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Archive for the ‘Set at School’ Category

SOUNDTRACK: RED BARAAT-Shruggy Ji (2013)..

Red Baraat’s second album feels a lot bigger than their debut.  The production is bigger, there’s (even) more diverse sounds.  And there’s a lot more vocals album.

I enjoyed the brrrrrr ah! vocals, but I’m a little less excited by the rapping. Primarily because the lyrics are pretty lame (party type lyrics for the most part). But that doesn’t diminish from the music, which is super throughout.  It feels big and solid–evidently the band was recorded playing all together with only minimal overdubs.

“Hala Bol” opens with a wild melody and some singing “bol bol bol, hala bol–RAISE YOUR VOICE!–baby baby bol hala bol.”  The song is pretty long (as most of these are and the middle features the guys chanting all manner of things in possibly different languages.

“Tenu leke” opens with a celebratory “Brrrrrrrrr ah” and chants of  “hoy hoy hoy.”  There’s a wonderful uplifting sense to the melody especially when the song takes a breath and the notes spring forth once more.

“Shruggy Ji” opens with some slow, ominous horns for about 25 seconds and then the dhol, percussion, and drums kick it up into a furious meld of go-go funk, hip-hop, jazz, and South Asian groove.  The powerful funk makes way for a good-natured rap: “Move your body and shake those hips / just feel the rhythm all under your skin / drip drop the sweat / shruggy ji lets begin.”  Nothing exciting, but fun.  The rap in the second half is less successful although I’ve read that it’s meant to be all in fun, so I guess a line like “I’m gonna ask you some question like I was Biz Markee” is just comical.  About the song band leader Sunny Jain says, “We like to think of ‘Shruggy Ji’ as that shadow lurking next to us, waiting to take over when the night falls and move our body with no inhibitions.”

“Burning Instinct” has the kind of booty shaking vibe that make you wanna move.  The dueling horn solos add to the fun chaos that the percussion is creating.

“Dama Dam Mast Qalandar” has lyrics in Hindi (I assume) which seems to work better because I’m not trying to figure out what he’s singing about.  “Sialkot” opens with some thundering dhol paying and lots of “brrrr ahs!”

“Private Dancer” also features rapping party vocals over some slow rolling funk.  I love that it begins with someone shouting “yo, turn that dhol up!”   “F.I.P.” is full of more fun and dance and lots of call and response. “Apna Punjab Hove” has a bit of an upbeat  reggae feel and a smidge of klezmer for a change of pace.  It’s still dancing, just a different step.  Lots of chanting of “ah -ha” and the like.

“Azad Azad” is an album highlight.  It’s got great percussion and a fun riff from the horns and lots of chanting.  Unlike some of the more partying songs, this one is more political: “no borders, no walls, freedom [sings / dances / rings] through us all.”

“Mast Kalander” is a fun song which proves that the more nonsensical the lyrics, the better the party: “jump in the sauce / throw your hands up and go crazy.”  I love how it gets faster and faster as it progresses.”

“Aarthi”ends the album with a cool, jazzy melody.  The party is over and it’s time to go home so lets chill things down a bit.  I love that the song opens with what sounds like someone blowing into a bass saxophone and making vocals sounds at the same time.  It’s pretty cool.

The lineup remains the same as the first album:
Sunny Jain – dhol ; Rohin Khemani – percussion ; Tomas Fujiwara – drumset ; Arun Luthra – soprano sax ; Mike Bomwell – baritone sax ; Sonny Singh – trumpet ; MiWi La Lupa – bass trumpet ; Smoota – trombone ; John Altieri – sousaphone.

[READ: January 24, 2018] “Maps and Ledgers”

I haven’t really enjoyed the stories by Wideman that much.  So I wasn’t really looking forward to this one.  But it proved to be pretty straightforward and quite compelling.

As the story opens we meet a man who says that in his first year teaching at the university, his father killed a man.  The narrator was barely established in the school–he had no phone in his office–so the call went to the English Department chair’s office.  It was his mother, sobbing and blubbering.  He had told her to call there only in an emergency, which this was, obviously.

The chair was a southern gentlemen and he respectfully left the room once the narrator had been called down.

