Mickey Guyton "Feels Like Christmas"

As I write this, I cannot say it Feels Like Christmas even though it is Christmastime in July, but I can say the record certainly sounds like Christmas. With the titles alone, the saccharine "Sugar Cookie" and "Mistletoe Kisses," to name a few; the former I can take several more servings of, and my chance of the latter are slim, but the vicarious experience is enough. I'm kind of weirded out by kissing on the lips anyways.

The title track does acknowledge "the true north star," and that is a step in the right direction. While it is fun to partake in holiday traditions, sing carols, and a song where Christmas is "in the air like cinnamon," it is important to remember the real reason for the season, and you can find your way back home by following that true north star.

"It Won't Be Christmas" for another five months, and I can still say that this album was better than expected. I wasn't Bolton to listen to this record; it was one that had me feeling inquisitive, yet it left the temperature too low to bake those cookies, but I still got out the oven mitts. The song with Michael and Mickey is another holiday hit.

While the final two covers are recorded and rendered with respect, I cannot help but feel that Guyton's version of "So You Wanna Build a Snowman?" sounds like a Kidz Bop song in reverse, but that might give you the wrong impression because it is a really good version of the song.

Brett Eldredge "Merry Christmas (Welcome to the Family)"

 Meeting the family is a major milestone in a relationship and should not be taken lightly. Which is interesting because Brett Eledredge wastes no time with his introduction. Whether it is your first time, 300th time, or somewhere between or beyond, Eldredge welcomes you to his family with a song that effectively takes you to that holiday celebration. 

He then convinces you "It Must Be Christmas" with a sing-along full of imagery concerning family traditions, visual datemarks, and chosen family reunions. Speaking of reunions, Ms. Clarkson returns the favor by hopping on Eldredge's holiday tune, without an adventure underneath the mistletoe, but I am not talking about a kiss; although that is what a "Sweet December" could lead to.

The aforementioned duet sounded like the two were a little too "Warm and Cozy" when singing together, almost like they were singing alongside the love of their lives.  The song itself lives up to its name and can have the same effect that comfort food can have on the soul, except not as potent as the rest Jesus can bring your soul; I could not type the word "soul" without mentioning the only one who could save yours.

Now jumping from the reason for the season to an icon of the season. Brett already had a prior initiation riding on the big man's sleigh before, but "The Night St. Nick Got Sick" was Brett's turn to Tim Allen a Christmas Eve, solo. Others could say the initiation was more of an accident, but I digress. I have heard songs about a similar scenario over the last few years, but this might be the most boppin' of the three on memory sea.

"Season of Lights and Wonder" is sung in a style that arouses nostalgia and resembles a lullaby, but for the first action I cannot remember why. It may take you back; it may calm your nerves; it may even put things in perspective, but that is what this season does, or it can, if you pay attention and look outside your list, your life, and yourself.

"Who Will You Be Kissing on New Year's Eve?" is question I cannot answer without saying "no one," and I am fine with that. Nor is it a song I can describe without declaring "it is a vibe." It has this dreamlike quality that lures you in with those calming notes and bells at the outset of the song. I can visualize their duet in black and white. I love how their voices complement each other, and while I enjoyed his previous collaborator in Kelly Clarkson and their second holi-duet, this sounds more appealing to me.

It is great because Idarose, Alexis Idarose Kesselman, has her time to shine on this record (vocally), and she has a sultry voice that really complements Brett's. She wrote several songs on this record that happened to be some of my favorites, aside from this one; and displays some range in style. The funny thing is, she also wrote the song where Kelly Clarkson sings with Brett, but I still think Ms. Clarkson is better suited for that tune than Kesselman.

A lot can be said about the finale that has already been said about its earlier twin, but he brings that notion home and takes you to their family party if you're willing to suspend disbelief. Others can say Eldredge fabricates a false sense of familiarity with the listener in the album's bookends, which is true. But he does it with good intention, which makes the effort more endearing, doesn't it?

The Point This Post Reclaimed (Bublé n' Eldredge)

 I never expected to make three posts about one album, but this is here to make a point from the first post that lost itself to a more artistic ending.

Now, Buble had some original holiday bangers throughout his career, and crooned through some canonical staples, and so did Eldredge. But do the latter's original songs stack up to Buble's originals?  I think Eldredge proved he can release a whole record of originals with his latest, but I don't think Buble could do that. 

There are songs that Buble was featured on, but was not the main artist, so I question whether to include those. If you haven't heard "Elf's Lament" by the Barenaked Ladies, change that as soon as you can. However, the duet with Dolly Parton is weird, unless you imagine that the lyrics they are singing are to their significant others instead of each other, then it's not as bad. 

 The sole original on his only Christmas album, is still a favorite to listen to whether it's on a "Cold December Night" or warmer July evening. "Warm and Cozy" by Brett Eldredge may suit you just fine if you don't have a blanket, and depending on where you are you may not even need it.

Bublé really brought the joy on "The More You Give (The More You Have)," and while the story is different, you can listen to Brett's "The Night St. Nick Got Sick."

