Miley Cyrus "Younger Now" (Toddler of a Review)

If anything, the full title should  have been "Bangerz and (s)Mash; pre-conceived notions and original impressions be dam-ned" and may have been just as successful, and still as true. Her last album, not referring to the low profile experiment, because how else could you release an album with dead petz, if not underground? The album was full of Bangerz and noteworthy collaborations, Ludacris remains one of my favorite "feature artists." There are even some somber bangers, but a lot of songs that may not possess the longevity of Bad which was Miley's intent when it came to releasing this album, one of them; to have an album that sounds just as bad arse decades later, and she still has a long way to go, but it rocks so far. One track that still stands the tallest to is "FU" and it doesn't even have its hands in the air, but that is another banger too.
The album was a catalyst, it initiated the public's severance from Miley and her old image. It may not have rewritten the book, but it started the next chapter, without question, through the occasionally contrived actions and surreal expressions of herself that were over the top, but helped reinforce her "rebirth."
This album is the fresh start that she sought after the best of both world collided and Hannah Montana was no more. While her 2013 album was nothing short of a spectacle, in sound and sight, Miley was still searching for herself after her initial childhood fame stage, this album is the true rebirth of Miley Cyrus.  Although pretension is the word that comes to mind with its initial simile in the title track, it addresses the journey Cyrus has taken since her alternative ego's inception, and the fame that came along with it; she seems to have reconciled with what came of it, even if she was not prepared or pleased with some of the steps taken with where she is today (creatively, musically, or careerwise). She was able to reboot her career, but in a more mature manner.
One can fall in love with someone else without knowing their name, just as one can fall in love with a song without knowledge of the same. That happened before going to "Malibu," yet in my heart I knew it was Miley, and this has happened before with Bowie and some of his music. As I read more into the song, I love it even more, just not as much a Miley loves Liam; or loved for that is in the air.
I wouldn't call myself a rainbow, but I would like to be a part of "Rainbowland," a utopia with its own gold concerning society, no longer Them vs. Us, but Together We "where we're free to be exactly who we are," cast aside the judgement and fear, but leave the scars. How surreal the prospect seems, but I agree, actualization is possible, with action, and open mind it can be more than just in dreams. It may be the closest to a duet with her Godmother and Matriarch of Dollywood, but is a pleasant vision of what could be, and the candid call added some joviality.
When you found who could be the love of your life, that love will be expressed in various ways, and even in various tones, because when we love them unconditionally, we love them through their most difficult manners and moods and at their best, of course; through the heartache they may haphazardly or intentionally cause ( because a person can be loved to the point it hurts.)  That is what these songs are about. The first of which contemplates a week without that love of her life, now , who could still be her soulmate, and the pain from her heart stomped on the ground does not overpower that yearning for that love, expressed in sound.

 The following two songs could be sisters, writing about the same subject with similar feelings, but with polar approaches. The tragedy of "I Miss you so Much" lies in both lyric and accompaniment aspects, and is of love uncertain. while the comedy lies in "I'd Die For You." A love that powerful can drive one to madness, or selfless martyrdom, but when the significant other is "better than any childhood dreams" which can be the most wondrous of those procured from human beings, it sounds like a love worth it all. The sound could be classified as upbeat faux-k or folk, depending on what your level of snobbery may be, but it really suits the song.
Some songs have me "Thinkin'" too much, while others not enough,  While it may appear to be somewhat of a gray sheep on either album, I cannot help but think of Bangerz when thinking of this one. The iteration of the final word on each chorus line accentuates a chorus's repetitive nature and sounds like a future hit. The selfless and sacrificial love may be in jeopardy, but its true, a relationship doesn't add up to much, much, much, much, if it does not include trust, trust, trust, trust.
The struggle of living or describing what is beyond your reach can place you in a "Bad Mood," and while its production is following a trend heard in the last few tunes, the same can be said for the love regarding her significant other, because unconditional love can only last so long when it is unrequited or sparsely reciprocated with something other than torment.
The lyrics say it best "to make somebody stay , you gotta love someone," but if you truly love them, let em' go. As counterproductive as it sounds, it can be effective, because one can find their significant other too early in life. The lyrics remark how Miley immediately knew the intended recipient wasn't the one, but nothing ever stops her from forgetting or moving on; slightly baffling because there seems to be some baggage or another force doing just that, and if it is a retrospective relationship she is referring to, ok, but if its the yo-yo that seems to involve Liam, ok? All I know is that it would "Be a cold day in hell before I'd ever be your wife (that's right)." That and the spunk on this track

