's that time of year, folks, and Everybody Knows It's Christmas whether we like it or not. Whether we celebrate, our senses will be overloaded with the season. While every sense is bombarded, the sights and the sounds of the season seem to be the most prevalent with a plethora of dead-horse renditions of classics of yore we fell in love with. 

While I appreciate the classics songs and albums, I am a champion of the new, and I am talking about tunes more specifically. His covers are nice enough, even if some include the sixth and thirteenth most covered holiday tunes, Winter Wonderland and O Holy Night, respectively. I do enjoy rockin' around the Christmas tree as well, but I don't pine for a new rendition of it.

 There are a lot of pleasant additions to Chris Issak's personal Christmas canon, even if some might bring about the "Holiday Blues," like the twangy  Chrismisery found in "Christmas Comes But Once A Year" or the Preslesque "Wrapping Presents For Myself." 

If you had a tail would "Dogs Love Christmas Too" beckon a wag? It is a real cute ditty about doggos' (hypothetical) enjoyment of the season. I know it's "Almost Christmas," and this is the perfect anthem for present purchasing procrastinators that captures the tension produced by that decision, but one a person can dance along to.

My favorite of his new contributions has to be "Help Me Baby Jesus" which may defy one's expectations and misconception of the song's direction, while also illustrating what the season is about.

Francesca Battistelli "This Christmas"

 In 2012, Francesca Battistelli released a thoughtful, festive and fun Christmas record. This Christmas record is another collection that balances old and new and brings classic elements from timeless renditions of Ella Fitzgerald's "Sleigh Ride" and Bing Crosby's "Rudolph the Red Nosed Reindeer" (which coincidentally is a duet with Ella Fitzgerald) into the modern age with Batistelli's versions. While I did not find songs like "Christmas Is" and "Heaven Everywhere," it includes songs like "Behold Him" and "Messiah" (which are engaging songs that are more faith based). "Snowy Day" is that gradual accumulation of appreciation. While "Carolin" is better with loved ones and out of the cold, it is also a reminder that there is still fun to be had on this record, and to bring that home, we are taken through a remastered version of her snappy and electrifying "Marshmallow World." 

Between Christmas Presence and Presents (More Reviews...Boo Hoo or Woo Hoo?)

 Love Rennaissance (LVRN) "Home for the Holidays"

This compilation is a pleasant surprise with engaging renditions of "Santa Baby," "This Christmas" and "The Christmas Song" by artists such as Kitty Ca$h, Summer Walker, 6lack, and the collective these artists and other of the label have recorded under, LVRN. However, the standouts include the laidback latin-style guitar and lullaby-like vocals that say wish you more than "Feliz Navidad," but sweet dreams as well. Another standout is that indelible riff that starts the "12 Days of Bhristmas" off right. While the nod to James Brown in "Ghetto Christmas" is noteworthy. Finally, to poetic license Kitty Ca$h, "Interludes, we all love interludes," and it wouldn't be the same without em' 

Robbie Williams "The Christmas Present"

I have only heard a few Robbie Williams albums, but enough to know that this record would be pretty special. If I had to make an edible analogy, I would say this album is like the PieCaken. It is rich in quality original tunes and covers. It is decadent, and a little too much for me, but can be appreciated in\ smaller slices. 
I preferred the original tunes to the covers, but the latter were very nice. I'm impartial to the carol of the bells that accompany "Rudolph" on his Christmas Eve run right after "Coco's Christmas Lullaby," or the sarcastic nonchalance of "Yeah, It's Christmas."

While there are tunes where the connection to the holiday is obvious, many of which on the first record, songs like "Soul Transmission," "Idlewild," and many more on the second record have a more obscure connection. The latter of which reminds me of "Same Old Lang Syne" by Dan Fogelberg, except the holiday celebrated is a week earlier. "Snowflakes" is another charmer, even with its negative connotations it can still be enjoyed, unless you take yourself too seriously.

Love Rennaissance "Home for the Holidays Vol. 2"

The songs from the first volume return as family would for the holidays, while most of the interludes take a raincheck, except for "Kitty's Wish List," which reinforces that she still needs what she asked for, as it remains the same. The new additions to the family bring their own flare to renamed classics like "Christmas Come Home" or merely reinvented classics that soulfully sing "Let It Snow" tersely before singing about a silent night for the majority of that selection. I think of it as an extended gospel prelude to the solo performance of "Silent Night," both very tasteful and engaging. The single "Might as Well Have Coal" is a pleasant addition to the canon, and it not only can light a fire, but is one.