I think one of Bublé's least popular originals in this genre is "The Christmas Sweater," but it is a fun song to listen to, and sounds like what an ugly Christmas sweater could if it were a song, but better, because a lot of Christmas sweaters are not truly ugly, they are obscure, they are unique, they are intriguing, and they are offensive. Many might say, this is true of this song, especially the offensive part. 

Brett's tone parallel to Buble's would have to be "Merry Christmas (Welcome to the Family)" or its counterpart and bookend friend "Welcome to the Family (Reprise)."

There was one prospective tearjerker that Mr. Eldredge couldn't match, and that was Buble's most recent duet with Carly Pearce, "Maybe This Christmas." It's hard to be away from family on the holidays, especially when that may be the only time you see them. He's touched on this before, and the one that immediately comes to mind is "Home," which even was turned into a holi-duet with Blake Shelton for his Christmas album.

This song may not have matched it in the same way, but "Season of Lights and Wonder" by Eldredge does tap into a different emotional vein. 

I like both artists for what they create and who they are, I was not trying to create a competition between the two, just a blatant comparison. They both have released some quality evergreen and seasonal records over the years and would not mind hearing more. So, if the finale left you feeling underwhelmed and sore. Well, to some, happy endings are a bore.

The Nonexistent Battle Between Mr. Bublé and Mr. Christmas

 With 37.5% of his catalog being Christmas music, and three records to Mr. Bublé's one, we can say he is gunning for the title of "Mr. Christmas." As if that were not enough to use that as his (album) title from years past, he recently released a third record with a presence that should last. I know I cannot be the only person that prefers hearing new Christmas music over being regifted a dead horse, but people do like their reboots and games of horseshoes.

It can be said that Mr. Bublé is the contemporary Christmas crooner of choice, or one of the most popular by far, and that would not be wrong. His Christmas album is an "evergreen," just as good now as it was when it was uprooted from the shelf. He hasn't found need to release another but thankfully has managed to release a new yuletide jam at least once every several years, and even better that they are not mere covers. Some may scoff at his last solo newltide tune, "The Christmas Sweater," but it had a distinctive audio design that appealed to me, and not just me, right?

So, with this imaginary competition and its titleholder in possible peril, why was this brought up? If it takes Eldredge three records to beat Bublé at a game that he doesn't take as seriously anymore, is he worthy?

"If Bublé doesn't care about the title, then Mr. Eldredge can keep it, right? He should. They can coexist" a commentator declared. 

"Wait, isn't there already a 'Mister Christmas' that exists?" another question aired. 

"Yeah, there was a British electrician that was said to celebrate Christmas every day since 1993 by the real name of Andy Park, so I have heard" a Christmas pundit (to themselves) replied.

 "I believe there was a competition held by Hallmark to win the title of 'Mr. Christmas' and then star in one of their horrid holiday movies" another remarked. 

"Sounds like something they would do. However, I wouldn't call their movies 'horrid,' just bland and/or boring"

"Formulaic"

Soon a sea of criticism filled the soundscape and it became hard to distinguish and differentiate between opinions and voices.  "No, they are not all bad." I heard that comment and agree, just most of the movies.  

Mac Powell "Christmas"

 It's that time of year again where almost everyone is making their lists and checking them twice, or thrice, four times even. The first two songs list things that may make it easier to "Have Yourself a Merry Christmas," whether it's the numerous nostalgia inducers mentioned in "Christmas Time Again My Friend," or the blessings some may pray on Christmas for, while others take advantage of.  While it has been long debated whether "Jesus Christ is Born" on December 25th or not, the true reason for the season has not changed, and the latter and the last song give honor where it is due. 

It is a short, sweet, and consistent set of songs given to the world to share the story of the light of the world, but not until after they introduce a song that includes holiday associations the world will be familiar with, or a Christmas Canon classic.                                                          

Will Smith "Based on a True Story"

Not that I know from experience, but I think this point is still valid. If you're going to revitalize your own rap career you better have an album better than your last, especially if the record is old enough to drive, vote and (almost) old enough to drink. 

Will Smith has sprinkled several song releases over the past decade, with no sign of a full album, until earlier this year. I was elated for sure, but simultaneously skeptical. "Lost and Found" was his most consistent and creative solo record, in my humble opinion. Yes, "Big Willie Style" had some timeless bangers, but I don't think it was better than Will's "swan song."

So, when it released, I waited a while so I could process that his best album was no longer his last anymore; there was a young gun ready to shoot his shot. I heard his first song several times, but strayed from judgment until I heard the full record, which still had months before I listened to it.

Before I go any further, I believe it is time to speak of the elephant in the room, and I am not talking about that horrible lapse in judgment seen across the world at the Oscars several years ago. I still cannot believe Will slapped Chris Rock, it just didn't seem like something he would do of his own free will, pardon the pun. That moment portrayed Will as a puppet of retribution, because of someone else's inability to take a joke. Speaking of joke, now for the muted elephant..."Pretty Girls." A song that doesn't belong on the record but damaged Will's rap career revival anyway.

 

I read one of the comments on the video that "the song wasn't released, it escaped." and I agree. If this was song was some sort of Hollywood humiliation ritual to bring Will back to the upper echelon of fame, it failed miserably, because this song was high on humiliation and low on return. I like pretty girls as much as the next guy, but this song is another story. 

