A Very Kacey Christmas

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

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

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

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

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

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

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

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

Christina Grimmie "All Is Vanity"

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

Kadesh Flow "Room Service 2"

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Christmas in July Reviews: Five from Four Years Ago

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

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

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

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

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

Leona Lewis "Christmas, With Love"

 I remember when this came out I turned away. 

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

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

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

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

To disregard.

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

Justice "Woman"

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

Sam Hunt "Southside"

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

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

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

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

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

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

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

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

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