Ariana Grande "Christmas and Chill"

Not only is the title altered from the multi-faceted dating query "netflix and chill," but it can also serve as a parallel to document how quick Christmas can come to a close, especially when it comes to the prep. Yes, the album is short, even shorter than Christmas Kisses, by a few seconds, and that had only four songs. However, It never feels rushed, or that you may be listening to stocking snippets; the songs feel complete without overstaying their welcome, while many songs tend to bludgeon the chorus and sentiment in your brain, like those relatives we all know of.
 Although there are no covers, the Intro and the succeeding songs are seasoned with enough holiday music elements to set spirits bright without having to hear another rendition of a tired yet true canon classic. I do like her covers, especially her opening kiss to the ears on her 2013 E.P. That cover of "Last Christmas" is tied with Jimmy Eat World's rendition as the best cover version of the tune.
She does avoid heating things up too much to keep in context with the chill mood, so that's a plus, even on "Wit It This Christmas" she keeps it G, pushing PG. It's always nice to hear new original tunes, since many new offerings often are addled with the overdone. I believe she could release a consistent full-length holiday album, but she's been excelling at the short and suite odes to the holidays, why not keep the tradition?

Five For Fighting "Christmas Under The Stars"

Although I am not a fan of Five For Fighting, I respect the artist and the craft.
"What is your favorite single?"
The answer has always been "The Devil in the Wishing Well," which not only sounded different the two major singles that preceded it, and while I am aware that "Superman (It's Not Easy)" and the first single from The Battle For Everything are by the same artist, its "Easy Tonight" and every night, to make that connection. However, I have been pleased with some of the later singles off succeeding albums, especially Bookmarks
The question that may follow to those who may still be reading is "Why the introduction?"
What will follow is an example of how a live experience can alter the perception of an artist, even if the experience was recorded for an album. But first, more commentary and short prose.

As it becomes more of a burden to sift and differentiate between the holiday releases each year
As disenchantment sets in and the magic and faith in merry intent disappears
I approach the year's holiday releases presuming boredom, mixed with trepidation , not fear
But to what my wandering eyes should appear
as I scrolled through the roster of releases last year (2017)
This live album featuring some friends and this merry balladeer.

I did not expect Ondrasik to present himself in the manner that he did, but that is keeping in mind his higher registers and his weapon of choice, although a piano can be a very powerful compositional tool indeed; yet some word associations may remain "fragile," and "weak."
There were some moments that felt forced and awkward at times but he kept those moments to a minimum focusing on the performance aspect, which only is an issue if you prefer the former. He was a gracious host, and his treatment of "It Came Upon A Midnight Clear" set the tone for what was a great performance. Before a string-assisted performance of his song "100 Years" we were graced with "The First Noel," another pleasant rendition.
That awkward I had alluded to was the introduction of his daughter for their rendition of "Santa Claus is Coming to Town" or the introduction to his new original "Christmas Every Day of The Year." I appreciate the intent and message of what the latter presents.
Although "Silent Night" was another satisfactory rendition, I enjoyed the collaboration with the International Children's Choir for "Edelweiss" and the harbinger of Christmas joy, "Christmas Time is Here." It cannot match the original, but it brings an equitable amount of elation.
The Five For Fighting Quartet demonstrate why Ondrasik's favorite part of the quartet show with "some of the best string players in the world" with this aurally appealing arrangement entitled "Six For Christmas." The two previous selections  could raise your spirits "In The Bleak Midwinter."
The association between Christmas and gifts is longstanding, and in his introduction Ondrasik mentioned that he has written numerous songs of all levels of quality, and thousands of songs (hyperbole?), that have ranged from taking a year to forty five minutes to compose, but remarked this next song was gift; one that really willed his career to soar. While on the subject of Christmas associations, you may be able to think of Christmas without thinking of Jim Brickman, but I am not sure you can say the same for thinking of Jim Brickman without thinking of Christmas, or "The Gift."
The following two songs included a performance of Jim's "Hymns and Carols Medley" and then the song that Jim and Jon co-wrote for the troops, "Christmas Where You Are." The heartfelt explanation was a kind buffer for this tune honoring those guardian souls, and was full of goodwill and good intent, yet simultaneously I cannot help but foresee an arousal of a soldier's lament.
Funny, yet not surprising that the first album I heard from beginning to end, more than once, would be a Christmas album. This is another one of those albums that may find itself in the roster for holiday time rotation because not only did it override my preconceived notions, but it was memorable and strayed from the beaten path of Christmas albums.