Manchester Orchestra "Christmas Songs, Vol. 1"

 I have been searching for the words to say when it came to this collection of Christmas Songs, Vol. 1. Although this is a short set of six songs, it feels like one long song; to call this offering a suite would not only sound sweeter but may be more accurate. Some of the songs do bleed into another, but it can also be said that they are masterfully melded to be audibly digested as one feature. I would say this is a solid example of audible gestalt.

 Although the components lack the novelty of unfamiliarity, some or all of these renditions will resonate with the listeners and may even incite nostalgia of more pleasant times. The approach of Manchester Orchestra's follows suit with "there is elegance in simplicity." 

Would I like to hear another suite in honor of one of the most wonderful days of the year? In spite of my initial impression, I would. I can see the potential in recording volume two in a complementary tone, creating a more diverse and electrifying collection, with maybe an original or two? 

A Sentimental Christmas with Nat King Cole and Friends: Cole Classics Reimagined

 I wasn't really planning to give this review its own post because I didn't want to set the tone for high expectations, not that I have to worry. But with two songs that stand as royalty among his other hits, I would be remiss to not do this. When it came to the resurrection of his unforgettable hit with vocals recorded by his daughter Natalie Cole, it lived up to its name. What about the seminal tune that mentions chestnuts roasting on an open fire but is more about what makes the holidays so magical?

With that in mind, is another (posthumous) Christmas album necessary? However, this question can also pertain to a majority of releases in the genre. The pessimists can say there is a reason why one of the colors associated with this holiday is green (but there is probably another reason too), and we don't see the holiday through that artist's eyes so we cannot say that the primary assumption is astute.

Red is also associated with passion, and this holiday, for a reason. The opening duet with another legend, Johnny Mathis sets a joyful base for the Christmas treat you will be listening to.

Cole's renditions of "O Come All Ye Faithful"(Adeste Fidelis)/The First Noel" and "O Little Town of Bethlehem/Silent Night" have stood the test of time and serve as examples that his voice can hold its own among the instrumental accompaniment, and that a duet is an enhancement of his talents, and not a requirement. I would say that "I Love You (For Sentimental Reasons)" is the best of the first three solo recordings that appear on the record, but only by a candy cane or two.

The duets with Kristin Chenowith and Calum Scott struck a chord with me for different reasons. I would have to say I liked the "O Holy Night" revision more than the former, but they are both essential to this sentimental quilt, which may not only warm your heart, but could even warm your soul.

I never heard "A Nightingale Sang in Berkley Square" and probably never will, but this digital duet with Gloria Estefan can help me envision one doing so. 

"The Little Boy Santa Claus Forgot" is still as poignant as ever, not only leaving sadness for the protagonist, but contemplation for the listener. Maybe reminding the listener of what they are thankful for?

Anyways, the album ends with a digital duet and another legend, John Legend. I cannot say this song is the big bang that blasted Cole into the stratosphere, but it included chestnuts and an open fire. 

I heard his "solo" recording of this song at least a decade before I even began to contemplate listening his Christmas album and any more of his music, and there is lot more for me to explore, but that is beside the point.

I original typed "journey" instead of "Christmas" when it came to the title, so was that a sign? Was it a sentimental journey my ears had taken as I listened to some of the recordings again, and others for the first time? Yes, and it will be one I attempt at least once a year.

Meghan Trainor "A Very Trainor Christmas"

 SO, I was planning to review The original version of this record, but with the recent release of the deluxe version, it only makes sense to jump forward to the new version. I will start with saying that the new additions are top loaded and consecutive before the original record even starts. 

I have no idea how to start and this "Christmas Coupon" to use, shall I use it to rock around the Christmas tree? "But it's been done so many times, why would you use it to record another version?" It wasn't me that did, but appreciating her newly recorded covers that lightened the tone without diluting the substance, and keeping it fun? That was me.

While I do like the traditional Christmas music and classic albums that are present in each decade, I also like music on the other side of the spectrum that are a little more unexpected and unique. However, A Very Trainor Christmas is "My Kind of Present." It is a great way to start the album, if you listened to the original, and the harmonies present do sound like "angels from heaven." Not the highest or most righteous of angel, to spare offense, but enough to express the merriment this song beckons.