But the story isn’t just about him.  The narrator’s Aunt C got his father a lawyer.  Aunt C was a pioneer.  She had served as a WAC office in WWII and submitted applications for jobs through the Veterans Administration.  She managed to get a job in the city planners office before they realized she was black.

They did not convict his father–the victim was black after all.  But things got worse for him.

And this is when another one of Wideman’s stories gets confusing.

My father’s son, my youngest brother, convicted of felony murder. And years later my son received a life sentence at sixteen. My brother, my son still doing time. And my father’s imprisoned son’s son a murder victim. And a son of my brother’s dead son just released from prison a week ago. And I’m more than half-ashamed I don’t know if the son, whose name I can’t recall, of my brother’s dead son has fathered son or daughter.

Gets confusing doesn’t it?

Yes it does. (more…)

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SOUNDTRACK: ALICE SMITH-Tiny Desk Concert #700 (January 31, 2018).

I had never heard of Alice Smith before, which I guess isn’t totally unsurprising given the blurb:

For those not familiar, Smith made a big splash among true-school heads in 2006 with the release of her debut album, For Lovers, Dreamers, and Me. That record, whose title is a play on “The Rainbow Connection,” brimmed with an arcane magic, and it created a legion of lifelong fans.

Smith’s live performances usually highlight songs from For Lovers, Dreamers, and Me, her 2013 album, She, and her repertoire of cover songs. But for her Tiny Desk performance, Smith gifted us with three stunning song premieres that left the room entirely in her thrall.

Smith’s voice is great (although I found the voice of her backing singer, Kristin Brooks, to be even prettier.  I don’t think you could hear the other backing singer, Chauncey Matthews, at all).

Since the blurb talks about each song, I’m just adding my comments at the end

The first song, “Mystery,” feels like walking into the home of that friend of yours who is clearly more worldly than you, where there’s always a cool breeze, no matter the season.  [I really liked the low-key nature of this song].

The second song, which is so new that it doesn’t have a title, exudes the liminal uneasiness of being out of tune with yourself. The wisdom of the song draws from the notion that the top of Maslow’s pyramid is found within. [Alice’s voice is really nice in this catchy, rather conventional R&B song].

The closing “Something” is an undulating soul search that attacks and recedes like a cloudy beach morning. Smith was unabashedly in her pocket here, alternating between falsetto, tremolo and touches of jazz. This dash of Broadway at an office cubicle is what makes the Tiny Desk series so special.  [This sounds very Broadway in the beginning. I didn’t care for all of the keening and whooping near the end though].

So I am clearly not a true-school head (nor do I know what that means).  But I did think her voice was quite nice.  She introduced the band at the end, first name only.  The blurb has their last names, but didn’t include guitarist Frank at all: Dennis Hamm keys, Greg Clark drums.

[READ: November 5, 2017] All’s Faire in Middle School

I really enjoyed Jamieson’s Roller Girl.  It was a great story and it featured roller derby!

I was excited to read this story, but I was a little concerned that Jamieson was going to try to shoehorn in a conceit that Middle School is like the Middle Ages or something.  Well, I needn’t have been.  Jamieson does something that might be even cooler than Roller derby–she sets her story at a Ren Faire!

Imogen and her family work at the local Ren Faire and have done so for years.  Her father is a part- time actor (and pool salesman) but his passion is being the bad guy at the Ren Faire.  We meet a whole cast of characters who work the Ren Faire.  Some stay put and only work there, but others travel and work the circuit.

But Middle School is also in the title.  It’s not just that Imogen is going to middle school.  Up until this point she has been home-schooled.  So she is starting middle school and school at the same time! (more…)

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SOUNDTRACK: FIRST AID KIT-The Lion’s Roar (2012).

This album was my first exposure to First Aid Kit and I immediately loved the harmonies and the dark but positive-sounding vocals.

I’m probably one of ten people on earth who doesn’t love Bright Eyes, but I love the production by Bright Eyes’ Mike Mogis (with contributions from Bright Eyes’ Nate Walcott and band leader Conor Oberst–maybe I need to re-listen to Bright Eyes).

