My Favorite Albums of 2011, Part II

I’m back! Seeing as is the list about, y’know, 2011, I had to make sure to get this posted before the year is out. Also, I’ve made an executive decision and increased the number of albums on my list to 20. (There was a late-breaking addition.) This means that this post will be even longer (11 albums, 4 EPs, and some end-of-the-year words…whew!), but we’ll make it work. (In other news, by the end of this paragraph, the number will increase to 25, and by the end of this post, it will be so large you can’t even count it.) Now, on to the rest of my favorite albums list…these fine records, I consider the best of 2011.

Rachael Yamagata — Chesapeake

(Full disclosure: This is the late-breaking addition that pushed my list to 20.) What is “Chespeake”? It’s an understated, very unassuming album, full of songs that grab on first listen, certainly, but don’t show all their different textures until after repeated listens. Rachael has really opened herself on “Chesapeake,” and the result is a warm, honest collection of songs that showcase her at her very best. Her songs in the past have often been introspective and haunting, and they certainly are here, but there’s a certain underlying uplift to the proceedings that really helps her songwriting come to life. And when she does hark back to her previous work with raw ballads like “Full On,” she ends up creating exquisite, devastating works of art. “Chesapeake” is without question Rachael Yamagata’s finest work yet, and it’s a fascinating, engrossing glimpse into her artistic vision.

Amos Lee — Mission Bell

“Mission Bell” is in some ways a convergence of influences. You can see touches of jazz, folk, soul, country, Americana…a little bit of everything, really…within its songs, and Amos Lee is the kind of songwriter and performer that knows just how to tie all of it together. The album is fearlessly intimate but wonderfully expansive, and it has a world-weary quality that gives it great depth and texture. It also doesn’t hurt that Amos has a fine roster of guests (including country icon Willie Nelson, on an album-closing reprise of the opening track). His singular voice is used to great effect, and overall, it’s a beautiful musical portrait that stays with you long after the first listen.

k.d. lang & the Siss Boom Bang — Sing It Loud

It’s no hyperbole to make the statement that k.d. lang is one of the most incredible vocalists of all time…her instrument is rich, gorgeous, expressive, soaring, heartbreaking, and uplifting, all in one. This record is one truly worthy of that incomparable voice. Paired with a full-time backing band for the first time in quite a while, she delivers her best album in years, arguably the best of her career. “Sing It Loud” is an intoxicating, breathtaking recording, and k.d. and the band unite beautifully to create a collection that feels timeless. It’s raw and organic, but at the same mysterious, refined, and elegant. It’s a new direction for her in some ways, going back further to her country roots than any of her recent work has…but it’s a direction that if there’s any justice in the world, she should definitely keep exploring, because if it results in albums like this, as a listener I want to be there exploring with her.

Ben Sollee — Inclusions

You don’t get many artists like Ben Sollee, and I mean that literally…he’s a singer/cellist. (I don’t think you’d even need all of one hand to count how many of those there are out there in the music world.) Artistically, though, he’s even more unique…he’s unclassifiable genre-wise, but his songs work. They work wonderfully. They’re dynamic and fresh, and soaring in a very rare, understated way. There’s a lovely quality to his music that’s kind of hard to define, but it makes perfect sense once you take a listen. They’re the kind of songs that just get better and better as time goes on, and that’s the sign of an album that truly endures.

Florence + The Machine — Ceremonials

The rare album that feels both unendingly grand and ambitious, yet at the same time incredibly authentic and introspective, “Ceremonials” is a towering achievement. It’s a record you have to really dive into to get the full experience, but it’s a dive that’s definitely worth taking. Kicking off with a rousing opening track (followed by the gloriously anthemic “Shake It Out”),  song after song after song, it hits hard and deep, with Florence’s booming voice lifting up to the heavens, the lyrics setting the mood, and the instrumentation going in all kinds of fascinating directions. Only at a few points does she let the music run away from her…while “Ceremonials” is wild and experimental, it’s a very organized type of chaos at work here. Florence and her band know exactly what they’re doing, and the result of their efforts is a singular, spectacular kind of album that’s unlike anything else out there.

Elbow — Build A Rocket Boys!

How exactly does a rock band expand on huge success? After bursting into prominence with their last album, the revelatory “The Seldom Seen Kid” (which even garnered them a prestigious Mercury Prize in the UK), Elbow went exactly where they needed to with their next record…they went home. It’s not as if they ever left, but on “Build A Rocket Boys!”, they feel truly at home. The songs are warm, straightforward, and above all, absolutely beautiful. A prime example: “Lippy Kids,” in many ways one of the emotional centerpieces of the album, feels like frontman Guy Garvey’s love letter to what being a teenager is, and he delivers it with such nuance and tenderness that it very nearly breaks your heart. The use of the Halle Youth Choir on a few tracks is an inspired choice…they help the songs soar even more than they already do on their own, adding beautifully to the mix. There are countless moments of musical brilliance throughout, and it’s even further proof that Elbow is a band constantly creating incredibly well-crafted music that’s genuine, honest, and full of emotion.

Ximena Sariñana – Ximena Sariñana

This self-titled album is Ximena Sariñana’s second, and her first in English (only one track, “Tu y Yo,” is in her native language, Spanish)…and it shines. Taking a new approach with sonically adventurous, forward-thinking producer Dave Sitek, it’s a different vibe than her debut record in some respects, but the marriage of the acoustic and the electronic is a happy one, and her powerful yet delicate voice is a perfect fit. From the sunny opening track, “Different,” to the gorgeous ballad “Tomorrow,” to the light/dark exercise that is “Wrong Miracle,” the album’s closer, this is a highly enjoyable, top-notch record through and through.

Bon Iver – Bon Iver

Unfolding in quiet, explosive bursts, Bon Iver’s eponymous second album (there seems to a be a pattern here…hmmm) is, quite simply, beautiful. The band burst onto the scene with little more than singer Justin Vernon’s heartstoppingly fragile voice and his guitar on “For Emma, Forever Ago”…this time around, the sonic palette has exponentially grown, and the many new instruments are weaved into the album like a stunning tapestry. There’s absolutely no one genre you can pin “Bon Iver” to…all that can be said is that it is, without question, wonderful, wonderful music.

Company of Thieves — Running From A Gamble

On “Running From A Gamble,” Genevieve Schatz has her day. Lead vocalist of Company of Thieves, she tears into the songs with reckless abandon, singing with fire and spirit when the chorus swells, and bringing her powerful pipes down to a whisper when things get quieter. It’s a masterful set of vocals, but that would mean little if the band she’s a part of…and the songs she sings…weren’t up to scratch. They are, and then some. Company of Thieves has created a tour-de-force of lyric, melody, and sound. “Running From A Gamble” is gorgeously thought-provoking, engagingly fierce, and an enjoyable, breathless musical ride. You really can’t get much better than this.

Sondre Lerche — Sondre Lerche

Usually when artists title an album after their own name, it signals a debut or an early work (see the two albums above…I didn’t even realize until just now doing this post that I had three eponymous albums on it). For Sondre Lerche, however, this is his sixth studio release. What it most likely is meant to mean in this case is a rebirth…on this record, Sondre doesn’t do a complete 180, but his music is in some aspects filtered through a different lens. It’s more acoustically driven, more organic, a little more stripped down. At his essence, Sondre is a skillful, innovative songwriter, and it shows through brightly here. His songs are haunting, lovely, and lyrically inventive, even playful at times. Which is the way they’ve always been (Sondre’s music is remarkably consistent)…but here, the listener gets a front-row seat.