There have been comments that the girls featured in the video were not even that pretty, but I believe that is too harsh, they were definitely more attractive than any of the lyrics. It was really upsetting because this will prevent a huge portion of people from giving this record a chance, and it deserves it. No, Chris did not deserve that slap either.

I wanted to listen to this album with an open mind and remind myself that there was a ton of time between this record and his last, and I did try, but did I pass?

It is safe to say that Will can take a joke, and there is evidence in "Int. Barbershop-Day" where Will does play with others' preconceived perception of him, especially after "the slap." While I deem this more creative than his "first" song on the record, there is a point that all of the other jokas, that appeared on the intro, can agree on when it comes to "You Looking For Me?" Will Smith has been on many people's minds for a very long time, me included.

This would be his third solo record with a proper intro, but the first song off his last record was a banger right up the superhero of swing's alley. Why do I bring that up? Because like his first record, this album has multiple interludes, except these are called "sermons." There is definitely a higher concentration of acknowledgment of God in this record, and not because "The Reverend" makes an appearance.

The "rave sermon" sounds like it can be the start of an effective one, but one more focused on man than God, and I am aware that the intent was not biblical accuracy, but more focused on authenticity as to how (self-help) sermons go. It stoked the fire before the bangin' beat within the "Rave in the Wasteland" really hit the eardrums.

 

 I cannot call it a revelation, but Will does refer to that book in the bible, claiming to be one of the 144,000 to lead the awakening. While that is not merely a number, this is just a song, not a declaration of faith. However, "There's only two things I know for certain. You either trust the Lord, or you don't. And if you don't, Good luck." Happens to be the best line, and a truthful one at that. The second verse after the chorus also catches my eye.

Do you hear the black suits comin' or is it just me? I can hear an old classic instrumentally, but with the verses I think of a new chapter of the Wild Wild West, with or without Loveless, especially the lines before the first chorus. The lines between his declaration of gunslinger to his exclamation of peace in spite of being against the world are some of the best lyrics in the song, and the chorus with Jac Ross's vocals? "Bulletproof."

"Hard Times (Smile)" happens to be the longest song on the record, so far, and what I can say is that "less is more," less complexity to focus more on the song as a whole, and on Teyana Taylor's vocals; to focus on the beautiful scars that were the product of those times, just like that resilient smile. 

Speaking of "Beautiful Scars," those are addressed in the aforementioned, moreso in the video before the song begins. The video gives Will a chance to recreate some of the pivotal scenes of his biggest film career regret, and one of the more influential films of the nineties, The Matrix.  Yeah, we're not here to talk about videos, but it's pretty cool. Big Sean scenes to play dual roles, he is not only the Morpheus to Will's Neo, but Trinity as well.

I will not say the video was a serving of style over substance because the song itself was good. Will mentions the Matrix in the song, but I prefer his last verse. He sounded how Neo might sound before he became "The One" if he spit bars, instead of blood. I could say I had higher expectations for Big Sean's verses, and when reading the lyrics, I mistook some for Big Will's. Criticism aside, shoutout to O Banga for super-powering the chorus and marking up my memory.

 I must ask, did Will reference Will.I.Am's last solo album Willpower, or was it a mere lyrical coincidence? Decent record too, but was it better than this? While there were songs that definitely possessed #thatpower to stay on the charts much longer than this album's tracks, and may have had me geekin' a bit, I prefer this record.

Also, although Will feels "...like Mike every time they turn the mic on," I cannot say he performs to that caliber, if we're talking about Mr. Jordan. I know I am not the only one thinking it, but it's not meant to be deconstructive criticism, it's my opinion coming from a place of real love, and reality. 

Joyner Lucas and Will Smith reunite, drop some heat but not to the extent of "an aerosol inside a Arizona," yet with some lyrics I do really like. You can hear the angst in their deliveries and see it in the video by Cartuna; they respond to indignation in an acceptable manner in spite of that "tantrum" raging war against pleasant rapport.

Subsequent relationships are often not the same as a "First Love" and may require patience and some work to build upon, same can be said for this song. All the players in this short game of love gradually build the tension until their own arcs are resolved often in explosive fashion. Will has to iterate the intro though, while I must also applaud Marcin and India Martinez for their contributions to this song, it took a few times to begin to appreciate it, but I do now.

There have been plenty of times where I said to myself, because they cannot hear me or even know I exist, "You Make It Look Easy," to people of various professions. This time I'm talking to Will, "Yeah you have a few other songs on this record that are easier listening that preceded this one, but I'm referring to the title for my last word on this."

Once again, the rev is effective at raising interest for the next song. He also preaches about empathy, which is important, and also warns of a potent possibility, that our actions can be what brings someone from the edge or pushes them off of it. He's right, that one encounter you have with someone can mean more than you know.

Will has sprinkled singles throughout the album drought, but none of them had any airplay; I would not even know they existed if I did not look for them. So, when this song came out, I was excited, but curious as to what it entailed. When I finally did listen to it, I really liked the message, even though it masqueraded as a gospel song that would not align with true gospel. It could still do a lot of good.