The first song I’d heard was the opening cut “The Lion’s Roar.”  The song starts with a minor key guitar chord progression and “electronic flute.”  It’s atmospheric and a bit spooky-sounding, but when they come in with the chorus “And I’m a goddamn coward, but then again so are you” in wonderful harmony that is at times right on and other times kind of dissonant, it’s goose-bump-inducing.  Oh wow. what a moment

Pitchfork describes that electronic flute as “one deeply eerie flute tone that lingers throughout, floating in and out of scenes like a sly specter” and that’s pretty accurate.

It’s followed by “Emmylou” the most gorgeous country song I’ve ever heard, complete with pedal steel guitar and a wonderfully evocative chorus: “I’ll be your Emmylou, and I’ll be your June/ If you’ll be my Gram and my Johnny, too,” (do watch them sing it to Emmylou Harris at an award ceremony and watch her brought to tears).

“In The Hearts Of Men” slows things down with some wonderful moments as the sisters sing the “la la las” throughout the chorus.  Once again, there’s surprisingly dark lyrics for two women around 23 and 21.  And speaking of dark lyrics, the pretty xylophone and guitar play a chirpy melody in “Blue” which has this stark and dark verse:

And the only man you ever loved / You thought was gonna marry you / Died in a car accident when he was only 22 / Then you just decided, love wasn’t for you / And every year since then / Has proved it to be true

Damn.  How does a song with that lyrics have a beautiful soaring chorus that is so uplifting and Abba-esque and yet again lyrically:

But you’re just a shell of / Your former you / That stranger in the mirror / Oh, that’s you / Why’d you look so blue?

“This Old Routine” features more of that uncanny, how are you only 21 years old lyrics sung with such beautiful harmony (and delicate mandolin sprinkled in):

This old routine will drive you mad
It’s just a mumble never spoken out loud
And sometimes you don’t even know why you loved her.
Well you look at her now, and you see why.

The second half of the song has strings and such, playing a simple five note melody.  There’s a moment near the end where the strings play that five note riff and its followed by the mandolin playing the same melody one step up and it’s just gorgeous.

“To a Poet” has a fast tight guitar melody.  As the song builds, a harmonium is added.  The chorus goes in a high register until the simple catchy end line: “There’s nothing more to it / I just get through it.”  The poet in question is Frank O’Hara

But Frank put it best when he said
“You can’t plan on the heart”
Those words keep me on my feet
When I think I might just fall apart

The string section ending is bit of a surprise since neither one of them palsy on it but it does add some nice texture to this song that has just grown from a tiny guitar to full orchestration over the course of 6 minutes.

That cool flute sound returns on “I Found a Way,” as it runs through the falsetto-filled chorus.  “Dance To Another Tune” slows things down for a while until the middle features another string section.  This time the sisters add their “bah bah bahs” to it and it sound terrific.

“New Year’s Eve” brings back the autoharp (you can really hear the plectrum zipping along the strings–something I’ve never noticed when others play it).  It’s a suitably quiet song with a gentle harmony on the final line of the chorus: “that’s what’s going to save me.”  And I love that no other instrumentation is added.

The end of the record is quite different from anything else.  “King of the World’ is a dynamic romp, easily their fastest, loudest, stompingest song.  It’s got a full band behind them and a vocal turn from Conor Oberst.  There’s all kinds of strings and mandolin tucked in the corners that peek out here and there.  There’s even horns which sound a bit like Calexico.

This album is just fantastic.  And their harmonies get better and more confident with each album.

[READ: January 22, 2018] “Writing Teacher”

I have not really enjoyed any of the stories I’ve read by Wideman.  This was the first one that I felt was on the right path to my enjoyment.  And then it kind of drifted away from me at the end.

It also features one of the things I hate most in stories–more on that in a moment.

This is the story of a writing teacher.  He is reading and reviewing a story by a student, Teresa McConnell who, “wants to help other people.”  The story “wishes to save the life of its main character, a young woman of color, a few years out of high school, single, child to support, no money, shitty job, living with her mother who never misses an I-told-you-so chance to criticize her daughter’s choices.”

What I hate most in stories comes a few sentences later: (more…)

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SOUNDTRACK: DANIIL TRIONOV-Tiny Desk Concert #691 (January 12, 2018).