Feist — Metals

Let’s put it out there right now: “Metals” is a triumph. A hands-down, no-holds-barred triumph. It’s a very different album than “The Reminder” (Feist’s previous album that spawned the joyfully ubiquitous “1234″). In fact, it’s a bit unlike anything Feist has ever done. It’s revelatory and quietly sweeping in a way that most artists only dream of. Feist’s voice is in peak form, and her writing on this disc is absolutely stunning, plus the production is striking and unique in a way that enhances the songs in absolutely all the right ways. “Metals” is a tale of heartbreak, of acceptance, of everything in between…but above all, it’s a tale of humanity. So many moments in the album stand out. The a cappella chorus of Feist’s vocals at the end of “A Commotion”…the way “Graveyard” explodes into a cathartic sing-along…the slow, steady, breathless build of “The Circle Married The Line”…the underlying fierceness behind “Undiscovered First”…all that and more. Without question, this is pure, unadulterated musical magic.

But wait, there’s more! Four fine EPs I’d like to briefly highlight this year.

Courtney Cotter — Home I Roam

Courtney is a friend of mine, so it’s possible anything I write about her music is somewhat biased. That said, this is a terrific collection of songs. She’s grown since her last album (her debut full-length, “My Happy”) in wonderful ways, and all 6 of these songs (plus one from “My Happy,” the amazing “Unsaid”) are strikingly mature, beautifully warm, and impeccably crafted, and Courtney’s beautiful voice is the icing on the cake. The only downside to “Home I Roam”? It ends too soon.

Christopher Miller — Hair and The Hell

I was introduced to this album by a Facebook post by a friend, and I’m very grateful for the recommendation. This EP may be only 4 songs long, but what it lacks in quantity, it makes up for in quality. The songs are evocative and lively, and Christopher has a very developed writing voice that shines through very well. My personal favorite on the EP is “Ben Just Shy,” which boasts a terrific, infectious hook.

Alyse Black — The Honesty EP

Honesty is in the title, and it’s in the music as well, as Alyse Black goes back to basics and gives us 7 cozy, beautifully spare songs that are both confessional and uplifting. Her music really draws you in, and this EP is a fine display of her gorgeous vocals and outstanding songwriting skills. It’s well-crafted, incredibly genuine, and a celebratory act of pure expression.

Lucy Schwartz — Keep Me

Moving forward without losing any of what makes her so terrific in the first place, Lucy Schwartz delivers a fine EP with “Keep Me.” Between the stop-you-in-your-tracks piano ballad “You Are You Are,” the quietly sweeping title track, and the moody, atmospheric “Domino,” Lucy has outdone herself once again, creating rich, engaging songs that, while small in number this time around, provide countless hours of highly enjoyable listening.

Now I’m done. That kind of took a while…I guess that’s what happens when you add 1 or 2 albums at the last minute, eh? It’s been an absolutely wonderful 2011 blogging here at Harmony Avenue. This year, this blog went farther than I ever imagined it could, and I’m happy to actually have at least a few regular readers (I think), and lots of visitors, and the response to my “Sing-Off” recapping was terrific. Thanks to all you who commented, read, enjoyed, and especially those of you who shared, my posts this year. (Any compliments received have been MUCH appreciated.:)) Now, to a piece of news I don’t think I’ve announced here formally yet, mostly because any regular readers I have probably know it already: I’ll be leaving on a full-time mission for my church in May (to Peru!). That means in 2012, I’ll only be having a few months of posting. My plans for Harmony Avenue after that are a bit up in the air right now, but there are a few options I’m considering while I’m gone for two years and obviously can’t keep this blog up whatsoever, so I’ll keep you posted on those. For now, thank you all so much for helping make my blogging-related activities in 2011 an absolute blast. Happy New Year!

My Favorite Albums of 2011, Part I

The time has come for my last posts of the year, and they’re two posts I’ve been excited for a while to make. This year I’ve curated a list of my 19 favorite albums (yep, I know I said 15 earlier, but the times, they are a-changin’) of 2011, plus a few fine EPs I’ve loved the past 12 months as well. Because of the large number, I’ll be splitting it into two jam-packed posts. First off, a ground rule I set for myself: Each album on this list is one that I’ve listened to in its entirety at least once (and in pretty much every case, much more than once). This means that a few outstanding records regrettably got left off my list, because I haven’t been able to hear them completely (money and time issues are to blame). I’d like to highlight “American Road” by The Tierney Sutton Band, “The Gate” by Kurt Elling, “Helplessness Blues” by Fleet Foxes, and “Barton Hollow” by The Civil Wars as four albums that would be on this list had I the resources to have listened to them in depth by year’s end. (Hey, as you can see below and in the next post, I had a whopping 19 other albums to keep me occupied, along with tons and tons of other partial albums and individual songs to keep me company on iTunes.) Now, on to the first 9 entries in my favorite albums of 2011 list. Note that they are NOT ranked…choosing between music I love is pretty dang impossible for me, so there’s no way I would have been able to arrange these albums in any satisfactory way. The order isn’t exactly random, but where an album falls on the list means very little, aside from the fact that, y’know, I love it.

Vanessa Carlton — Rabbits on the Run

While many know Vanessa Carlton only as the girl who sang “A Thousand Miles,” I’ve loved her for a while for much more than that…I regard her sophomore album, “Harmonium,” as criminally underrated, and her somewhat experimental third album, “Heroes & Thieves,” as pretty nice as well. However, with “Rabbits on the Run,” Vanessa has unequivocally crafted her finest recording yet. Listening to the album, it feels like she’s finally found the artist she’s always wanted to be, giving us a collection of uniformly terrific, honest, engaging songs that never feel anything but genuine. “Rabbits on the Run” is the rare album in today’s world recorded on tape, and that production choice lends it a unique, intimate quality that enhances Vanessa’s voice and songwriting beautifully. The addition of a children’s choir on a few tracks is a perfect touch, as well. It’s a real treat from beginning to end, full of warmth, depth, and spirit, and it’s terrific to see that after years of wandering, Vanessa Carlton has finally discovered her musical home.

Peter Gabriel — New Blood

It’s hard to follow an album as ambitious as “Scratch My Back” (AKA a covers album of songs largely from this decade, performed only with a full-scale orchestra, sans drums), but with “New Blood,” Peter Gabriel has done more than just follow his previous work…he’s expanded on it. Using his own catalog this time instead of the work of others, Peter brings a new, stunning dimension to the songs of his past, creating timeless recordings that create a gorgeous new world for the listener. The arrangements, once again by master musician John Metcalfe (with some assistance by Gabriel himself), are superb and breathtaking. Guest artists Ane Brun (a sublimely haunting vocalist who sings in lieu of Kate Bush on “Don’t Give Up”) and Peter’s own daughter, Melanie (who sings a lovely duet with him on “Downside Up”) add immensely to the proceedings, providing background vocals throughout. “New Blood” is a tour-de-force recording that gets better and more rich with each and every listen.

Ellie Goulding — Lights (US release)

I’m kind of cheating with this album, because although it was released in the United States this year, I was already familiar with it before 2010 had ended. (It was released in the UK in March 2010, a full year before it bowed in America.) But I had to find a way to highlight this album somehow, so I’m exploiting the technicality for all it’s worth. With “Lights,” Ellie has created something altogether fresh and new, something that’s increasingly hard to do in the music world today. It’s hard to describe her music…the “folktronica” and indie pop labels would both fit here, but even then, they don’t even scratch the surface. Ellie’s voice is pure and beautifully fragile in the best ways, and her music is full of life. The songs on “Lights” are often ones you can dance to, but they have tons of emotional weight as well. Ellie Goulding has created a thoroughly engrossing debut album with a beat, but also with a beating heart.