 

Instead of a Bon Jovi-esque blaze of glory, which the vocalizing from Sunday Service reminds me of, it was an anthem for the fallen and downtrodden. We do all have our own cross to bear, but we don't have to bear it alone, and we don't. Even if you don't believe in God, He's there. "There's wisdom in the fire," Jesus is with you stoking that wisdom from those experiences as He sits alongside you in the flames.

The second major single was a different experience when watching the video, because it not only gave us more insight into the creative process but also testimonies of others' self-acceptance. He basically explained that this song was the template for  how he wanted to sound on his current triple album in the making. I could say "canvas," but Will is the canvas, and I am the critic. Also, template is a more accurate word choice.

 I know he wanted to use polar opposites in the lines of the song to reference the duality of human nature, also alluding that no one is perfect and state that through our differences and flaws we are a unique "Work of Art." There is a set of lines that address this:

"See yourself when you see me instead of acting like you got blindsided/ by the fact that I'm human, the good the bad, and the ugly/Just know you're looking into a mirror when you judge me."

 While there are many examples of polarities laid in most lines throughout his first verse, some a little goofy, but did he really have to declare "I am Musa, I am Jesus, I am Judas?" I remember after hearing and watching the video I commented in rhyme about this. It sounds unabashedly blasphemous, even if that was not the intent, can a marker scribble taint a Rembrandt?

It was Will's work, along with Russ and that son of his. So, he could do it as he saw fit. I just think it would have been better if he kept that composite of opposites out of it. It was also cool to see father and son working together. Now I don't know if there is any beef between, but what does Russ mean when he claims his soul is trapped and writing Bryson Tiller beats? I heard some of the latter's music before, but not enough to ascertain whether that was a jab or jive? (latter word has positive connotations for me)

Finally! I mean that exclamation in the best way possible because Will wraps up this underrated work of art with his own work of art sermon. I didn't pick up on it right away, but I would be surprised if the rev was not Will. There is more that can be said, but Will's succinct sermon of self-acceptance is potent enough.

It would not be right for me to just end the review there because this record was a big deal for me. I thought his last record was going to stay what it was, even though I was always open to a new album. I just didn't think he would be able to top "Lost and Found." As said in the beginning but with a different delivery, if someone plans to revitalize their music career decades later after a stellar swan song (not everyone will agree with that opinion), that artist has to bring their best they have to offer. Was it better? It was different, but I appreciated it for what it was, and it was only the tip of the iceberg. 

My only request is that Will waits longer before he releases the second part and gives himself more time to recharge creatively; a solid start so far, but bigger projects like this sometimes favor quantity over quality. Would I like 30 more new songs aside from these, even if ten were forgettable additions? No. I am really curious to see where this next album will go, as long as I don't hear another version, or song like, "Pretty Girls." Whilst it was a Freudian slip, and a similar serving of vengeance on Chris Rock's behalf on a major scale, it was not a forgettable song. Which is unfortunate because his comeback deserved a better shot, and like Will, this album slaps.

Tossing a Love Letter into the Ludaverse

I don't usually write reviews regarding rap albums anymore, or albums that are outside the seasonal bent, but it has been over a decade, and this record must have made enough of a mark to consider revisiting it for a tribute.

Jimmy Fallon "Holiday Seasoning"

 Bored with Christmas music? Maybe you need some Holiday Seasoning! 

Wait a second! Where are you going? What? Wasn't that an appropriate joke?

"Exactly, it was a 'joke.' I can tell this may be one of the most boring reviews about an album chock full of holiday cheer and intrigue."

No, I do agree with that. But I haven't even started yet, so please just read another sentence or two. I would consider that an early Christmas gift. One down, two to...wait, I should have said three, or a paragraph! I hadn't even gotten started yet! No, I will not beg you to stay, nor play it coy the "Baby, It's Cold Outside" way.

We could all use a "Holiday" from time to time, whether in light-hearted or in free verse. This is almost as good as the Jo Bros own tune, "Like It's Christmas," but different, not worse. LL Cool J even stops by for the remix on the deluxe with several references and a red solo cup. Sounds like a party, and the lyrics do attest, but... 

"Hey Rudy!" these holiday-rooted lyrics are more engaging, and the music is better suited for a holiday family fun fest, while the former is perfect for caroling, or taking a stroll whilst viewing holiday decorations.

"Wrap Me Up"

No, it's too soon to end this review, there is still more to say, and I forgot, how many guesses did Jimmy make before he realized Meghan Trainor was the gift? That's a game you can choose to play. It was a real cute duet, with an even cuter lyric video. 

Also, if you have not heard A Very Trainor Christmas, and you like her style, where have you been all the while? She even has her own song for the holidays with the funkiest elements on Earth; she was the water.

This next song must be a hall-iday pass for JF and JT because although this song doesn't sound the same as "Mistletoe," and is very catchy, I remember Bieber receiving a lot of flak when this tune was released, and he was a kid for crying out loud. "You'll Be There" judging me, and that's okay, as long as you hear the song.