While I cannot disagree with "It's Beginning to Look Like Christmas," I can disagree with "I Believe in Santa" because while the person he was based on may have existed at one point, the cat's out of the bag. The song is cooler and more alluring than that piece of coal, even on a cold night. 

"Holidays" is another noteworthy original that sounds like it could appear on an Earth, Wind, and Fire record, because the song is practically theirs. It has their signature stamp on it and is grounded on Earth,  it does blow away some of those negative feelings you may have if you give it the chance, and  it is a flaming salute to holiday fun. Wait! Aren't there four main elements? Isn't it obvious? Meghan Trainor may not be everybody's cup of tea, but she is that refreshing glass of water to flush out that Bah Humbug!

One of the best part of the holidays is the family "Christmas Party," and this aural parallel is no different. The wave that began with the former song continues here, yet it does not wash away once  the laidback tone and ukelele stop by for a fireplace sing along found in "Winter Wonderland." Even if you cannot look out the window to see that seasonal powder, you can still dream of a "White Christmas." Even with all of those dreams heard from a multitude of people in different voices, this duet with Seth McFarlane (a triple threat at least) still manages to bring a smile.

So we know that she doesn't reinvent the wheel with the covers that precede and follow "Christmas Got Me Blue," and that some are interchangeable with versions from contemporaries or artists that preceded her, she still manages to shepherd in a "Holly Jolly Christmas" with her (Christmas) music. Her approach to "My Only Wish" and "The Christmas Song" showcase some of her range. She can treat a beloved holiday classic that predates her birth by over four decades with the respect it deserves, yet have a little fun with the arrangement of Spears' modern pop classic. I am aware most of that is due to the capable hands of the producers, but she still played her part .

"Christmas Got Me Blue" can bring a smile to your face in spite of itself. It sounds upbeat even if the lyrics unfold a relatable type of love that too many people have felt at one time, including me. That unrequited love can really kill a good vibe. However, you would not know it when you hear the four covers that follow.

As far as I know Rihanna is not on the "Naughty List," but I think of her due to this.  It is a bouncy kiss ooof, because it hits the person it is meant for, while being respectful enough. The second line "maybe I was too good for you" is an indication. He only left her four times so why wouldn't she be hurt? "Even when I'm reckless, I always do what's right."

The last two covers corroborate what I said about her treating (canon) classics with respect, and the song sandwiched between can be a little bit of a tearjerker for some, almost like her version of "I'll Be Home for Christmas."

Bryan Adams "Christmas"

To quote Bryan Adams, "There's something about Christmas Time." I am not only referring to the time of the season, but the song itself; to me, it seems to capture the magic of what Christmas is and what it can be. It is an aural shot of endorphins and Christmas spirit, not to say that this effect does not transcend the holiday it is meant for. To this day, it remains one of my favorite songs about the season, and now, it finally has an album to go with it; E.P. to be specific, but it was a welcome surprise when I found out about it.
 The first tune brings the relationship of Jesus' human guardians to modern day times, not only references Chuck Berry's Christmas classic in the lyrics but seems to use it as a point of reference for the song's construction, which is better than it sounds, and not as ripe as Blitzen's body odor after that last run.

I cannot help but think of Bob Dylan's version of the song at the outset of Adams' "Must Be Santa" cover, and that's with a smile, but find myself even happier toward the end of the tune, due to its chord progression before the reindeer, and Santa identifier, roll call; cannot say it is worth its weight in gold, but it is my opinion.
"Reggae Christmas" would best be classified as an A-grade B-side to Bryan's holiday classic, and is a real fun tune, that I had not heard until thirty-five years later.
As I looked up lyrics, I realized that this album is more of an extremely short collection of holiday hits that Adams has released throughout his career, than an extended play of new songs, but with most compendiums come a few new songs/renditions. I had already written about "Joe and Mary" and Adam's rendition of "Must be Santa," but I did not mention the previously released "Merry Christmas" which was the best way to end the album, and the chord progression produces visions of "Silhouettes" in the snow, as well as a smile or two when I think of the aforementioned song and one of the first songs I was taught on guitar.

Story of the Year "Wolves"

 I did not listen to this record in the year and maybe the year after it came out, and if I did, it was not listened to it more than once, until now. For being a bigger fan of this band in the early aughties I felt I owed it to them and myself, to write a review of their swan song. 