Kylie Christmas (Snow Queen Edition)

Although I originally cringed at the thought of a Kylie Christmas, I found out that the album fell farther away from frightful than I expected. Part of the reason is that I expected more songs like "Santa Baby" than "2000 miles," and that goes for the originals too.  While there are songs that flaunt her sexuality in a toned down and tolerable way, she does have songs that are more sentimental, still fun, and feel more attuned to the season. The triplicate of canon classics that initiate her holiday sound brassier, it doesn't hurt to have "The Voice"  assist with "Santa Claus is Coming To Town" or those holiday bells and choir in "It's The Most Wonderful Time of the Year." Some of my favorites have to be her original tunes, and "Only You" with James Corden is a good start.
I would say that I prefer the new additions to the catalog of Christmas music over her new renditions, but Iggy Pop's appearance in "Christmas Wrapping" makes a cool yule tune even cooler. Mika may be no McCartney but he suits this new rendition just fine. While I have only heard rock bands cover "I Wish It Could Be Christmas Every Day" written by Roy Wood, it sounds like Kylie and Steve Anderson can hold their own. While the last cover on this edition may not be Christmascentric, it is a very positive choice and is aligned with the spirit of the holidays, "Everybody's Free (To Feel Good)."
Since I mentioned that I prefer the originals over the covers and I had to choose only three, they would include At Christmas, Only You, and Every Day's Like Christmas, or White December.

R Kelly's 12 Nights of Christmas

I understand it is late, and was it worth the wait? Find out shortly. One of those critiques I wrapped up but did not give away until now.