There is a lot can be said for "It Was a...(Masked Christmas)." I know it was released as a "single" and a video was made for it, but I don't think that means it should automatically be on the record. On one hand it was a capsule of calamity in time no one wants to remember, and the video is full of visuals that could be triggering to many people; albeit the incorporation of certain elements visually is intriguing, it still can be upsetting. It is basically propaganda wrapped in a holiday song.

 "How You Know it's Christmastime" spouts a short list, not a good or bad list, but one that hosts            holi-dentifiers for those people whose life feels like it is one long day. That may not have been the best way to put it, but it's what I got. That, and love, among other things; I cannot declare it sublime though.

One of my favorite songs to listen to during the holidays is another sad New Year's Eve tune, "Same Old Lang Syne" by Dan Fogelberg. To me, it may be even more sad than the song Jimmy was lamenting, and in that lamentation, inspiration.  The "New Year's Eve Polka" with Weird Al is a lot cheerier than its other NYE counterparts, but it is not the most fun you can have on the record.

The next few songs see Fallon sounding like Chris Issak on "Chipmonks and Chestnuts"; "The Boss" to me, but Jimmy was inspired by Zevon for "One Glove"; and I hear John Lennon in "Merry Happy Christmas."

I don't like to drink, but I would be interested in trying "Coquito."

For fans of the "Hallmark Movie," this may offend you. It may even offend Lifetime movie fans, but the song is only relaying the formula that people who have watched several movies see again and again. The last few years, I have grown to appreciate rom-coms and rom-drams and managed to sit through a few hallmark and lifetime films. There are some good ones, but some of them just may have several names. 

While we may not agree that this "Weird Cousin" imitated Weezer really well, we can come closer to an agreement that Jimmy Fallon effectively imitated Bob Dylan and have an even higher likelihood of agreeing that "Thanksgiving Eve" is the biggest drinking night of the year; that prospect is overrated, but I do like the song.

In the traditional album finale, Dolly Parton returns for another, but much less awkward, duet that iterates it is "Almost Too Early for Christmas." The video has the same style as the duet with Meghan Trainor, so it is really cute, even with Jason making an appearance. Their duet on Dolly's last Christmas album was creepier, and that is if you consider the context of the age discrepancy, which makes it a little weird. 

While I do enjoy solitude, I do not think I would like "Christmas Alone," and I may be a lone wolf here, but the autotune and the audio effects cause this Christmas banana to peel; with that said, I can also see how and where others can find this tune to be unbearable and annoying.

As contradictory as this can be, "The Elves Are Unionizing" while wrapped in what sounds like (folk?) punk to me. Nope, he was not my Idol, but the first name I thought of was Billy. I also figured out the other artist I could not pinpoint, another Billy with last name Joel

However, "Broadway (Do You Remember)" finds my memory in less of a fog, as Jimmy reminds me of an A.I. Elton John: good, but not the real thing.     

As for the rest of the songs, a grab bag of souvenirs from the consistently distant aunt and uncle you may see once every y...five years: A song that could be featured on a Rivers Cuomo Christmas Record; a somber dose of nostalgia brought to us by Fallon and Lang Lang; a song about secrets and surveillance sung by an Elvis impersonator less than a foot tall; two covers live at the Electric Lady; and finally a holiday reboot with another rapper that busts rhymes .

Clay Aiken "Christmas Bells Are Ringing"

 While I view American Idol a lot differently now and stopped watching the show as a whole (I have seen an occasional clip here and there the last few years). I remember a time when it was a family staple, a time when I was a lot younger, hearing his version of "Solitaire" before making the connection that it was also the name of a card game. Oh, the naivete, or is it ignorance? Both.

  I remember Clay Aiken's first Christmas album, how bright-eyed he looked on his first Christmas venture, and that voice. What happened to him?!

No, he looks basically the same, but instead of being endearing, that "bright-eyed" look he wears is kinda creepy now. He still sings well. I have heard most of the songs he covers here more than enough to cover my own ears and imagine his interpretation (hyperbole alert). There were some "Magic Moments," this little ditty right there, where it is festive and familiar enough to other tunes heard without being a blatant rip-off, (cough) cover. Ok, forget what I said, but now I know it is a cover (first time I heard it). Others, such as "Caroling, Caroling" hit the high (quality) notes for me; and his version of "Wonderful Christmastime" may be more wonderful than his Wonka-less "Pure Imagination," (which was also covered by his season two superior, Ruben Studdard); still determining that. "On This Silent Night" and "The Most Wonderful Time of the Year" could be choice cuts for you. 

While the record was fair, I will ask, was there really a need for another Clay Aiken Christmas album?

I'll answer with this: do we really need all these Hollywood reboots?

3 Heath Brothers "Not So Silent Night"

While their version of this classic was faithful and worthy of multiple listens, I prefer the eponymous "opener," which gives us a glimpse into their collective personality as a group. Then, they decided to take a deeper dive and give us a beautiful song that lists some likely possibilities of "What God Wants for Christmas."

Could it be a trend? After this triplicate of covers, or what many may call a medley, a dark cloud looms and the brothers sing a somber tune. Most wouldn't say the season's temperature rose when we lost a loved one, or they left us, we would say "Christmas Got Colder."