The constant that connected each record was the band's progression, and although The Black Swan was not what I expected, it was an appropriate title and a good album (I was expecting more musically adventurous offerings, but that is besides the point.) However, I felt at record four there was a stand-still and a plateau the band had reached. It sounded as if they had recorded a compilation album of B-sides from previous records; "There Was a Time" when I saw the album as a weed in the band's garden of music, when it was actually a seed that took time to grow on me, where I could appreciate each leaf for what it was.

An album supported and inspired by fans, the Wolves may be ravenous for another record. It will be five years to this day since the last record was released. However, fans may just have to settle for a band sounding as if they are on their last leg, but not going without a fight. "How Can We Go On?" is a perfect example of a broken spirit ensnared in futility on the inside, lyrically, yet baring their teeth sonically and expressing their refusal to give in on the outside. It effectively documents the songwriter's struggle to adapt to a life with a different purpose.

"Bang Bang" shares a similar formula but focuses on a different topic. The lyrics may not be as dark as a forest at dusk, but a campfire would be nice. There is a synergy with the lyrical and music components of the song that is more potent than the second track. The chorus serves as sparklers to guide you through the darkness that leads you to the nostalgic "Youth."

"I Swear, I'm Okay" is the first song that highlights vulnerability without the sonic aggression to accompany it and the realization that we are all imperfect. The song is a request for forgiveness and understanding, for empathy and support, because even the toughest of men, women, and people of the non-binary persuasion could use a helping hand, listening ear, a shoulder to cry on, or all three, and that's okay.

Even if you cannot hear me, you will be able to hear that soaring chorus in your head on repeat, and depending on your preferences, you may consider it a miracle if you forget the one-two punch of tracks six and seven.

"A Part of Me" wants to believe an accordion accompanied the percussive drum pattern, akin to a march in honor of a dead but valiant soldier, and that the soldier has found himself in an odd position of power, not only questioning his identity, but if he is even part of the story. However, the lyrics suggest someone else in an altered state questioning their own influence, and how someone else has affected them. One of my favorites in the second half.

At first, I thought "Give Up My Heart" was referring to a new love in Marsala's life as a father, and how this particular identity is accompanied by a different type of love, but then later on I wasn't so sure. There is this drum pattern that serves as an undercurrent propelling and simulating the feeling of being swept away by a tidal wave that could be labelled love, a kind that may not only consume one's identity, but their heart as well.

"The Eternal Battle for Mike Cronin's Soul (To Be Alive Again)" is not the rowdiest rollercoaster ride but is a journey that is accompanied by a narrative. This narrative is not outlined by events, but by emotions that are expressed or referred to by the sonic or lyrical aspects of the tune. 

Throughout the record there are echoes of their sophomore effort and instrumental swanterludes that liven up their sound; one example being "Message to the World" from The Black Swan.

 While I feel like the black sheep of my family, or the black swan of "My Home," I am embraced and accepted as one would be when with those that truly love them. The latter reminded me of the former, yet it was not the same. The word "samba" came to mind, and I could feel a club vibe. Those intriguing elements are also more prominent in the song, and not only showcased at the tail end of the tune. 

"Goodnight, My Love" features this energetic riff that would not fit well with a traditional love song. Could this be called a love song? Are the emotions and notions mentioned synonymous with what one can feel when in love? What is love?

Words to describe the second last song are "Like Ghosts," evanescent and out of reach; not that it is something we have not heard before, or that it is not worth listening to, but nothing I can personalize with a reference.

I can offer the same critique for the final song, the calm before the storm, or that teaser of the final confrontation between John Ottway and the wolves in The Grey. The length was more than a novelty' and accompanied by elements of substance. They managed to hold my attention, especially at the climax. They also managed to make this song one to remember in spite of it being a tad longer than their average song length.

Overall, I was pleased with the wolves' howl. As said before, I didn't give enough time to appreciate their fourth record for what it was because the progression was not readily apparent. I can say that with their fifth they had managed to meet expectaitions

Two Extended Plays and a Full Length Stop in My Ears for a Set of Holiday Album Reviews

 A Tori Kelly Christmas

Although the centerpiece of the holiday season for many happens to be "December 25th" with joy aplenty, there is more to revel in forthwith. Yes, this rhyme scheme and some of the more saturated selections may be frightful, but her renditions are oft delightful. Her album is not the most unique, but it still is a "Gift That Keeps on Giving."