It has been quite a while since there had been a classical pianist on Tiny Desk.  And man, what a return.  Trionov is just stunning and he makes some of the more complex piano pieces in musical history seem easy.

NPR’s Tom Huizenga has written a splendid blurb which I’m putting here because he covers far more than I could:

When we invited Russian pianist Daniil Trifonov to play a Tiny Desk concert, we rolled out the big guns. In place of the trusty upright, we wedged a 7-foot grand piano behind Bob Boilen’s desk in preparation for the artist who The Times of London called “without question the most astounding pianist of our age.”

That’s a pretty lofty claim, but watch and judge for yourself. His performance here is extraordinary. Still in his 20s, Trifonov seems to have it all: jaw-dropping technique and interpretive skills beyond his age. He’s also a composer — the night before his NPR visit, he played his own knuckle-twisting piano concerto at the Kennedy Center here in Washington, D.C.

But for his Tiny Desk show, Trifonov focused on Chopin, beginning with the mercurial “Fantaisie-Impromptu” in C-sharp minor, a work that mixes sweeping melody, turbulent passion and wistful repose. Hunching close over the keyboard with feline agility, Trifonov’s slender fingers glide effortlessly. He coaxes the instrument to sing tenderly in the slow central section.

Trifonov follows with a pair of short tributes to Chopin by his peers. Robert Schumann’s “Chopin” accentuates the lyrical side of Chopin, filtered through the German composer’s forward-looking harmonies, while Edvard Grieg’s “Hommage à Chopin” offers volatility, lovingly rendered.

The smartly programmed set is capped with more Chopin, but with a nod to Mozart: the finale from a set of variations based on an aria from Don Giovanni. It gives Trifonov a chance to display his lightness of touch, plus a few pianistic fireworks. Smiling, he treats the tricky filigreed runs and hand crossings as if it were a child’s game. Look closely and you can see the piano shake.

So Trifonov plays four pieces.  The middle two are quite short.

Chopin: “Fantaisie-Impromptu, Op. 66”  This is one of my favorite pieces.  The fast part is jaw-dropping and the slow part is achingly beautiful.  His fingers flow over the keys like he was simply petting a cat.

Schumann: “Chopin. Agitato” (from Carnaval)  Trifonov says Schumann wrote a tribute to Chopin called “Chopin,” which was a portrait of the man.   This is a quiet, delicate piece and it is so much fun to watch his hands float seemingly weightless above the keys.

Grieg: “Hommage à Chopin, Op. 73, No. 5”  This tribute focuses on the more stormy and turbulent aspects of Chopin’s faster work.  It slowly builds in intensity with very fast finger work.

Chopin: “Variations on Là ci darem la mano‘ (from Mozart’s Don Giovanni) – Coda. Alla Polacca”  Chopin wrote a variation of Mozart’s Don Giovanni.  This is the finale. There are some amazingly intense runs up and down the keys in this piece as well. And again a lot more bouncing around with his left hand to high notes.

This was a tremendous Tiny Desk Concert.

[READ: December 13, 2017] Crafty Cat and the Great Butterfly Battle

I really enjoyed this third Crafty Cat book.  Anya continues to be an unreasonable character (and I want someone to stand up to her!), but her awfulness allows for some good humor and good setups in this book.

The book opens with Crafty Cat saving an ant after dusting it with glitter (the ant now feels pretty special).  But then it’s soon time for Birdie to get to school.  She tells us that they are picking roles for the class play about butterflies.  Everyone is supposed to pick a bug they want to be:  “Be creative in your choices, we don’t need ten ladybugs.”  Birdie confesses that she is going to be the butterfly she has even crafted a small model of the wings that she can make.

Then Evan shows up.  He rescues a glittery ant from the sidewalk (that was amusing)  and then reveals that he is going to be an ant for the play.  When Birdie says she’s going to be the butterfly, Evan has reservations.  When they enter the school we see 10 students all wanting to be the butterfly–especially Anya.  And image HER surprise when other kids want to be the butterfly–which is her role, after all. (more…)

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SOUNDTRACK: SKATING POLLY-Fuzz Steilacoom (2014).