This next medley of "Feliz Navidad/ Come On, It's Christmas/We Wish You a Merry Christmas" was followed by a much warmer and hopeful sentiment with their cover of "I'll Be Home for Christmas." 

Though, if I had to choose my favorite of covers it would have to be their version of "Mary, Did You Know?" I have heard several versions but, with the multi-layered treatment with enough variety of instrumentation, and the right tone, to score the scope of the majesty that is the birth of Jesus Christ, without going overboard and cheapening it, this is my favorite.

 

The album gets even better with "This Year (Happy New Year)" with a joyful tone and a hopeful heart that oft appears at the prospect of the new year.

There is so much I can say about the finale, other than its my favorite, but I'll say this: it not only tells the greatest story ever told with engaging and rousing melodies, instrumentation and harmonies, but it also finds one of brothers attempting to lead someone back to Christ. Is it done? Is it well? 

The record could not have had a finer end.

My Morning Jacket "Happy Holiday!"

Ah, to have These indie darlings wish you a Happy Holiday! Sounds good, right?

Sounds like a challenge approaching. While no one really likes feeling sorry for themselves, except what it may afford them, even though it is counterproductive, this song allures and then stings, not only because of the song itself, but it scores this seasonal paranoia.

I can imagine that one of the most poignant songs a traveling musician can sing around this time of year is "I'll Be Home for Christmas," and they deliver that yearning while keeping you out of the cold, with the internal burning.

One of my favorite selections had to be their cover of The Band's "Christmas Must Be Tonight" referencing the original Christmas story in its lyrics, and not only does that little baby boy, but this song also, brings so much joy (just not as much as the former).

 

So, after realizing that most of the songs I hadn't heard before were also covers, nearly identical to their originals, I was less impressed, but still pleased with the songs. 

Covers are basically regifting older songs, because music is a gift, but not everyone always sees it that way. The boys in the band, this band, go so far as to regift their own songs, both of which were wonderful in sound, one in title as well, with snowy versions. 

I can call this effort a lazy and deceptive one, but that would be the scrooge within. Pragmatic, maybe? They do cover appropriate staples, and the covert tributes to previous bands' originals are all tastefully done.  The new versions of their regifted originals manage to simulate an occasional snowfall from time to time.  In the spirit of the season, I guess I can forgive them, also because their holiday outing is giving a home to some of their songs which had none.

You may not find this funny, but at the outset, James was feelin' sorry for himself, with what could be their own Elvis holiday staple, and throughout this steady coaster of emotions we arrive at "Wonderful (Snowy Version)." The song starts with saying, "It matters to me. Took a long time to get here." The perfect way to end what should be a happy holiday; accurate statement when it comes to where they started on this record, which may set one for how quickly they arose out of the void.

Sabrina Carpenter "fruitcake"

 I will start this critique with a query. Did Carpenter come up with this title because of a clandestine appreciation for this seasonal confection, oft the receiver of rejection, in hopes that fans will praise the album aloud, so she can claim others also have praised what "gives cake a bad name?" Or did I come up with the conspiracy because I did not want to be alone? I don't care, I love fruitcake regardless. 

It's been said that love can make people do crazy things, one of which is not remixing a former hit into a festive and fun entry into the Carpenter canon with "A Nonsense Christmas." The song is the outcome of a blizzard of revision, not a mere flurry, and the snow didn't take long before it got dirty.

"Buy Me Presents" is a not so subtle reminder that her boyfriend is not only on the naughty list, but that he may soon find himself on the "do not reply" list if he does not take initiative by drinking her like a warm glass of milk, or racing to her from the North Pole to LA just to keep her stocking filled, those references (were not missed because of warm milk, not a fan anyways).

The proclamation that "santa doesn't know you like i do" is not only an incredibly arrogant claim, but can forsake your feelings like the subject of Wham's "Last Christmas" did. It sounds like Carpenter took a similar path, but the video for this song offers a last-minute shift in the narrative.

"cindy lou who" can be said to be an icon of Christmas spirit, or one of giving. The subject of the song still gives, but it's worse than coal...heartbreak.

After hearing the songs that have preceded this one, it is no surprise she is asking "is it new year's yet?" in a disco/dance club, no doubt. One that prohibits the enjoyment of fruitcake, the secret is out (It was just a theory, the majority despise this delectable confection).

The finale of this E.P. finds Carpenter drifting into a modernized version of a "white x-mas" collaboration of influences, while gifting us a surprise twist.

This album is appropriately titled because I could see myself listening to this for years to come; as a guilty pleasure because some of the lyrics are suggestive.  It is a very likeable and listenable album, in a worldly sense, but there are some things. It's not the same but reminds me of "Blue Christmas" by a fellow Sabrina, Claudio. I could listen to the actual fruitcake, and probably eat it years later because of how hearty they are, almost like the cockroach of "cake?" Many would say that is an accurate metaphor for more than one reason.

Mark Tremonti "Christmas Classics Old & New"

 I never expected to hear Mark Tremonti Christmas Classics New and Old, period. Especially performed in this way, if you consider his career prior to this release; still active as a guitarist for Alter Bridge, his own band Tremonti, and Creed with 2024 reunion tour. I should have known though finding out about his album Tremonti Sings Sinatra, with members of Sinatra's own band, no doubt.