Coldplay — Mylo Xyloto

Thanks to their huge level of success, Coldplay has become arguably one of the pop/rock world’s most polarizing bands. They have their legions of fans, but in a big way, it’s become ‘cool’ to hate them. By all accounts, this album should prove each and every one of those haters wrong. It’s in many ways a departure from their previous recordings (even the sonically expansive “Viva la Vida or Death and All His Friends”), and as a result, it feels like a new Coldplay in a few respects…but at the same time, the same group we’ve known and loved for years on end. It’s been billed by the band as sort of a concept album, and while the story isn’t always clear while listening, there’s an underlying, intangible narrative that shines brightly throughout. The songwriting is impeccable, the band is fully engaged, and while the music is often calm and serene, it’s anything but sleepy or lazy. It’s an album that takes a listen or two to start fully revealing its many treasures, but it’s also an album that’s more than worth the wait.

Laura Marling — A Creature I Don’t Know

Laura Marling could all too easily be an artist defined by novelty. She’s only 21 (a year older than I am, which never fails to boggle my mind), and already she’s won quite a few accolades, seemingly endless critical praise, and a huge amount of fan respect. Her music is outstanding, but what’s more, it goes beyond her age. Listening to “A Creature I Don’t Know,” you don’t think of Laura as a 21-year-old wunderkind…you think of her as a true musician. Her songs are beautifully mature, fearlessly witty, and bracingly introspective, and thought-provoking to boot. Her voice is wonderfully evocative, a rich instrument that paints thousands of pictures with just one note. With “A Creature I Don’t Know,” Laura has created a work of living, breathing art, one that just keeps giving and giving.

Sachal Vasandani — Hi-Fly

When most people think of jazz albums, “innovation” probably isn’t the first word that comes to mind. However, innovation is the key to great jazz music, and it’s a quality that rising star Sachal Vasandani displays in spades. He and his band (along with veteran musician John Clayton, who serves as producer on the album) come up with new takes on songs (and equally terrific original compositions) that are forward-thinking, engaging feats of reinvention. However, they don’t forget to include just as much emotional resonance. These songs hit home in the most powerful ways…whether they be in the form of a gorgeous cover of the late Amy Winehouse’s “Love Is A Losing Game,” or a rollicking duet on the classic song “One Mint Julep” with vocalese legend Jon Hendricks, or a heartstopping remembrance of the recent Japan tsunami with “Flood.” It’s music to think about, music to celebrate, and most of all, music that truly moves.

Brandi Carlile — Live at Benaroya Hall with the Seattle Symphony

Usually, live albums are a nice complement to an artist’s body of work, and in some cases can be quite good, but most of the time they usually don’t stand out on their own as something truly remarkable. Brandi Carlile’s live recording with the Seattle Symphony is, without question, an exception to that rule. Performing a great selection of her own material (along with a few great covers) with, as the title states, a symphony, her energy practically leaps off the headphones, speakers, or whatever you’re using to listen to the album. She’s full of fire (her voice sounds just as soaring out of the studio setting, if not more so) and brings a perfect balance of charm and mischievousness to the table. The orchestra adds a beautiful dimension to her already amazing songs, and with some of her onstage banter included as well, you’ll feel like you’re right there in the concert hall. Despite the fact that it’s a largely unadorned live recording, “Live at Benaroya Hall” stands as one of Brandi Carlile’s best albums.

Foster the People — Torches

They may be famous for the sneakily ubiquitous crossover hit “Pumped Up Kicks,” but on this album, Foster the People prove they’re no one-trick pony. “Torches” is a collection of pure pop gold, featuring track after track of endlessly infectious, insanely well-crafted music that’s the kind you want to get stuck in your head. It’s electronically driven, but it never feels pretentious or inauthentic, yet at the same it’s strikingly modern and inventive. Pumped-up kicks may be their calling card, but with “Torches,” Foster the People prove that effervescent, intoxicating songs with complexity and depth are most certainly their forte.

Adele — 21

Adele, seemingly out of nowhere, has become the artist that unites, that speaks, that touches. It’s harder to find someone who doesn’t like her music than someone who does, and the impact of her songs is widespread. (This is probably the first time in recent memory that pretty much every member of my family agrees on an album, for starters.) “21″ captures that universal quality. Sure, it has the now-megahits “Rolling In The Deep” and “Someone Like You.” Sure, it’s full of heartache, acceptance, regret, pain, tension, release. But what’s more, this album truly has something for everyone, something hidden carefully in its notes and melodies and lyrics and instrumentation that speaks to all, while at the same time never selling out, never cheapening its storytelling, its musicality, its utter brilliance. What Adele does with “21,” just as she so perfectly did with “19,” is achieve a perfect marriage between singer and song. She is the music, and that deep connection translates beautifully to the listener. She achieves the seemingly impossible…creating music for the masses that feels as personal as if she was singing straight to you.

Part II to come tomorrow, on New Year’s Eve. Thanks for reading! Feel free to comment, discuss, disagree, agree, and more below.

My Best Songs of 2011

Alas, it’s the end of the year. The time when many “best of” lists are posted. Just like last year, I have utilized my handy dandy iTunes play count (and numerous Top 40/Top 100/Top 200-style auto-playlists) to formulate a list of songs I’ve downloaded this year that I’ve listened to constantly. To add to the fun, just for kicks I searched out the songs from 2010 in my Top 200 Most Played that didn’t make it onto last year’s Best Songs. They’re included in their own list below. As I noted last year, a few of these weren’t released this year…I just caught on to them within 2011. (In fact, this is true of more than a few entries on this list…this year I went old-school. Comparatively, anyhow.) Here they are…my top 23 songs of the year.

1. No Cars Go — Arcade Fire (#7, 45 plays, added Apr. 15)
2. How Come You Never Go There — Feist (#12, 42 plays, added Oct. 3) (check out my Song of the Day post on it here)
3. Never Leave Your Heart Alone — Butterfly Boucher (#13, 41 plays, added Feb. 10) (also a past Song of the Day, found here)
4. Cold War — Janelle Monáe (#19, 40 plays, added Apr. 25)
5. Tú y Yo — Ximena Sariñana (#22, 39 plays, added Jan. 5) (yet another Song of the Day alum, its post is here)
6. New York — Paloma Faith (#43, 35 plays, added Mar. 11)
7. Crown of Love — Arcade Fire (#50, 33 plays, added Apr. 15)
8. Queen of Hearts — Company of Thieves (#62, 32 plays, added May 17)
9. Rebellion (Lies) — Arcade Fire (#83, 29 plays, added Apr. 15)
10. Hoppípolla – Sigur Rós (#89, 29 plays, added Jul. 3) (these Songs of the Day are popping up like daisies on this list…find it here)
11. Every Teardrop Is A Waterfall — Coldplay (#92, 28 plays, added Jun. 3)
12. Sophia — Laura Marling (#99, 28 plays, added Jul. 25)
13. Stone Cold Sober — Paloma Faith (#102, 28 plays, added Jan. 2)
14. Lippy Kids — Elbow (#110, 27 plays, added Mar. 11)
15. Shake It Out — Florence + The Machine (#112, 27 plays, added Oct. 17)
16. Young Love — Mystery Jets feat. Laura Marling (#122, 26 plays, added Aug. 21)
17. Someone Like You — Adele (#124, 25 plays, added Feb. 20)
18. Mixtape (with the BBC Heritage Orchestra) (Live) — Jamie Cullum (#132, 25 plays, added May 16)
19. Rollerblades — Eliza Doolittle (#151, 23 plays, added Jan. 6)
20. Tallulah — Company of Thieves (#173, 21 plays, added May 17)
21. Love Is A Losing Game — Sachal Vasandani (#182, 21 plays, added Jun. 20)
22. Avenue — Agnes Obel (#187, 20 plays, added Sep. 28)
23. Cry Baby — Cee-Lo Green (#190, 20 plays, added Aug. 10) (subject of a Music Video of the Day earlier this year…watch it here)

An interesting note before I dive into the songs from last year that got left out of the 2010 list because they were late bloomers…”Mixtape,” a song that was no. 30 on last year’s post, found its way onto the “best of” list yet again in 2011, this time via an amazing live version he did with the BBC Heritage Orchestra during a BBC Proms performance. (I posted the video in my Artist Spotlight on him earlier this year.)

