Dusting off a Pair of Engaging Christmas Rocks from 2017

There are some Christmas albums that are indisputable in their "Classic" status, and some merely subjective. While I prefer the more rock-oriented or untraditional music of Christmas, I do love the classics. These next two bands may now be lumped in the "Classic Rock" category, but their seasonal outings still prove they have yet to relent to laurel-resting, in fact they both released  another album aside from these holiday selections.
CHeap Trick "Christmas Christmas"
The band acts as a riotous child raising mirthful heck, then realizes it's really close to Christmas, changes their tune and tone, and then reverts to their antics in this romp of a Christmas album. Its safe to say that their cover of "Silent Night" felt out of place, for me anyway, among all of the energy and vibrancy of the rock, in good faith. The one two punch of their original tune "Merry Christmas Darlings" and their cover of "I Wish it Could Be Christmas Every Day" set your spirit alight and even encouraged that sentiment. I'm not a big fan of the band, but they brought a seasonal treat for the fans, even with another cover of "Run Run Rudolph" which incites me to run away at the mere thought, but the execution is appreciated; then covers of edgier Christmas tunes by Slade, the Kinks and The Ramones. "The Father of Life" is a song that while more tender than their cover of a traditional classic sounds more genuine, and not as displaced ; a pleasant original that allows the listener to breathe and contemplate the serenity of the season, before throwing the listener back into the bustle of the season with the title track.
"Not So Silent Night: Christmas with REO Speedwagon"
An important mantra to remember before opening that mystery box from a familial wild card or an  anticipated gift from a family favorite: It's the thought that counts. While a majority of the songs have been heard countless times from a multitude of musicians, there is still some magic left to be shared in another interpretation. The blend of gospel and rock in the seldom heard, and hardly covered, to my knowledge, "Children, Go Where I Send Thee.  is an example. However, I would not skip the yuletide extravagance of the songs that precede it, especially "I Believe In Santa Claus ( Remix 2017)." While there have been newer versions of "God Rest Ye Merry Gentleman" that rock, this was recorded before they were conceived and is worth the listen.
The majority of this record was released eight years prior, I did not know until recently, and while I cannot name any others that stand out to me, it is merely because the quality of the renditions and their components are of similar quality and these compositions have been overdone., but have aged well.

Good Charlotte "Generation Rx"

The production of new music often remains unopposed, but I believe there is a point in a band's career where they should just let it be. While The Chronicles of Life and Death was not as beloved, or sold as much, as the album that preceded it, I believe it to be the better of the two. Experimentation is often a sign of maturity, and both are present on the finale of their first trilogy. With the realm of possibilities they had opened, it made it all the more disappointing when my expectations collided with the reality that they will create the music they want; some of the more "epic" tunes may have been a tad cheesy with those aural accessories, but I overlooked that because I liked the songs. 
Good Morning Revival had more value than I may have lead myself and others to believe, but the point of the paragraph was to say that Cardiology was the album I had expected to immediately follow.
So while Youth Authority was a nice return, its music did not say that this was the reason to overturn Cardiology's swan song status. 

I understand that as a creative person, a feeling of self-worth or sense of purpose may partly be aligned with output, and the quality of it. Every executed idea may not offer 100% satisfaction to the creator or the audience, but sometimes it is best to let it out, so the idea does not rot within the mind; this is referring more to Revival, and although it was repetitious at times it did have some memorable tunes and utilized some good ideas. Just because the execution of the expression of emotion may not been the most mature does not mean that "Actual Pain" was non-existent, or that it did not serve as a reason for conception.
Now, to the point where you question whether the time you spent was worth it.
I will first say that the album seems to replicate the experimentation that The Chronicles of Life and Death had, in a more mature and subtle approach. While they have retained the pop essence of the aforementioned, the riffs are meatier and the sound edgier; a great example would have to be "Self Help" for the latter, and the former listen to "Leech" or "Better Demons."
The themes found in Youth Authority re-emerge, even if one has found their purpose, it does not shield that person from a negative presence that will still exist; whether it was derived from previous trauma, or that existential angst that affects everyone to varying degrees. The journey of finding yourself doesn't really end, even if you believe you have found what you are meant to do on Earth. It may sound odd, but the "scars" of success, such as the penetrated barrier of a "private life," or the scrutiny of millions to billions of opinions at any given time, the latter especially, are also referred to in "Shadowboxer."
The album is a concise and consistent collection of songs that are constructed from catharsis, even effective at type vicarious, to a lesser extent. Some of the songs exclaim "I Just Wanna Live" from their Chronicles album, though not in as direct a manner. The song that I can associate with social media and the intentional ambiguity that may be present in tweets or posts is "Prayers" where the delivery may include a wish for the strife to end for that person, or those people, and while the intent may be good we cannot truly know whether it is for show or genuine, unless we know the person.  As the lyrics commentate:
"Prayer
They don't mean a thing at all
Do they answer when you call?
These prayers, when you don't mean what you say
Would you die for me today?
No, I just can't relate."
The album opens with questions on the title track, which builds the tension that leads to the explosive energy of "Self Help," and the questions do not cease until the ode to "California (The Way I Say I Love You)."

Sam Hunt "Montevallo"

So I probably listened to the record a year after its release and planned to release the review before the next record, or at least before I reviewed the sophomore album, but I just didn't expect the return to take  over five years. So that is why the few that may care are seeing this now.

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.