Maddie and Tae "We Need Christmas"

While outsiders may joke at the relevance of necessity, it's more of a required spirit lift during these toiling times than an actual gift. This contruo keep it short and sweet with a musical charcuterie of old and new, festive and fun, and a sampling of the spiritual to remind us of reason one.

 Just because you have tasted a cheddar cheese cube, or some butter crackers, does not mean you will avoid them when they arrive with the rest of the grapes, candied chestnuts, peppers, or prosciutto. Point is, you have heard most of the songs before, but they still offer something worthy of a taste, even if it might not to be to yours. 

A Very Spidey Christmas

Which superhero would you choose to spend the holidays with? Yes, Peter Parker's personality, or any alternative alias or identity, may be best handled in small doses for some, which leads to the question, "Who would you have the most fun singing carols with?" If anything, this is proof that this superhero is a top contender for best caroling partner.

Madison Beer "Life Support"

 Before I begin, and before I even listened to the record, I did not expect the Madison Beer record to mimic Bebe Rexha's.

The only reason I say that is because, the same with her debut, I presumed my expectations would be equitable with the quality, or more accurately, I thought my connection with the record would be one or two bars. Beer has said she does not speak "BOYSHIT," but it does not mean the songs cannot resonate with males.

 Now my credibility may already be on Life Support, and for that I have to ask why. I mean what I say, I follow my heart, and I am true to myself. It also seems like Ms. Beer does the same and makes music she wants to. If that's not enough, that's okay. If I was not already aware she sang this song, and warmed a heart, "effortlessly" I would have mistaken her for Ariana Grande. 

The notion that love is a battlefield has been addressed in various ways, in varying degrees, by a plethora of artists. How could I not mention the artists that directly states it in song, Pat Benatar? I mention this because in "Stay Numb and Carry On" the directive is to become emotionless and immune to the pain that  love can bring. True love can bring pain and frustration too, but the emotional bruises are a different breed than what faux and/or unrequited love may cause.

"Blue" is one of my favorites. Beer really kills the Melanie Martinez "impression," and knows when to run from a relationship before the hypothetical homicide becomes the solution. It shines some light that someone's social media posts are not always indicative of their present state. Maybe even a Lana Del Ray lite, but this is nothing but a sincere compliment.

What follows after the color is more than a mere "Interlude," but can be an ode to the wrong side of unrequited love.

"Homesick" is an anthem for the extraterrestrial, or the outsider, to those that feel like this planet, this time, this plane of existence is not for them; it's transcendent of any barrier that may be, but it does not mean it may resonate with everyone. However, it does to me, and I know I'm far from the only one.

I can see why the album title is what it is, from that feeling one has in the previously mentioned paragraph, to being entangled in a relationship with a "Selfish" lover, and not only living through "Sour Times," but having to deal with rebound hopefuls, sycophants, and leeches of energy and love when one is not doing so hot, and that is just these few songs.

"Stained Glass" delves deeper into the differentiation between the perception and the reality. "My skin is made of glass/but apparently it's stained/ 'cause you notice all the cracks/but can't look inside my pain" is an effective and potent expression of this unfortunate circumstance. The notion that fame or wealth protects you from the negative emotions that are part of the human condition is ignorant. The pain expressed in this song could break one's heart, if they truly listen and can empathize, or even sympathize. 

Everyone is going through something that cannot be seen from the outside, which is why the opening set of lines is nice reminder, that transcends the plight of Ms. Beer, to be kind to others. If that is too much of a drain, then leave well enough alone.

"Emotional Bruises" includes a line that could have inspired the title: "I can't do this no more, you got me on life support." What sounds like an endless cycle of break up, fall apart, come together, break a heart codependency comes to a point where the broken crutch of someone else's will-to-live must break free instead of break again. "I can't do this no more. I'm cutting off life support" is the final line before the chorus and the pleading outro poured from her still beating, and bleeding, heart.

"Everything Happens for a Reason" is a notion that proves to be true, just not at the present time from our singular point of view. If someone hurt someone back, what does that prove? What good can hurting another do? Especially when they love the other too?

I did not intend to write about most of the songs, but here we are. "Channel Surfing/The End" is a nice bookend to "The Beginning" and offers clips of previous tunes and a "thank you" too. 