Bublé in Buffalo February 27th, 2019 Recollection

Due to his detestation of the classification "fan," I am allowed to call myself part of the Bublé family, and have been so for over a decade now, to which I am honored to be a part of; further context expanded upon at his concert toward the end of the show. Being part of the "family," it could cause criticism without bias to be elusive. However, the main objective is to recollect what was seen, heard and felt, and let me tell you, there is more than non-bublievers and first timers would expect, like Gia. This was the seven year old's first concert, who was probably glad that his "...all Christmas songs" setlist was a joke. I knew it was a long shot, joking aside, but I really did want to hear "The More You Give (The More You Have)" To YouTube! Later on!
Being as what follows may only interest a select few, tens of thousands people, if we consider the attendance, I'm going to suggest that you skip the next few paragraphs, if you just want to hear about the music; though there will be some more of the commentary unrelated to music further on as well.
I may not be adept at acknowledging and addressing the various types of performers out there, but I know that there are two basic approaches; artists that just focus on performing the music, and those that want to perform their music and do it well, but also give their audience something more.
There is no doubt as to which approach Michael takes, and aside from giving the audience a great show, he gave some fans low fives, selfies, a formerly unsigned can of Bubbly, and a chance to appear on "Buble's Beloved," a concert feature brought upon by his love of showers, and his profession of envisioning himself singing on "the Voice" of "American Idol." "You cannot say that there is not one song that you sing in the shower, and you kill it" Bublé proclaims, paraphrased, before he gives a fan a shot to sing that shower song. He admits the trial the night before did not fare well, and was leery when one prospect was uncertain in their ability. A testament to their being balance in the world, the next prospect requested that her husband hold the beer, to which Bublé joked "that is not always a good sign, and look at that, its almost as big as your head." Safe to say she did kill her shower song, to Michael and our amazement. The song? Leonard Cohen's "Hallelujah."  Before the next contestant, trumpeteer for the orchestra, Michael Bublé  sang the chorus of Cohen's classic in a higher register; while both performances were notable of recognition, I prefer the latter "You're Nobody Til Somebody Loves You," I cannot recall the names of the performers.
 This may be one of the first concerts where I had no fear of the artist performing some of the big songs, and only a shortlist of obscure requests. To end on a high note, in my opinion, is more important than starting off on one. First impressions can be very hard to shake, but there was nothing to worry about. People can halfheartedly state that the first song "set the tone' for the night, but this time it truly did, and continually renewed that state of "Feeling Good."
You could tell Michael was feeling "...maybe too comfortable" with the crowd; was genuinely ecstatic of the awe-dience.
"I cannot believe it, I cannot believe that you are here. I heard the forecast and it snowed all day and thought 'aw sh**! They're not gonna make it, and you came! I thought I was going to have to mold my own audience, to which I would be king" before he made a Game of Thrones reference; paraphrased from what I could remember. He was extremely grateful for the crowd, and praised Buffalo as being an "Adult Disneyland" including the best of both Canada and the U.S.
I understand that when someone may praise you, it can hamper your ability to perceive their person and what they say objectively, but I believe he was truly genuine, and it was great to be there.
Considering there may not be another place to interject this statement, I could see Bublé as a talk show host, and on the gradual rise as a comedian, because he really engaged and interacted with the crowd, interjected some monologues, and kept this aspect of his concert on the same level as the musical aspect.
 Many artists may play some of their biggest hits later on, but "I Just Haven't Met You Yet" found its place number two in the roster to the delight of the crowd, and it was as great as could be expected. "My Funny Valentine" followed with some commentary, "it sounds creepier than I remember. I love you, but I may kill you," and his rendition is not without its sense of foreboding.
 Such a Cover! Such a Song! "Such a Night!" was had by many, especially that girl who had boisterously professed her love for Michael numerous times throughout the evening. I do love the original recording, after just hearing it recently for reference, but the energy in Bublé's rendition was equitable with the enjoyment Buble and his backing orchestra, and all of its extraordinary components, some of which were from Buffalo, brought to the crowd. There was a lot of love, respect, and admiration on stage and off of it.
Yes, this tour may be in support of love, and not just the album either, but much more. There were some touching tributes, especially when it comes from someone performing with passion, and the first was dedicated to his best friend, to which he addressed "age is just a number, sometimes you have that connection with someone and that gap doesn't matter," paraphrased, his Grandfather who would have been 93 this year, had he not passed during the Christmas season.  He reminisced about sitting in his grandfather's room and listening to Sinatra, Bennet, Martin, Fitzgerald, to name a few. "But one of our favorites, was Bobby Darin," which served as the Segway for his performance of "(Up A) Lazy River."  He remarked that albeit sad, it is better that the late Darin wouldn't be able to see that only four people raised their hand when Michael asked who had heard of him before. Michael hoped that he did Darin justice and that he had made his best friend proud remarking how  he would bring him on tour with him forty more years if possible.
The next tribute I must mention was that to his wife, to which the night before was really difficult to perform, but he managed to pull it through to perform his more recent original "Forever Now."
 While it was nice to hear songs I recognized such as "Sway" and "When You're Smiling," the latter a favorite Louie Armstrong song of mine, originally recorded by Seger Ellis,  songs like Louis Prima "Buona Sera Signorina" and "Just a Gigolo/Ain't Got Nobody" opened my ears to some new classics to love, and another artist to explore, and in honor of Michael's grandfather I may give more of Darin's music some eartime. The latter medley perfectly led into another Michael Bublé original from the preceding album, that wasn't even on my radar of expectations, it was a favorite from that record and the title track; who else would declare it a hippin-hop tinged tune? Who else would remember one of their favorite songs after hearing it live? "Nobody But Me," that I know of.
There were more touching moments to be had, the one I may mention now is more personal to me because this song was one of my aunt's favorite dances, and it was said at her funeral that nobody they knew could do it better; it was also the first time I heard it in full, and not just live, but I thought about my Aunt Karole the whole time Buble and Co. performed Chuck Berry's "You Never Can Tell."
One of his biggest songs was initiated with a dedication to all of the heroes we may never see, or know their name, but are heroes regardless, whether on the home front or in the same neighborhoods you or I may reside: to the heroes that must wait months and years, to those that may only have to wait hours and/or days to return "Home." A visual accompaniment was playing on the screen behind Bublé that showcased the multitude of heroes he was dedicating the song to.
There was more that I could talk about when it came to Bublé and his stage presence, more humor or monologues he decided to present to us, or the fact that a lot of the songs he is performing are not his own, and when that is the case, then what are you really contributing to the world of music? It certainly causes complications to make a name for oneself when one's career involves "competing" or honoring legends of yesteryear by recreating those songs and presenting them in a new light. We are both cognizant of the fact that he will not be able to replace, compete with, or be Frank Sinatra, or even Bobby Darin, to name a few, but that is not the intent; he is aiming to be the best version of Michael Bublé he can be, and performing songs he loves and bringing them to a new audience, and he is succeeding. His personality and his charisma also differentiate himself from other artists who perform songs of yesteryear and pay tribute to those classic icons and their songs.
The best scenario would be to end the show as well as one begins it, and when it came to the traditional finale, he dedicated to bold and hearty Buffalonians with the bombastic and Bond-esque rendition of Julie London's "Cry Me A River," certainly a song I have Crazy Love for, and an unexpected surprise.
You can bet that there was an encore, and while I did enjoy the covers of "Where or When," and "Always On My Mind" by Rodgers and Hart, and Brenda Lee, respectively, it was his 2007 original that was "Everything" a good percentage of the audience wanted to hear; a favorite song of my brother and his wife when they were dating.
So it ends, and I have little more to say, and no, there was no heartache tonight, and that is fine with me. However, there is a question that comes to my mind: how can you build a career on critiquing others for how they perform and what they create, or recreate, and not fade into the nameless? This is not what I plan to pursue, but if I do, I would write honestly, candidly, and interject some traces of my own personality in what you may read. When it came to performing, it works for Bublé, and when all is said and done I would do it my way.