Now, the songs I downloaded in 2010 that grew on me enough this year to now be part of my Top 200 Most Played playlist on iTunes. There’s one group you may notice makes a strong showing…more on that in a minute.

1. Bulldozer — Bess Rogers (#17, 40 plays, added 12/29/10) (Song of the Day post here)
2. Deep Blue — Arcade Fire (#28, 37 plays, added 9/6/10)
3. Rolling In The Deep — Adele (#35, 35 plays, added 12/4/10) (yep, I had it a YEAR ago…)
4. We Used To Wait — Arcade Fire (#59, 32 plays, added 8/31/10)
5. Under The Sheets — Ellie Goulding (#63, 32 plays, added 12/16/10)
6. The Suburbs — Arcade Fire (#91, 28 plays, added 8/20/10)
7. Niño Hojas — Natalia LaFourcade (#101, 28 plays, added 12/4/10)
8. Wake Up — Arcade Fire (#125, 25 plays, added 10/28/10)
9. Kaleidoscope Heart — Sara Bareilles (#142, 24 plays, added 9/6/10)
10. Bluebird — Sara Bareilles (#143, 24 plays, added 9/6/10)
11. Guns and Horses — Ellie Goulding (#152, 23 plays, added 12/16/10)
12. Pocket Philosopher — Mandy Moore (#155, 23 plays, added 8/31/10)
13. Ready To Start — Arcade Fire (#159, 22 plays, added 9/6/10)
14. Scared of the Dark — Courtney Cotter (#160, 22 plays, added 6/27/10)
15. Every Time You Go — Ellie Goulding (#161, 22 plays, added 12/16/10)
16. I’m Not Calling You A Liar — Florence + The Machine (#162, 22 plays, added 10/14/10)
17. Swimming — Florence + The Machine (#175, 21 plays, added 10/14/10)
18. Machine Gun — Sara Bareilles (#183, 21 plays, added 9/6/10)
19. Big Jumps — Emiliana Torrini (#196, 20 plays, added 7/19/10)

Could you spot which group I fell madly in love with this year? Perhaps this post back in April might help you out. Yep, 2011 was the Year of Arcade Fire for me. I had gotten their album “The Suburbs” back in the summer of 2010, and loved it, but didn’t pay too much attention to it (evidence: the fact that not a single Arcade Fire song made it onto last year’s Best of list)…that all changed when I went on impulse to see them in concert earlier this year, and afterwards I immediately bought every single one of their songs that I didn’t already own.  I’ve listened to them a heck of a lot since April, and it shows on my most played songs, for sure. Eight songs from the two lists above are by Arcade Fire. Other artists that make multiple appearances: on the 2011 list, Paloma Faith, Company of Thieves, and Laura Marling each have 2 (Laura’s second is as a featured artist); on the list with leftovers from last year, Ellie Goulding and Sara Bareilles appear 3 times, and Florence + The Machine appears twice (in addition to an appearance on the 2011 list). All in all, it’s been a fantastic past two years of music.

My end-of-2011 posting isn’t done yet. Stay tuned for not one, but TWO separate posts highlighting my favorite albums of 2011. (And I picked them all by myself. Take THAT, iTunes!) You’ll find some big tickets, but also some hidden gems, and a few unexpected choices. At least one post will be on its way tomorrow, hopefully two. (If not, Part II will go up New Year’s Eve at the latest.) I’m excited to share my album picks with you, and for now, thanks for stopping by, and see you again soon.

Holiday Song of the Day: “I Believe In Santa Claus”

It’s Christmas Eve night, so for once, I’ll keep it short and to the point. Here’s an absolutely beautiful song by Courtney Cotter, a talented singer-songwriter from the Mesa area (who I know from high school). I highly recommend you pay special attention to the lyrics  of the song…it’s a very profound message, and one that helps me, at least, really feel the true spirit of Christmas. So here’s tonight’s Holiday Song of the Day…

“I Believe In Santa Claus” by Courtney Cotter!

A Merry Christmas to all of you wonderful readers, whoever you may be. Thank you for visiting, and stay tuned for some fun end-of-year festivities to come.

Cover Stories: Christmas Edition!

Remember when I said I was going to go all out for the Christmas season this year on Harmony Avenue? In fairness, I’ve done much more than I did last year. Still, it hasn’t been quite all I’ve hoped…but that’ s OK. Since it’s only two days before the big day (and I still haven’t wrapped any of my gifts for my family…hey, at least I’ve got them all in the first place…), my planned Christmas Cover Stories series will be condensed into one wild, crazy post. Basically it’s going to be me sharing some intriguing holiday covers, in a disorderly, unorganized, possibly rambling fashion. In other words…business as usual. Let the Christmas cover-sharing commence!

Andrew Belle — “Have Yourself A Merry Little Christmas”

This is one of my all-time favorite Christmas songs, so on paper it wouldn’t quite make sense that I love this cover so much, since it ends up changing a great deal of the melody and whatnot. However, Andrew Belle (the artist of a previous Song of the Day earlier this year) makes the right changes, in my opinion, and is a distinctive, talented enough singer that it really works. It’s both a subtly daring new reinvention of a classic tune, and a warm, heartfelt homage at the same time.

Feist — “Lo, How A Rose E’er Blooming”

With little more than a guitar (or two?), what sounds like a tambourine, and a small horn section, along with of course her delicate, gorgeous voice, Feist takes on a 16th century German Christmas carol and turns it into something altogether beautiful and new. It’s contemporary but traditional, soft but bold, and above all, peaceful and full of life. A chorus of humming and “ah”-ing atop a classy trumpet solo comes in in the last part of the song and ties it all up in a lovely, almost ethereal bow.

Grace Potter & the Nocturnals — “Please Come Home For Christmas”

I’ve never quite been a fan of this song, mainly because every time someone covers it, it’s done in almost exactly the same style…an inauthentic blues template. Not to be a Scrooge or anything, but it always seems like whoever is singing it is totally phoning it in against a background accompaniment that’s been passed on through the years or something. This version is the first in years that I’ve been able to get behind…there’s something about the energy that firecracker vocalist Grace Potter brings to the song that helps it feel fresh and new, even if it indeed sticks pretty close to the original on the surface. She really digs deep into the song, it seems like, and it comes through in her vocal. It’s fresh, dynamic, and I really love it.