 There is "Good in Goodbye," and it would not be right to end this review without mentioning one of the most infectious on the record, and I'm not even going to try. I do like choruses, and I see the purpose, but they aren't my favorite component. Usually, the verses offer something more substantial and expand on the narrative or message, while the chorus oft operates as a flashback frozen in time and rhyme, or a memory magnet.

 Either way, I really dig the chorus and the notion that the song expresses. This can resonate with those who may have drunk a gin and toxic, or played ping-pong heart with a toxic partner, never reaching to love, but only ending at 40 (ounces or winks, only some will know).

Celine Dion "Courage"

  Taking Chances does not occur without some Courage. There was a commonality between these two records that sung to me, as Celine has continued to do so for the world for decades, and most recently performed in Vegas, again. I couldn't help but think of Cher's Believe and its effect as an artist's reset button.

It was intriguing to hear Celine sing the single from the Deadpool sequel several years prior. It was simultaneously an ironic and iconic selection; it wouldn't stray too far from his perceived musical tastes yet could be called an "odd" pairing.  It is safe to say that as a phoenix would, she rose from the "ashes" of heartbreak. Then, she wrote a whole album incorporating loss, resilience, and bravery as some of the themes. I don't usually comment on the cover art, but its simplistic and minimalistic approach is an adept reference to walking from the flame and still standing tall.

The first line in "Flying on My Own" addresses the detour from the traditional Dion formula; it's appropriate because her voice soars and synergizes with the sonic accompaniment.

"Lovers Never Die" is an assertion of her distaste for a relationship she was in, as well as the disrespect and deception that came along with it. Her presentation of the words offers spunk to accompany her resignation.

I cannot help but think that I have heard this song before, but this song co-written by Skylar Grey and (then fiancée) Elliot Taylor assures the broken hearted that "Fallin in Love Again" is possible. Its sparse arrangement allows the listener to focus on Dion's vocals that build until her final declaration in the lines "once again."

The next song showcases even more of her vocal vigor. It not only supposedly interpolates a song of the same name by RiRi, I have looked for her version but could not find it so it may not have been recorded,  but incorporates elements of rock and this robotic inflection in the second verse. It also features the songwriting talents of both David Guetta and Sia to create a smash of a single and is worthy of multiple plays.

It is appropriate that the next two songs were released as singles because to showcase vulnerability and spotlight your imperfections requires moxie. To delve into a personal matter that deeply affected her in the loss of her soul mate years before is commendable, and the emotion is expressed and understood. The musical accompaniment is appropriate and does not resort to schmaltz or force an empathic connection to her pain. While her aptly titled "Imperfections" does not list any, which is not the point because that is subjective, it is relatable to everyone who cares to listen because we all possess our own imperfections, whether we perceive them or not.

In albums there are varying degrees of appreciation when it comes to the songs, some are those we rave and praise, some of them we criticize and ignore, never listening to again, and all after listening to the song once. Some of the songs are in between, and if it came to deciding whether I wast a fan or not, these two are option three, and would not change my mind upon first listen. 

I must say I appreciate the intrapersonal encouragement the lyrics simulate in "Say Yes" because too often we say "no" to experiences that could be beneficial to us, such as dancing like "Nobody's Watching." The latter dougie'd a space in my heart after first listen. 

And now for this next song I will employ the use of a pick up line, for a higher purpose! Not everyone realizes how much energy their mind can expend, especially if they run through someone else's all day. We all take part in the chase, in the context of this song it would involve love and affection, appreciation and acknowledgment. While I chased inspiration to approach a presentation of this tune, it is as much to say that the song speaks for itself.

The next song employs the talents of Sam Smith and Stargate, to name the most recognizable associated with this song in the pop music world, but that being said, the emotional substance is not lacking in this touching ode that Celine dedicates "To the Lover That I Lost."

While it may annoy some that may read this, I wanted to point out that in the next song Sia co-wrote with another hot producer in Greg Kurstin. It is a fun song, really catchy, yet it addresses what can be an unpleasant aspect of a loving relationship: being away from the partner. Absence makes the heart go fonder and it is healthy to keep separate interests as well and time away from one another, but it still hurts. While there is a lot of "baby" talk going on, the feeling can be understood.

The thirteenth track is a pledge to herself and her late husband, that she will be strong. She sings "...and though I might have been lonely or lost. I don't feel like giving up because you climbed off" to affirm her resolution, while later stating that "...sometimes love must die to be born again." Which can include self-love too, because even in a positive and loving relationship one can still lose touch with oneself.