While it would have been cool to hear rock renditions of these songs, the music was in good hands. I get it, many may have memories of the timeless albums that put a little swing in one's step, and when a musician has a chance to be a part of it, especially if one is working with a band of one of the best voices in music( I cannot confirm that he recorded with Sinatra's band for this record, but I can speculate) then why not swing for the fences.

Known more for his guitar prowess, this, along with the aforementioned album, gives his voice time to shine. He may not have "The Voice," but has a comparable one, even recreating Sinatra's own version of "Jingle Bells."

 "Christmas Morning" could be heard alongside decades-old timeless canon classics, and I don't think many would disagree that it belongs; it may be the sole new song included, but I will take one expertly crafted, and nominee for "timeless" label, over ten soulless cookie cutter newbies any day.

"O Holy Night," and even "The First Noel" are some of his strongest cases supporting the claim that his voice is comparable, although the delivery in the former reminds me more of Manilow than Sinatra.

If I were to recommend a solo record by a hard rock legend with a stylistic twist recorded a year before "This Christmas," than you know my answer. The latter happens to be the only song that sounds anachronistic. So, all the better it is the final song, as this is the final paragraph, or simply a set of sentenses.

Andrew Bird "HARK!"

 I'm sorry, but I cannot help but associate the title with the words "hockey stick" and that scene in the classic Charlie Brown Christmas special. If you are a fan, you may hear two familiar selections, yet inventive revisions worthy of multiple listens, "Skating" and "Christmas Is Coming." 

"Alabaster" echoes tidings of what could be "Happy X-Mas (War Is Over)," but the glow of the lamp you're directed to keep on is darker, and the tone more ominous, contradictory to the warmth that the lyrics exude.

While "Greenwine (HARK!)" wraps misery in greensleeves, and although few words are shared between the butterfly and his audience, "You know there is only so much wine/that you can drink in one life/but it will never be enough/to save you from the bottom of the glass." Alcohorrific! 

"Christmas in April" is not the same as it is in December, or even July, but the sentiment is evergreen.

"O Holy Night" and "Mille Cherubini in Coro" are pleasant instrumental respites from the emotionally taxing "Souvenirs," in spite of its upbeat sound, at least until the declaration that "Night's Falling." 

And while I'm "Glad" to say that "Christmas is Coming," sometimes it's best to let the music speak for itself.

Rob Thomas "something about christmas time"

 Rob's Right, there's something about christmas time, and we all knew that before that was sung in one of my favorite songs by Bryan Adams.

New Found Glory "December's Here"

 Every year as it comes to a close, holiday cheer resides as the countdown to Christmas continues. When one is a kid who celebrates, the countdown briefly pauses and then resumes. It kicks into high gear by November, and even higher when "December's Here."

I am not the biggest fan of New Found Glory, but they have recorded some albums I have enjoyed throughout the years, and this one passes the test. It doesn't touch my personal favorites, but is good on its own merits. If you're looking for nostalgia, name drops of seminal albums and modern classic films, as well as what is right and wrong with the holiday, we have a smattering of it all; half of it is in the first song. 

To those blessed with a holiday feast, there is the temptation to overindulge, and there is a line that states that, which is one of my least favorite due to its truthfulness. It only comes once a year, so many give in wholeheartedly, but it is a test because there is a balance. 

"Somber Christmas" has an ironic instrumental accompaniment, with all the poor relationships the subject has survived, now having to trudge through another holiday season in a melancholic state of mind, which assists in following the lights back home, aspiring to make new memories. It is an effective attempt at turning the frown upside down and seeing the silver lining (which happens to glow with red and green).

Yes, I have listened to the "Holiday Records" mentioned in the song, but usually only listen to them about once a year; except for the Bruce Springsteen record, which is already worn out, but is to the point where I have made peace with it. It is an overplayed, but a classic rendition (which served as a template for rockers to record their own version). The only question I have is, is there a clandestine Christmas album from "The Boss" most have not heard?

The meaning of "Nothing For Christmas" speaks for itself, especially if you have been blessed with finding your soulmate. While the following track quickly documents the dilemma of finding the perfect "Christmas Card" for that special someone, with a repetitive outro in case you lost yourself in empathy with a similar dilemma and a multitude of slightly altered sentiments wrapped in decorated cards of various designs.

As we are aware, the members of NFG are old enough to no longer believe in Santa, so "Santa Forgive Me" is for a younger generation of NFG fans, or this plea is merely dressed in holiday style, but then that wouldn't explain the crimes Pundik admitted to in the song under the guise of the big guy adorned in red. Were they based on past transgressions?

Y do things change when your first Christmas becomes "Our First Christmas?" 

Well, for one, you are older, and should be wiser, as well as more cognizant of what is going on, and the song addresses some reasons why ( nothing too deep), but when you found your soulmate, it seems to flip a switch urging you to be something more than you are.