The Puppini Sisters — “Last Christmas”

This actually isn’t the first weird jazzy cover of “Last Christmas” (the cheesy but lovable 80s heartbreak-at-Christmas hit by Wham!) I have, to be honest with you. I also own a version by an obscure…Danish? (don’t quote me on that…) jazz vocalist named Anders Blichfeldt. (It’s highly recommended, but I could find no way whatsoever to embed it. Just search for a compilation called “A Sound of Christmas” on iTunes, in the dead of night under cover of darkness, on the fifth Monday of the second week of…OK, never mind, just search for that compilation and you should be good.) This year (to save me from tears?), however, I found a great cover by a group I’ve loved for a while now, the Puppini Sisters. They’re kind of a throwback act, in a way…they specialize in close-harmony style music (much like the Andrews Sisters in the 1940s…the group was actually named in honor of them, from what I understand), but as a modern twist, they usually apply said harmonies to more recent fare. This is a great example of that technique, and it’s a slowed-down, fun, and also fairly gorgeous cover of a song that you can’t help but love.

Mormon Tabernacle Choir — “Carol of the Bells”

It may be the Mormon Tabernacle Choir, a group that’s been around since the mid-1800s, but this isn’t your mama’s “Carol of the Bells.” Well, I suppose it’s not THAT crazy. But it is a bit of a departure from many arrangements of the tune, in the most wonderful way. I had the great privilege of hearing this version of the tune (by Barlow Bradford, a former associate director of the Choir) for the first time live in the Conference Center, attending the Choir’s annual Christmas concert with special guest Renee Fleming back in 2005. I remember my mouth quite literally dropping open as the key changes kept coming, the piece kept growing, and it all just exploded into a beautiful crescendo at the end that took my breath away. Just when you think it’s going to calm down, it swells even more. Of course, this being the Mormon Tabernacle Choir, it’s all pulled off brilliantly. This is one version of “Carol of the Bells” that you simply have to hear.

Alice Smith — “Silver Bells”

This song, off the excellent “Hotel Cafe Presents Winter Songs” compilation from a few years ago, is stunning. There’s simply no other word to describe it. Alice Smith, a soul-influenced singer-songwriter with a jaw-dropping voice and songwriting skills to match, takes on this tune and makes you forget about anybody else who’s sung it. It’s that powerful, and that effortless.

Josh Groban — “It Came Upon A Midnight Clear”

Before Michael Buble’s outstanding piano-ballad version of “All I Want For Christmas Is You,” there was this similarly styled, but still quite unique take on the Christmas hymn “It Came Upon A Midnight Clear.” It’s a beautiful reworking of a timeless song, and it really brings a new angle to the song that’s very nice to hear. The gospel choir, and Josh’s excellent voice, really help anchor the cover and keep it moving, and even though it’s fairly radical a rearrangement, it feels natural, like this is the way it’s been done all along.

Pentatonix — “We Three Kings”

And to close it all off, it wouldn’t be a December post on Harmony Avenue without a subliminal “Sing-Off” reference. This track off the “Songs of the Season” collection released a month or two ago, by the Season 3 champions Pentatonix (you may have heard of them…), is both a fearlessly inventive resurrection of a Christmas carol I didn’t think could ever be this incredibly addicting to listen to, and proof positive of why Pentatonix has a bright recording future ahead of them. It’s the best of both worlds…the rock-solid a cappella sound that Pentatonix fans know and love, and the little additions that enhance the studio-recording experience. (I was delighted to find that this didn’t really fall into the overproduction trap…it’s certainly slickly produced, but in ways that bring out the a cappella element, rather than hinder it.) It’s a forward-thinking, infectious version of the unlikeliest of songs.

And…of course I end up closing my post with a thinly veiled manifestation of my Pentatonix love. Ah well. It’s only fitting. I’ll likely post one more Holiday Song of the Day before Christmas comes upon us, and after that, some end-of-the-year festivities await. I’ll make a “best songs” post much like I did last year (once again scientifically produced by way of iTunes play counts and the like), and also…I’m venturing into the “best albums” field as well! I’ve actually picked, all by myself without help of technology, 15 fine albums released this year that I’d like to proclaim my favorites of 2011. What will they be? Stay tuned in the final days of the year to find out. For now, thanks for reading, and in case this is the only post you get around to seeing while you’re here, a very Merry Christmas (or other lovely winter holiday) to you.

Sketches: My Favorite Christmas Albums

Remember last week when I said I’d get this post out “today or tomorrow”? Or earlier this month when I planned a grand round of Christmas-themed festivities (aside from the Holiday Songs of the Day that I’ve thankfully already posted, for your reading & listening pleasure)? Ha. Like I can be expected to hold to some crazy, unattainable blogging standard like posting regularly. Posting regularly is for the little people. I scoff at people who update their blogs regularly. Ready? Do it with me. Scoff in disdain. SCOFF, I SAY!

OK, so most of that paragraph was kind of ridiculous. Moving on…I’ll do my best to make this week of Christmas Eve/Christmas a lovely one, at least blogging-wise. Look for some Christmas Cover Stories to come before Saturday, something I’m holding myself to. You saw it here. If I do not deliver on my promise, feel free to send me copies en masse of particularly distressing rap albums or something. Unless, of course, you don’t know my address, in which case I shall be able to escape unscathed.

And I have now spent two paragraphs spouting nonsense. What else is new? Anyhow, this post is a (hopefully concise and pithy) exploration of a few of my favorite holiday albums. They’re not even close to touching even part of my Christmas music tastes (and they’re even farther from covering all of the wonderful, even definitive, holiday albums there are out there)…but they’re records that have touched me, inspired me, or warmed my heart in some way. It’s not a Christmas season for me without them, that’s for sure.

Harry Connick, Jr. — “Harry For The Holidays” (2003)

I’m a huge Harry Connick, Jr. fan, so when I got this album back in the day (early 2000s ftw!), it was pretty much a given that I’d enjoy it. However, years later, I probably never could have expected I’d still love it this much. Harry has recorded 3 holiday albums over his career, and while I like what I’ve heard of his first one (which came out back in 1993), and I own and enjoy his latest one (2008), this is the Christmas album of his that I keep coming back to. The selection of songs is top-notch, a great balance of holiday classics both secular and sacred. He includes an outstanding selection of original tunes (my favorites include his buoyant “The Happy Elf” and a heartstoppingly touching ode to the Savior’s life, “I Come With Love”). And best of all, his arrangements and voice are in peak form. From the opening trombone wails of “Frosty The Snowman,” I’m always absolutely hooked. Harry doesn’t phone anything in on this album…he brings a daring sense of reinvention and life to a fine collection of Christmas melodies, all while keeping the innate charm that made them chestnuts in the first place. You really can’t get much better than this, whether it’s Christmastime, or anytime in the year.

Check out a track from the album, “Frosty The Snowman”:

Ella Fitzgerald — “Ella Wishes You A Swinging Christmas” (1960)

It took me a scandalously long time after I fell madly in love with Ella’s voice in her music to discover this Christmas gem, but rest assured that after I did find it (and buy it on eBay) a few years ago, I have cherished it completely since then. Recorded at what was in many ways during the height of her career, this is a holiday album that’s darn near perfect. Accompanied by Frank DeVol’s orchestra (his arrangements are both thoughtful and timeless), she doesn’t do as much scatting here as her other work, but her improvisational skills are still on full display, and what’s more, her warm, captivating voice is an effortless fit with the Christmas music canon. You’d be hard-pressed to find lovelier versions of oft-covered songs like “Have Yourself A Merry Little Christmas” (done here with a bit more swing than most takes on the song), “Sleigh Ride” (featured in the hilarious Will Ferrell film “Elf”),  and “Jingle Bells” (the album’s jaunty opener). Check out the 2002 reissue and you’ll also find a wealth of bonus tracks, including a lovely holiday obscurity, “The Secret of Christmas,” and 3 intriguing alternate takes of songs on the album that would have fit inperfectly had they been released instead. All in all, if you don’t have this album in your Christmas collection, you’re seriously missing out.