“Ugly pop” is how Skating Polly describes their music.  And it’s a pretty good descriptor.  Their music is loud and brash and the two members can both sing pretty and scream loudly.

Both Kelli Mayo & Peyton Bighorse play drums and guitar and piano and they alternate for different songs.  Kelli’s instrument is more of a bassitar–a bass with just a couple of strings on it.

How on earth do they make such a big sound with such limited equipment?  And how do they write such great songs?

I guess at this point it’s worth mentioning that Kelli and Peyton are stepsisters and, when they made this album in 2014, Kelli was 14 and Peyton was all of 19.  How, then do they make music that sounds like a perfect continuation of the riot grrrl 90s?  Catchy, with lot of distortion and a whole lot of pogoing.

The other fascinating thing about these songs is that they are short.  You’d assume that fast punky songs–with only two instruments and no guitar solos!–would barely clock in at 3 minutes.  But these songs are almost all 3 and a half, some pushing four minutes.

“Alabama Movies” has a cool staggered riff with a high bass note that stands out in a really cool way. The song is smooth and rocking until the chorus where Kelli lets her shriek flag shine and the song totally rocks.  “Scummy Summer” has a very different sound–more tinny and guitar-based–including a moment mid-song when all of the fuzz drops out and it’s just a clean guitar and simple drums.  I’m assuming that this is a Peyton song.  They trade-off styles like this throughout the album–some heavier, some lighter, but pretty consistently with a lot of distortion.

“Ugly” really shows off what they can do.  Opening with some acoustic guitar and whispered vocals, the rest of the song follows a rumbling bass line and thumping drums:

I wear my face just like my skin
Dried up, paint-free, and authentic
I let my hair just soak up grease
I brush it with my fingers, see?

and then this more disturbing third section, in which they don’t hold back:

Suzy went to school this morning
Suzy went to class this morning
Suzy was loudly droning
Suzy told the class her story
You can look in the mirror
Might not like what you see
You can try to change it
But you’ll always be ugly
And you’ll always be nothing

They mix up some of their style even more with songs like “Break Your High” which is almost fast folk.   This one has a waltz beat and acoustic guitars.  The rest of the album plays with these dynamics in interesting ways.

They sisters are very impressive with their tightness-t-hey stop on a beat and change styles mid-song as easily.

I’m a little underwhelmed by the production of the record.  Specifically the drums, which sound like they are made of cardboard.  The guitars (especially Kelli’s bass heavy one) sound great though.

The final song, “A Little Late” throws everything out the window and shows a totally different side of the band.   It’s a five-minute piano song with the lyrics sung in a round–both Kelli and Peyton singing over and over each other.  It’s really interesting and quite catchy. the way the song slowly builds, adding new instruments.  There’s a lot of components to the song, but I especially like:

Chase away the thoughts that make you hate
‘Cause hate does not create
And hate at best will just keep you a little late, a little late

This was their third album.  I have yet to hear their earlier two, but their follow-up was pretty outstanding.

[READ: October 17, 2017] Brave

Tabitha chose to read this book because she really liked Awkward.  It takes place in the same universe, and I love that the characters from Awkward make a cameo.

Peppi (Penelope) is back in this story but she is a very minor character.  Indeed, the book says that there will be more books set in Berrybrook Middle School presumably with many different characters in the lead.

This story follows Jensen, an overweight, socially awkward, not-terribly-bright boy who has anxieties but generally doesn’t feel that he is being picked on (he is).

Peppi is part of the art club and that’s where Jensen finds some friends, too. (more…)

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SOUNDTRACK: CELTIC FROST-Vanity/Nemesis (1990).

I used to like Celtic Frost’s early brand of noise and mayhem.  I had given up by the release of this disc, but I feel like either my friend Al or my old radio station gifted me this CD which I didn’t listen to much.

The recent passing of Martin Ain made me pull this out to see if it was any good.  And it’s an interesting mix of early Frost noise and some progressive tendencies that ultimately lost them earlier fans.

But the music on the disc is as confusing and unruly as the title.  Was this originally a single with those two songs?  They’re not connected in any way on the record.  It’s very strange.

And what’s especially odd is the way the album is sequenced–along with the lead guitarists that accompany the songs.