The arrangement was brought to us by the Dap Kings, who recorded heavily with Miss Sharon Jones before she passed, may she rest in power and rest in peace, and it suits Celine. It focuses on a re-evaluation of a relationship, and how it shifts from what was a mere acquaintance to a life partner (or soulmate) which fits the title perfectly. "How Did You Get Here?" It also lightens the mood after her musical pledge in track thirteen, "I Will Be Stronger."

With "Look At Us Now," I can see an awkward reunion of two former lovers at a gala event. The woman in that glittery red dress Celine is wearing, while her former lover in a nice suit. They are separated, yet not entirely disconnected, nor entwined in outsiders' embraces. This song perfectly scores the scenario as they decide that while there is passion that fuels that last act of fornication, it is better to leave and lose than reunite and lose even more.

While that seems like the perfect time to say goodbye, it was not the healthiest relationship. "45 steps in the same direction" sounds like finding a soul mate in a one-night stand. This rush of finding that person unexpectedly is indescribable. The plethora of emotions one can experience can be overwhelming. She sings "...If God's got a plan, it's out of our hands anyway," which rings true, and sounds like divine intervention to me as she declares the meeting as "heaven sent." In a line shortly after, she promises "if you need me, I'll be in your memory." 

It was not until after I heard the song that I found that Steve Aoki played a part, literally, in this song, and did so in a subtle manner where I would not have known had I not looked it up. So, the question directed toward me could be "What was the point?" 

While the question I have for the whole scenario, I return to the full lyric "Don't need to understand, if God's got a plan. It's out of our hands anyway." It could have been to say, to the chagrin and disagreement of many, that one can have more than one soul mate. It does not mean that the soul mate is meant to stay in that person's life forever, or even more than one night, but that type of connection is plausible, and with the potency behind it how can one not call it "heaven sent?"

Which brings me to the next song that restates the feeling of finding one's soulmate and connecting on a deeper level. Celine asks "Is it madness? Is it the worst kind of madness?" but to those that know, "No, It's the best of all."

This earworm with a "Heart of Glass" must have pushed through the dirt of past relationships until finding the soulmate had transmogrified the heart into a diamond. She hasn't broken any new ground, but the chorus invokes the sadness yet encourages someone to sing along with it, and that could be due to personal experiences and/or the synergy of Sia and Greg Kurstin.

Through it all, as this review comes to a close, I can say that I did not hear too many throwaways, it is just that some left me without much to say. Every note that Celine sings in "Boundaries," the lyrics, and instrumental accompaniment may not be extraordinary, but sounds perfect the way it is. 

Sometimes with reviews I unintentionally take "The Hard Way," and while I don't usually review every song, I might make reference to a majority of them. While it was not my favorite song musically, it did state that "you gotta break just a little, die just a little, to come alive in the right way," which is not without its truth. Heck, it may even bring a tear to the eye.

Dolly Parton "A Holly Dolly Christmas"

 

Her newest collection of holiday tunes is a family affair, with some friends along for the sleigh ride. We'll start with the pair of cringe-worthy yet simultaneously charming tunes. The first of which is Dolly's duet with Michael Buble in "Cuddle Up, Cozy Down Christmas" which reminds me of  "Baby, It's Cold Outside" except this is later on into the night, and the female vocalist is willing to get intimate. The title says it all, it's just in the context of both performers that bring this to light, but it's still a decent song.

The banter between Jimmy Fallon and Dolly that bookend their recording of Carey's "All I Want for Christmas Is You" does not help the case for the song. Even though we know it's all in yuletide fun, the context of the tune cranks up the awkward, for those not able to disregard it. 

  After being welcomed with A Holly Dolly Christmas, we hear a delightful reminder of what "Christmas Is" with her Goddaughter, Miley Cyrus. 

Billy Ray Cyrus may not be a relative by blood, but they are close enough to be considered family and share sentiments of finding that one person that brings Christmas wherever they are in "Christmas Where We Are." She then expands on that notion with a duet featuring her husband, Randy Parton, in "You Are My Christmas."

There were more faith based songs than I expected to hear on here, but that is because I don't really know Dolly well. Her captivating originals "Circle of Love" and "I Still Believe," along with her version of "Mary, Did You Know" affirm her faith in her heavenly father, her family, and in humanity.