Want to hear a taste? Here’s Ella’s spin on “Have Yourself a Merry Little Christmas”:

Any Mormon Tabernacle Choir & Orchestra at Temple Square Christmas album (2000-2011)

A bit of a cop-out, I know, but they’ve released eight Christmas recordings since 2000 (a majority of them being live recordings from their long-standing annual Christmas concerts, a practice they experimented with in 2006 and began in earnest in 2007), and if I went over all of them individually, they’d overtake this list in a hurry. The Mormon Tabernacle Choir and Christmas have long been synonymous for many, but thanks in part to Mack Wilberg’s stunning arrangements (and since taking over the baton as director in 2008, his conducting), along with the richness that the Orchestra at Temple Square provides, plus a cornucopia of great guest artists (Angela Lansbury, Bryn Terfel and Frederica von Stade, Audra McDonald, Renee Fleming, Sissel, the King’s Singers, Brian Stokes Mitchell, Natalie Cole, and David Archuleta, oh my!), they’re better than ever when it comes to holiday music. Their performances of Christmas classics new and old are vibrant, dynamic, and full of warmth and heart. It’s bigger than a choir, than a song, than a season. They give us pure, beautiful, enduring music.

Just one of the many highlights of their Christmas repertoire…their traditional Christmas concert closer, a rousing arrangement of “Angels From The Realms of Glory” (Special Note: I was in attendance for this specific performance):

Jane Monheit — “The Season” (2005)

Jane Monheit’s vocals are rich, smooth, and dare I say sexy, but distinctive, top-notch vocals do not a great Christmas album make on their own. But when they’re paired with an excellent collection of songs and fine arrangements ranging from gorgeous to fun to everything in between, you’ve got a recipe for a holiday classic. From her delicious opening take on Donny Hathaway’s seminal “This Christmas” to a hauntingly spare rendition of “I Heard The Bells On Christmas Day” done with just guitar, this album is captivating, warm, and beautiful, and I really can’t get enough of it. Jane’s vocal skills are close to peerless, and here they’re certainly very well showcased. She includes a nice selection of uptempo numbers as well as ballads, and the result is an album I’m very proud to have in my holiday collection.

Jane’s sizzling rendition of “The Christmas Waltz,” coming right up:

She & Him — “A Very She & Him Christmas” (2011)

Seeing as I’ve only had this album since the end of October, I’ve been kind of asking myself whether it really belongs on this list yet. However, even considering the short time it’s been around, I think it’s worthy of inclusion. Yes, my great admiration for Zooey Deschanel is a big factor, but that aside, this is a lovingly crafted throwback to days of Christmas past that still has a lot to offer to the holiday music world today. Zooey’s voice has a real classic quality…I remember when “Elf” came out and she sang in it, that it reminded me a bit of Judy Garland’s in a way. It’s soft and fragile at times, but also very rich and distinctive as well. And the new spins on holiday tunes Zooey crafts with M. Ward are gorgeous and smooth. The only clear misstep is an awkward rush through “Baby, It’s Cold Outside” that seems like it was included only because this is a Christmas album done by a duo, but otherwise, this is a piece of Christmas gold that will last for years to come.

Haven’t checked out the album yet? Hear Zooey & M. Ward take on the Beach Boys’ sunny tune “Christmas Day” here:

Diana Krall — “Christmas Songs” (2005)

Backed by the incomparable Clayton-Hamilton Jazz Orchestra, along with her own top-notch piano playing, Diana Krall is an absolute delight singing a lovely assortment of Christmas tunes here. The album’s opening track, a firecracker of a take on “Jingle Bells,” is one of the best holiday tunes I’ve ever heard, and things rarely let up from there. Diana’s well-known for having a very sultry voice, but it fits like a glove on songs like “Let It Snow” and “Sleigh Ride,” as well as tender ballads like “The Christmas Song” and “What Are You Doing New Year’s Eve?”. The big-band arrangements are vibrant and dynamic (thank one of the best arrangers and musicians of all time, John Clayton, for those), and the intimate combo settings for the ballads work beautifully as well. There’s even a tune included at the very end that’s not often associated with the holidays, but closes the album nicely…a tender version of “Count Your Blessings Instead of Sheep.” This is a treasure of a Christmas record, a heartfelt homage to the past and a full-on embrace of the future, full of holiday warmth and spirit.

Hear the album’s ebullient first track, “Jingle Bells”:

Johnny Mathis — “Merry Christmas” (1958)

And I’ve saved the best for last. By “best,” I don’t necessarily mean that I enjoy this more than all the other albums I’ve listed…on the contrary, true to form, I love them all the same, for the most part. However, this album holds a special place in my heart, and that’s all thanks to my dad, who made it a Christmas tradition to have it played frequently each December. I’ve grown up with this album…it’s a holiday institution in our house (well, now it’s technically houses, but you get the point), and I haven’t gone a year without listening to it fondly. The nostalgia is a huge element in my love for this record…but it’s more than that. There’s a perfect storm of song selection (there’s not a bad track on the album), vocal delivery (Johnny was in peak form, and his singing is beautifully heartfelt and tender), and instrumental backing (Percy Faith & His Orchestra provide gorgeous, rich arrangements that stand the test of time, yet never seem phoned in) at play here. It’s the quintessential embodiment of Christmas spirit. When I hear the opening strains of “Winter Wonderland,” when I hear Johnny’s soaring high notes in “O Holy Night” (a song that you really can’t get wrong*), when I hear the tinkling sounds of “Silver Bells”…I’m home, and I feel Christmas in my heart. When it comes to holiday music, you really can’t ask for anything more.

Just one of the many terrific songs of this album…a lush version of “The Christmas Song”:

And there you have it. Just a taste of the Christmas music that soothes my soul. Feel free to take to the comments to share your favorite holiday music, or comment on my choices. I’ll see you later this week (remember…hold me to it!) with some more Christmas music goodness. Hope your holidays are going splendidly so far!

(*For someone who DID get it wrong, in the most awful but oddly wonderful way, click this link if you dare. You may have heard it already.)

Song of the Day: “Robots”

Alas, aside from the last lingering remnants of my “Sing-Off” recaps, I haven’t posted much else lately. Here’s a Song of the Day to whet your whistle (and for those of you who feel a bit oversaturated with holiday tunes, it’s a normal one this time around), and coming hopefully today or tomorrow, I’ll be making a Sketches post highlighting my all-time favorite Christmas albums. (This post will serve as a replacement for the round of holiday album reviews I had planned.) But for now, let me share with you…

“Robots” by Dan Mangan!

I was introduced to this song thanks to a coworker’s iPod that was playing at work. (This is the great place where I work, btw.) It’s a fairly enigmatic tune, but still incredibly emotionally resonant nonetheless. According to a comment on this song’s entry on my favorite lyrics site, SongMeanings, Dan once said in an interview that this song was inspired by having to live without a broken cell phone for a few days. Not sure if this is completely accurate, but it does make sense, and whatever this song was written about, it’s a gorgeous ride nonetheless. I especially love the last part, where the lines “Robots need love too/They want to be loved by you…” are repeated quite a few times, with a chorus joining in with Dan to sing the song out. It’s a beautiful mix of melancholy and celebration.

