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