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.