See you soon with more posts, both Christmas-themed and otherwise. Thanks for reading!

“The Sing-Off Christmas” Recap: Good Feeling

So, I lied. I was planning not to recap this, but I knew that I’d probably end up doing so anyway. And I did. Blame the live-tweeting I started doing spur-of-the-moment, and ended up continuing throughout the whole show. It was my gateway drug. And now I’ve mentioned drugs in the first paragraph. Go me?

Anyways, since this wasn’t a competition night, I plan to keep this concise and fairly short, since I don’t have any who-should-win/who-shouldn’t-win related rants to make for the most part, and well, otherwise there’d be quite a lot of gushing. And in the case of certain groups and soloists (you know exactly who), some heavy criticism. So let’s “Sing-Off Christmas” it up…

• Nota, Committed, & Pentatonix (“Christmas [Baby Please Come Home]“): I’m not really going to bother too much with listing the original artist this time around, since this is meant to be a low-key blogging affair, and also I’m going off my live tweets/short-term memory for song titles and group combos. (Watchful commenters, if there are any of you out there, feel free to correct any mistakes.) Pairing the 3 champion groups was a killer way to start the show. All 3 reminded us why they’re champs, and it was great to see them all do their thing.
• The Backbeats & Delilah (“All I Want For Christmas Is You”): It’s hard to beat the iconic Mariah Carey original, or Michael Buble’s recent game-changing cover, but this powerhouse duo of groups delivered a terrific version of this song anyhow. It was great to see some of my old favorites like Joanna (the amazing Backbeats soloist from last season), Amy (well, I guess she hasn’t been gone for long, but I still missed her), and of course, she-who-can-beatbox-and-sing-like-nobody’s-business, the amazingly talented Courtney Jensen. (She got a solo! She got a solo!) Witness the following tweet below (the Backbeats retweeted me! And a bunch of other fans too, but still…):

Impulsively deciding to live tweet #SingOffChristmas . Yay, Backbeats and Delilah! Great to see Joanna back. And Amy! And COURTNEY!!!—
Brandon Randall (@barandall800) December 06, 2011

• Dartmouth Aires (“All You Need Is Love”): Wherever Paul and Ringo (and for that matter, George and John) are right now, if they’ve heard even a whiff of this, they’re probably weeping. (With their guitars. Gently.) The arrangement was cutesy and lightweight, so on its own that wouldn’t have been too much of an affront to the Fab Four’s legacy, but then…Michael had to open his mouth, and deliver a vocal that neither fit the song nor sounded appealing in any way, shape, or form. The good news was that they spread the love and let some lesser-known group members have some solos during this song as well, but the bad news was that they all failed to rise to the occasion. All in all…a performance that made me very, very happy that after tonight, the Aires will be off my TV for good, and I won’t have to hear them ever again.
• Afro-Blue & Committed (“Ooh Child”): Oh sweet mercy, was this incredible. I love this song (Nnenna Freelon’s spirited cover is pure musical gold), and the killer combo of two of the show’s greatest groups (you’ve got that right, Nick Lachey!), Afro-Blue & Committed, was a perfect choice to take it on. The performance moved, it grooved, it proved (hey, just warming myself up for the Grinch song later) that jazz is alive and here to stay. Heck, I was quite literally bouncing around on my couch with the music. The arrangement was daringly intricate, fearlessly vibrant, and full of the perfect balance of complexity and accessibility (along with a sense of fun and joy) that made Committed the champs last season, and Afro-Blue such favorites this season. Ben was spot-on when he noted that Afro-Blue & Committed really have set the “Sing-Off” standard.
• Street Corner Symphony (“Hallelujah”): How great it is to see Street Corner Symphony back! As noted above (and in my Season 2 recaps), I was thrilled to see Committed take the crown last year, but I would have been just as tickled to see it go to the endlessly terrific SCS. With an assist from killer lead Jeremy Lister’s older brother Jonathan (of the Collectives, a bit more on their performance later), they delivered a beautifully poignant, gorgeously intimate take on “Hallelujah,” a song that’s been covered by everyone and their dog, and at this point, probably even their dog’s dog, but when done right is still breathtaking to listen to. Jeremy’s vocal was emotional and direct, and the arrangement was top-notch. If this is what “unpracticing” brings for SCS, we all need to try it out, methinks.
• North Shore (“Little Saint Nick”): A classy, solid take on the Beach Boys’ holiday classic. It was great to see North Shore get a performance of their own (they’re pros through and through), and like many of their previous performances, this was kept simple and direct, and that really helped hit it home. These guys may not be completely fresh or innovative, but they’re full of heart and have years of valuable experience, and I always really enjoy seeing and listening to them. Here’s hoping we see more of them soon.
• Sara Bareilles, Ben Folds, & ‘The Sing-Off Five’ (“Baby, It’s Cold Outside”): The pre-performance video segment was worth the price of admission itself (Sara Bareilles & Ben Folds are secretly comic geniuses…I want to see them pretend they don’t like each other and talk behind each other’s backs more often), and had me in stitches. However, things got even better…the song that followed was equally brilliant. I noted on Twitter that this is one of the freshest versions of “Baby, It’s Cold Outside” I’ve heard in years, and I stand by that. There’s a lot of nice covers of this song, but in pretty much every one of them, the vocalists play it safe. Sara took some great liberties with the melody that really put a new spin on the song, while keeping the appeal it’s had for decades. Ben also rocked the vocals, as well as some top-notch piano work, and the addition of The Sing-Off Five (a little vocal backing band stocked with five talented guys) was a nice touch. Sweet mama, was this both entertaining and musically delicious. Another tweet break, with an amusing post-song exchange between the awkward-as-always Nick, and charming-as-always Sara:

Nick: "That was such a warm, inviting rendition. I just want to cuddle with you guys." Sara: "That's weird." #goodanswer #SingOffChristmas—
Brandon Randall (@barandall800) December 06, 2011

• Pentatonix (“Under The Mistletoe”): Ha, remember when I said I was going to try to keep this short? Silly Brandon. Brevity is for kids. Anyways, this performance made me realize two things: 1) This is quite possibly one of the most badly written holiday songs ever recorded. I never, ever, ever, ever, EVER want to hear the Bieber’s original version of this, because hearing it done well was lyrical torture enough. (Did the bridge honestly combine a reference to the wise men and the Christmas star with a line about how [s]he followed his heart to a girl, or was I hallucinating? If either of these are the case, gag me now.) 2) Pentatonix can make anything sound terrific. You’d think after a season’s worth of cutting-edge arrangements that they’d run out of steam, especially with such subpar material, but they brought their signature Pentatonix sound to this lump-of-coal-esque number, and I loved it.
• Jerry Lawson & The Sing-Off All Stars (“Sweet Soul Music”): It was a little bit strange that the Talk of the Town was absent tonight, but I wasn’t complaining…the collection of singers that were assembled to sing with Jerry was quite breathtaking. Jerry, as always, was pure class, and it was a celebration of the classic and the new, all at the same time. Sweet soul music, indeed.
• I don’t want to talk about this next one.
• I really don’t.
• OK, fine…The Devil Children Beelzebubs, On The Rocks & Darmouth Aires (“Santa Claus Is Coming To Town,” supposedly): Here’s one of my tweets after the song in question. It captures my thoughts pretty succinctly (though you know me, I’m going to type more anyways):

I think I'm done with collegiate male a cappella groups that aren't named Vocal Point. Their schtick is just so tired. #SingOffChristmas—
Brandon Randall (@barandall800) December 06, 2011