I see that Ain himself was relegated to backing vocals on all tracks and bass on only track one.  Curt Victor Bryant has taken over bass duties as well as lead guitar duties (on some tracks).

The album opens with a classic Tom Gabriel Warrior “ugh!” and heavy guitars. The first two tracks are like Celtic Frost of old. Low rumbly, minor key, heavy menacing dirges with Warrior’s growling vocals.  And that lead guitar sounds like it comes literally out of nowhere on both tracks–it just feels tacked on, a little too loud, just swirls of guitar–there’s no real playing, it’s just a lead guitar “sound.”

The first surprise comes on track 3 when Michelle Amar sings (quiet) lead vocals and some backing vocals on “Wings of Solitude.”  Amar went on to form the cool short-lived band Sulfur.  After the previous two songs, this feels far more complex although it doesn’t quite work with Gabriel’s grunting vocals.  But there’s some real songwriting going on here.  There’s also a proper guitar solo.  Turns out that on some tracks, lead guitars were supplied by additional musician Ron Marks and he’s a real shredder.

More surprises are in store as “The Name of My Bride” (written by Ain) has these lyrics.

Now, like the tempting snake of old
She has seduced my very soul
She took my rib she stole my heart
And hid it in her bosom’s warmth
Oh mother hallowed be thy name

The mother line aside, these is a broken-hearted love song!  No wonder Warrior kicked him out.

It’s followed by an aching ballad “This Island Earth” which is actually a Bryan Ferry song.  Tom sings a serous achiness and there’s some massive guitar shredding going on.

The second “Side” of the record turns away from this more progressive style with a pretty standard heavy metal music with a wailing solo at the end.  It’s followed by the hilariously named “Phallic Tantrum” complete with guitar noises by Bryant.  “A Kiss or A Whisper” is really heavy with big crushing drums and lots of ughs from Warrior.

“Vanity,” the first title track chugs along pretty nicely with more female backing vocals (I assume from Amar), but its “Nemesis” the is the biggest surprise.  A seven minute song that starts out with a pretty (simple) acoustic guitar melody (and spoken echoed words by Amar and Warrior) for  about a minute and 45 seconds.  Then there’s the ugh! and some chugging riffs.  The verses are kind of plodding but the final line around 4 minutes “Will death cleanse me of this nemesis” is pretty catchy even with Warrior’s lack of singing ability.  There’s a wild solo and then last two minutes are pretty cool.

The bonus track is a cover of David Bowie’s “Heroes.”  This may be the most peculiar cover of this song out there.  If not for the lyrics you would have no idea that this is the song.  Musically, it sounds like any other Celtic Frost song.  I can’t even tell is the main riff is meant to mimic the Bowie melody or if it’s just some random Celtic Frost chords.  The end of the song features Amar whispering something in French (why is she recorded so quietly?).  I assume it’s the French lyrics to Heroes.  No one will say it is better than the original,but it certainly interesting.

Celtic Frost broke up after this album (and then reunited etc), but this is a pretty wild collection of songs–all genres represented.  Many ideas all thrown together all within a pretty simple setting of grunting vocals and heavy guitars.

[READ: February 1, 2016] “Reading Comprehension: Text No. 1”

I have really enjoyed Zambra’s stories a lot.  As with most of Zambra’s work, this one was translated from the Spanish by Megan McDowell and I thought it was terrific.

It opens with the amusing sentiment:

After so many study guides, so many practice tests and proficiency and achievement tests, it would have been impossible for us not to learn something, but we forgot everything almost right away and, I’m afraid, for good. The thing that we did learn, and to perfection—the thing that we would remember for the rest of our lives—was how to copy on tests.

At his school especially, the teacher gave mostly multiple choice tests ostensibly in preparation for future standardized tests. (more…)

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SOUNDTRACK: A VERY SPECIAL CHRISTMAS 3 (1997).

Sarah had this album on cassette, so I recently upgraded it to CD for her.  There are some good songs on here, but the end kind of degenerates into unpleasantness.  Looking at the track listing of the rest of the Very Special Christmas releases I can;t imagine ever getting (or even listening to) another one.