Maren Morris "GIRL"

There are several words that electrify the interest of the person on the fence as to whether they should check out that album or not, aside from the singles released; this applies to other media as well, but that is besides the point. While the overuse of "epic" has diluted its initial effects, there is still at least one word that may convince that person to do so. While I liked the singles, it was this word that shocked this kat , who fell in a well of appreciation for the album. The word? "Iconic."
Hearing this word to describe the album before its release by her husband, Ryan Hurd,on an interview stuck with me until I dove in.  Words such as this sets a certain expectation, although they may vary slightly from person to person, there is a general foundation, and the bones are good.

This audio "Girl" is a bombshell and accurately addresses some of the stresses, which transcend eras, or at least the weight, of being a young woman, and the inevitable comparisons made to others, and "The Feels" that can hit harder than a freight train; for some more than others. The emotions the following song refers to are a lot more positive, and the song nearly as catchy.

It is true, there is "A Song For Everything," you may not have found it yet. Nods to Springsteen, Katy Perry and Coldplay are made, as well as the notions that certain songs can take you back to some of the worst or best times in your life. It is a moderately catchy song that steers you in the direction of the emotional gravity of what follows.
While we all have our differences and use those to divide ourselves, or claim superiority over another, by race, religion, belief system, gender or sexual orientation, physical state, IQ, etc. the next song states that we have too much in common to be engaging in derision and violence; with all of the problems that we may have, why create more by accentuating differences or what makes us "better" than another?
While I am not claiming to be original, I agree with the sentiment that it can take awhile, and I applaud her intent, because I attempt to create my own flavor with whatever I create, while remaining true to myself.
The two lines at the outset of "Make Out With Me" clearly state that the second half of the record has begun, and while the details are not as explicitly stated in the "RSVP," you know where they both may lead.
To have found your significant other in life is something of great magnitude, and cannot occur without its positive effects; the content of the final eight songs refer to her relationship with Ryan Hurd. I will not say "better half" or the "person that makes another whole" because that should not be the case; finding that person will help improve your life and improve you as a person, and she acknowledges it best by singing "think I finally discovered/ you're my perfect shade" in the finale of this declaration of womanhood. She expresses her gratitude and appreciation for her husband in songs "To Hell and Back" and, one of my favorites, "Gold Love." Yet she is confident enough in herself and her place in the relationship, I would not call it arrogance, to write a song called "Good Woman." The strength of their relationship is addressed in her hit song, "The Bones" and "Great Ones," both noteworthy tunes.
It would be remiss to fail to mention  Bros. Osbourne and Brandi Carlisle's appearances on " All My Favorite People" and "Common" respectively.
As mentioned before, a word such as "Iconic" sets the foundation for certain expectations, and may vary slightly between two different people, but I cannot say it meets those expectations; simply because that is not a word to be used lightly. However, the record is a very consistent and enjoyable album, as her debut was, maybe even better.