• (continued) So yeah. I just couldn’t get into this performance at all. Even On The Rocks, who I enjoyed last season for the most part, really bugged me here. The ‘fun’ seemed all manufactured. The pitch and intonation…well, let’s not even go there. The solos ranged from depressingly weak (Michael, obviously, and Brendan, though the latter’s vocal was a step up from his usual fare) from OK (the Beelzebubs’ middling soloist) to pretty good, but not enough to save the whole performance (Peter Hollens, the frontman of On the Rocks would fit that description). From what I can see, almost all male collegiate a cappella groups are turning into this utterly affected frat party-esque goofy mess, and it’s not something I enjoy at all. The music is supposed to come first, and the fun second. If you truly pay attention to the music, it’ll often be entertaining on its own. When you take it the other way around like these three groups did tonight, the performance, and the ensemble as a whole, ends up being neither truly musical, nor truly fun, and it’s a real bummer to see that this is a large part of the future of a cappella music. Thankfully it’s not the only part.
• Urban Method (“You’re A Mean One, Mr. Grinch”): OK, I’m off my soapbox, and from here on out, there should be a minimum of ranting. This performance was a real treat…and a demonstration of how Urban Method has really come into their own. At the start of the season, if Urban Method had put a rap into a song like this, I would have probably hated it. Tonight, however, I loved it. A rap in a song like this? You’d think it wouldn’t work. (Busta Rhymes’ ghastly version with Jim Carrey from the 2001 “Grinch” movie is very convincing evidence to that regard.) However, Myke pulled it off brilliantly, and the arrangement as a whole was pretty exciting and well-played (the samba-style breakdown towards the end was a highlight). The solo by the bass (aargh, I was doing so well with the names this late in the season!) (Troy, whose name I now remember thanks to…ahem, I mean, nothing to see here, nothing at all) was perfect, and it was just fresh and tons of fun.
• Nota & Shawn Stockman (“This Christmas”): Shawn got his chance to shine tonight after staying at the judges’ table during last week’s finale, and even with some lines in Spanish to contend with, he did quite well. He was accompanied by the sweet sounds of Nota, and they were all on top of their game, really bringing this song (one of my absolute Christmas favorites) home. I loved the arrangement, and really, I loved everything about it. Nota and Shawn both have still got game, yo.
• The Collective (“Santa Baby”): To tell the truth, this was the only performance of the night I didn’t tweet about (I didn’t have much interesting to say about it at the time), and I’m kind of guessing where it was in the night’s order. It was…alright, I suppose. Ruby did a nice job on the solo, but it wasn’t Eartha Kitt (or even Madonna). This is a hard song to reinvent (the basic premise is pretty much set in stone…a sultry, tongue-in-cheek entreaty to Santa for really, really expensive things), and if anything, the Collective, while talented, is still a bit unfocused as a group to really do so. It was good, but nothing to write home about…that said, the group still has tons of potential, and once they start fulfilling it to the utmost, they will soar.
• Vocal Point & Nick Lachey (“Let It Snow”): So, so outstanding. THIS is how a collegiate male a cappella group does it. It was all so smooth, so entertaining, so effortless and classy. The surprise addition of Nick into the mix was a fun bonus, and there were even some great staging touches, like the snow falling on the stage (probably because I’m a snowaholic, I LOVE when that happens on TV shows/concerts/etc.), and the group making snow angels afterwards. The following tweet (by the way, did you know I’m on Twitter? If not, you definitely do now…) relays my feelings about this gem quite perfectly:

Vocal Point. Jazz. The solid vocal stylings of Nick Lachey. Snow falling on the stage. Who can ask for anything more? #SingOffChristmas—
Brandon Randall (@barandall800) December 06, 2011

• Urban Method, Pentatonix, & some clown named Flo Rida (“Good Feeling”): This performance was a tale of two cities musical elements: on one hand, we had some killer harmonies (and deliciously daring reinventions) by Urban Method & Pentatonix, two groups that really should get together more often, because they rocked it here. On the other hand, however, we have the abysmal Flo Rida, who I really haven’t cared for before tonight, and I really didn’t care for tonight either. (I will give him credit, though, he didn’t seem detached from the proceedings like Smokey Robinson did last week…he seemed to actually be performing with the groups and enjoying it, rather than performing and happening to have the groups on stage with him, so that’s a plus.) I might be possessed to shell out money for this on iTunes simply by virtue of the Urban Method/Pentatonix part of the performance alone, but really, Mr. Rida (sorry, just wanted to see how weird it would look if I called him that) added precious little to the performance, other than the fact that this is of course his song.
• All The Groups (“Happy Christmas [War Is Over]“): (Programming note: I am aware the official title uses “Xmas” instead of “Christmas,” but I HATE the former abbreviation, since it replaces Christ with an X, so I always write the word out properly. Sorry, John and Yoko, but I have to stick to my guns.) And now that I’ve gone entirely off-topic…this was nice. Not perfect by any means…they just HAD to give Michael a solo, and there was 1-800-Too Much Riffing at the end. Still, it was wonderful to see fourteen (fourteen!) groups from all 3 seasons take the stage together. There’s something really special about that, especially for a series-long “Sing-Off” fan such as myself. It reminded me of exactly why I love this show so much…there’s so much talent, and friendship, and good music, that I can never stay away. (Even when I say I’m not going to recap an episode, and then I do. Ahem.)

To close, a farewell tweet from a devoted “Sing-Off” fan, Twitter buddy, and fellow #AiresHater, which expresses a sentiment I share:

#thesingoff And that's that. The best show in existence is now over. And as epic as that finale was, #ithinkimdyingman—
TheDoc (@B__O__o) December 06, 2011

It’s been an amazing season. Hopefully there’ll be more to come. For now, thanks once again for reading, for following me and my recaps these past few months, and I hope you’ll stick around.

Holiday Song of the Day: “Christmas Without You”

I haven’t posted since my “Sing-Off” finale recap last week (and there’ll be another coming up momentarily…I know, I know, I said I wasn’t going to do one for the Christmas special tonight, but I guess I just couldn’t resist), so here’s a great Christmas song for your listening pleasure…

“Christmas Without You” by OneRepublic!

Chances are you’re already pretty familiar with OneRepublic, even if you don’t know it. They’re fronted by pop hitmaker Ryan Tedder (who’s produced and co-written songs for huge artists like Beyonce, Kelly Clarkson, and Adele), and they’re the band behind the megahit “Apologize” (I prefer their slightly more stripped-down album version than the overproduced/overplayed collaboration on it with Timbaland), and ubiquitous recent pop radio staples like “All The Right Moves,” “Good Life,” and of course, “Secrets.” (AKA the song with the electric-sounding violins at the beginning, that’s been in everything from “The Sorcerer’s Apprentice” to, memorably, “30 Rock.”) Sadly, because those songs are all so prevalent on the radio, or have been at one time, their credibility as a talented, unique band has kind of suffered. However, I absolutely love both their albums, and they really have a lot more to offer than their poppier, hit-making stuff. Case in point: this gem of a holiday tune right here. The production is very intimate and piano-driven, and it’s a nice kind of shift in feel for the band. Ryan sells the vocal perfectly, and there’s some delicious pop-soul style backing vocals that really add to it in a great way. And of course, even though it’s a song more about missing someone than the Christmas season specifically…it still brings a palpable, warm sense of  holiday spirit, while still sounding like the kind of song you’d be comfortable playing year round.

See you in a bit with a short but sweet “Sing-Off Christmas” recap. It ain’t over til it’s over!