 Being blessed with a nice family and spending time with them can make even regular days better, so when a person has truly found their significant other, it can enhance their daily experience, not just their holiday experience. One can have a close relationship with their family, but it usually can be more intimate with a spouse, so the impact, even more so.

The latter is nice enough, but I prefer how the eighth song manages to resemble falling "Snow."

"Don't Fight It's Christmas" is obviously addressing what can be good about this time of year, even if it encourages utilization of patience and seeking peace on a terse time line. The last quarter of the year always brings that battle between the bitter and the better angels to the forefront of an invisible field.

There is a reason to seek peace and patience over war and instant gratification all year round, it's just that the real reason for the season has been buried by commercialism. 

Then, it also gives "For Christmas Sake" a different meaning; the title appearing as an alteration of what sounds like saying the Lord's name in vain, and a subtle replacement for the reason to be your best you can be.

 It did mention a parents' love, sacrifice, and hard work for the sake of their children, but it was to give them what society equates with love around the holidays, a lot of presents. Not there is anything wrong with giving of gifts, but it is to the point of excess where it creates an issue. Expressing love for a family member by giving into the greed and self-indulgence that oft plagues society, especially this time of year can be two sides of the same coin.

I realize that the more Christmas records I listen to, the shorter my list of enduring favorites becomes. Even with new records appearing every year, only one or two make the list, if that, whilst the rest barely pass the taste test (because they are a mere cookie cutter compilation of sorts).

What about "It Never Snows in Florida (Holiday Version)," you have something to say about that? 

Yes, Fake News. 

I know it's merely a song title, but it had on Jan 19th in the same year as the Blizzard of '77.

Belated Holiday Tidings

 I hope you had enjoyed your Thanksgiving. May God please bless this post, this blog, the writer of the blog, and all of this blog's readers and their families and friends. In Jesus' name. Amen!

Alicia Keys "Santa Baby"

 The first version of "Santa Baby" I had heard was Madonna's, and even though Eartha Kitt recorded a version before hers, the delivery was not as snotty and demanding, which could signify her class. I am glad that Keys kept her own style and refused to emulate the former's version.

One of my "Favorite Things" about the record, and the song itself, was the instrumentation and approach to the tired classics found on the album. I wasn't too fond of the whispering in the aforementioned, but it did align with the vibe, and then artistic license subtly says, "back off, grinch!"

"Christmas Time Is Here" and the rest of the soundtrack, as well as the special itself, holds a particular place in my heart. So, when it came to this cover, I was not skeptical, nor surprised, that Keys would deliver.

"Happy X-Mas (War is Over)" is another standout, and it segues nicely into the next song that has Keys wishing upon a star so "You Don't Have to Be Alone." Ok, not you exactly but someone who may or may not be like you.

Nostalgia is a double-edged sword and can either dim or brighten your annual holiday experience as expressed in "Old Memories On Christmas." It is a beautiful song and unfortunate truth. We aim to keep the traditions alive after those who began them passed away, and it is not the same, but we knew that from their final breath, but we would make the succeeding Christmases the best we could in spite of losing several key branches in our family tree.

This girl on fire re-ships the love, and its value, that "Not Even the King" can afford; it was an everlasting love because the lyrics and sentiment were the same. While the old memories from the song mentioned in the paragraph prior must have endured the Mandela Effect because they're not exactly how we may remember. Just like those memories of the "good ole days" may not be as glorious as we remember them to be.

Let's end this review on a good one, "Ave Maria."

Ronnie Martin "Holiday Fable"

 One thing I like about this Holiday Fable is that it does not trudge the beaten path of Christmas classics, but creates its own, and instead of using breadcrumbs to find its way home, it uses whimsical keys. 

The album begins with a scored sleigh ride down the hill that leads to "The Alpine Lodge," where you may be inclined to engage in what I call a holiday strut; you will get the idea once you're close enough to the jukebox inside. "All Christmastime Sings" with its own infectious groove that may lead you to the dance floor, awkwardly in the knowledge that this may be an ode to seasonal affective disorder, but I could be wrong. It is another sad song to sing along to, but not too sad.

"Noble Fir" is not about a knight with a short first name but sounds like it is a walk through a forest of trees with assorted lights, fighting the dragons of depression on dark winter nights. If you hear or read the lyrics, then the path leading to the sled with "Holly on the Bough" is a little different. The pacing of the latter really assists in the vision of gliding with ease, and "racing through the branches and trees."

Martin is aware that the "Yuletide Cheer" cannot outlast the winter months, but still manages to imbue the song with a some of it, and score a holiday march this time. 

"The First Snow of the Season" is a warning for chionophobes, and a declaration for everyone else, that the coldest of seasons is coming, but the song itself is a pleasant walk  amongst beats simulating snow fall and those snowflakes that swirl astray the vertical path, and if you forget when you are whilst thou walk, you will be reminded before you find yourself amongst the "Winterberry Red, Winterberry White."

Mel Gibson's Portrayal of Santa

 Fatman should have been a seasonal sleeper hit several years ago and should be an underground classic soon. While Santa is known to be family-friendly, Fatman is for more mature audiences. He is not a Bad Santa just one making the most of his situation while living in modern times and dealing with the troubles that living in these times can bring.