STING-“I Saw Three Ships”
Sting is back.  Compared to the previous song, this is a delightfully spare version of this song.  And it’s quite nice (and short).

THE SMASHING PUMPKINS-“Christmastime”
I’ve recently realized how much I dislike Corgan’s voice, but I do like his arranging.  This song is quite pretty and his voice is kind of submerged a bit so that’s good, too.

NATALIE MERCHANT-“Children Go Where I Send Thee”
O good Lord.  Sarah and I both like Natalie, but jeez this song is so repetitive and so freaking long.  One verse would have been fine.  But five? Hold crap.  I do like the “one for the little bitty baby” line, though.

REV RUN & THE CHRISTMAS ALL STARS FEATURING MASE, PUFF DADDY, SNOOP DOGGY DOGG, SALT-N-PEPA, ONYX & KEITH MURRAY-“Santa Baby” [NSFC]
Oh boy is this terrible.  A horrible update to a horrible song.  The original is kind of funny, but this is just excessive greed.  At least it mentions a ’98 benz so it is so dated that no one plays it anymore.

NO DOUBT-“Oi to the World”
Gotta say that I love this song.  It’s funny and fun and I would totally put this on a Christmas playlist.  This is back when I used to like Gwen Steafani.

SHERYL CROW-“Blue Christmas”
I don’t like this song and I’m mixed on Sheryl Crow, but this version works pretty well somehow.

BLUES TRAVELER-“Christmas”
I only know Blues Traveler from that one song with the long harmonica solo (I hate that harmonica sound).  But I love this song.  It actually reminds me a ton of Tenacious D (can t you just hear Jack Black singing this?)  It’s fun and really catchy.  I wonder if I need to listen to other Blues Traveler songs.

ENYA-“Oíche Chiún (Silent Night)”
This song is very pretty and I have the single for it.

HOOTIE & THE BLOWFISH-“The Christmas Song”
Darius Rucker does have a good voice, but what the hell is going on in this cheesy phoned-in version?

CHRIS CORNELL WITH ELEVEN-“Ave Maria”
This is a nice (if not over the top–but is any version not over the top?).  But for heaven’s sake why is it 6 minutes long?

MARY J. BLIGE FEATURING ANGIE MARTINEZ-“Christmas in the City”
This is pretty much everything I hate in one Christmas song.  Cheesy beats, rambling verses, whiny choruses.

JONNY LANG-“Santa Claus Is Back in Town”
This is pretty close to everything else I hate in one Christmas song.  A blues song that feels like it goes on for 6 minutes.  Good grief.

DAVE MATTHEWS & TIM REYNOLDS-“Christmas Song”
This live version sounds better than the studio version I have elsewhere, but it’s still way too slow and mumbly and way way too long.

STEVE WINWOOD-“Christmas Is Now Drawing Near at Hand”
No one knows this “traditional” song, I’m sure.  It’s a slow English ballad, with no real melody.  I thought it was Peter Gabriel.  I kind of like it.

TRACY CHAPMAN-“O Holy Night”
This is an enjoyable version, understated and kind of weary-sounding.

PATTI SMITH-“We Three Kings”
My daughter rightly said that this version was very weird.  Patti is at her most Patti.  There’s  aton of mumbled spoken word competing with the song.  Even the chorus, which is so wonderfully catchy, is played like a dirge.  And like everything else bad on this record, it goes on for nearly 6 minutes.  CDs were bad for allowing people to sing for too long.

[READ: December 24, 2017] “Tripping Sunny Chaudhry”

Once again, I have ordered The Short Story Advent Calendar.  This year, there are brief interviews with each author posted on the date of their story.

Hello. Welcome. It’s finally here: Short Story Advent Calendar time.

If you’re reading along at home, now’s the time to start cracking those seals, one by one, and discover some truly brilliant writing inside. Then check back here each morning for an exclusive interview with the author of that day’s story.

(Want to join in? It’s not too late. Order your copy here.)

This year I’m pairing each story with a holiday disc from our personal collection.

This story actually takes place on Christmas Eve!

The narrator and her husband head back to New Jersey for the holidays.  Back when she was younger, all the kids would head out to the woods for beers and a bonfire.

(more…)

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