It's nice to receive boxes wrapped in "Pretty Paper," a Willie nice duet, but Christmas is so much more than that, and those who don't know "....are the poorest indeed."

Ne-Yo "Another Kind of Christmas"

 Whenever you hear Another Kind of Christmas album, among the countless compendiums that exploit nostalgia and alter the sound slightly, you just want to "Talk About It." That is one of my favorite songs, for its instrumental and anecdotal aspects, and a nice balance to a cover of the 30th most performed holiday song of all time, "This Christmas." 

I would be remiss to fail to mention that there is a lot of familiarity in this record, with covers of classics by Nat King Cole, Stevie Wonder, and Johnny Moore's Three Blazers; you may recognize one of the cover versions before the original (Merry Christmas Baby). "Carol of The Bells" is also covered, but even with the numerous renditions, Ne-Yo finds a way to make it distinctive. At the time, I didn't realize that "I Want To Come Home For Christmas" was a Marvin Gaye masterpiece re-recorded.

If asked about this album I could say "It's For Everybody," especially the song, which does not tie itself to any religion and iterates that "...and what it is is a season for love/ and no reason but love and love alone." It is a classic Ne-Yo tune with tried and true sentiment and sound associated with him. However, "Open Mine Tonight" is a little more x-rated, yet a good song regardless. "Just Ain't Christmas" is for those that are going through a breakup or even missing family members that left this realm; it could also be for those plagued by seasonal depression and the spirit eludes them. The song is alluring in spite of its sentiment.

Sia "Everyday Is Christmas"

Sia's "Everyday is Christmas" album is not only a Christmas gift I did not expect, but also the gift I did not realize I wanted, and I don't want to assume you may feel the same way, but it is worth a listen. Sia manages to not only capture the magic of the holidays but melds the classic sounds of yore with the present and future in an album of original tunes meant to be enjoyed every year. The Chorus and melody of "Candy Cane Lane" may reside in your memory even after the sugar plums have stopped dancing in your head.  If they have stopped already, there is some aural "Sunshine" that might keep that inner flame active during the transition between winter (post-holiday) and spring. 

As she sings in another pleasant tune, "Puppies are Forever, and not just for Christmas; of course their cuteness will remain, tis no question of thine.

Even with the preceding paragraph written in years of Christmas past, the joy and magic of this music can last. When a snow person can only survive in the colder winter months, with the music at its most impactful without self-deluding fronts. The song itself is a confession of love to a "Snowman" which could parallel a seasonal love that one arranges to free themselves from the shackles of loneliness in "the most wonderful time of the year," which for many is not as dazzling as the light displays that appear.

From their love, Sia had vowed to protect their little "Snowflake," a winter lullaby that can bring a tear to freeze as she lets her little darling go amongst its kin within the chilling breeze.

It does not sound as a time for celebration, but maybe that's why the "Ho Ho Ho" is accompanied with a bottle of rum; and recreates that crushing scene where Ralphie was nearly kicked in the face because of his gift request. 

Underneath the boot, and Ralphie trying his best, he nary seemed to have a chance, nor her with romance, whether the mistletoe or Christmas lights, buried in the breast, sorrow, impervious to seasonal distractions hollow. 

As silly as the proclamation that "Everyday is Christmas" can be, used by more than just artists within the scene, it is declared with sincerity and even when the season is over. Even though the statement may cause one's eyes to roll over at the metaphor you may find yourself humming it anyway.

While the first song sets the tone with what sounds like fun, we take emotional detours taking our heart for a run; decorated with sweet things to beckon some more. So, the coal from the sins that you have fulfilled or left undone. "Santa's Coming for Us," each and every one.

Barenaked Ladies' Live Show is a Work of Art (Park)- July 5th, 2022

 I've waited two years to see this concert, and all I got was a set of greatest hits?! 

Theory of a Deadman "Say Nothing"

Kesha "High Road"

 Now, I could take the High Road and mention that although the album was no Rainbow, it still showcased the growth that the previous album exhibited, without washing out the color and personality Kesha exuberates in her music, even after her transformation. I would not consider her debut, Animal; her extended play, Cannibal; or her sophomore album, with a title that forshadows, Warrior, guilty pleasures by any means. Especially when it comes to the first album and ep because they are chockful of catchy, heartfelt and fun tunes that still serve a mood uplifter to this day; my relationship with the latter is not as strong, but I do like the album.