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.

It’s Anniversary Week!

Today is a special day here on Harmony Avenue. Exactly one year ago today, I made my first post. That’s right…this here blog is now one year old. When I started this off, I had high hopes…but as I’ve mentioned before, my previous blogging endeavors have been hit-or-miss, and I wasn’t sure if I’d be able to keep this up, update it consistently, and make it what I really wanted it to be. My expectations have been exceeded, a year later, and this blog has turned out even better than I thought it would. I’ve gotten to share lots of great music, and it seems like at least a few people are actually reading this from time to time. A big thank you to all those who have visited Harmony Avenue, and an extra big thank you to those who have stayed for a while. Although I have no idea how many regular readers I have, your support means a lot to me.

Now, to celebrate my 1st anniversary, two exciting things coming up this week…

• Four special anniversary week posts, all connecting with stuff I shared my first month on Harmony Avenue. The first of these posts will come in just a little bit.
• A GIVEAWAY! To commemorate my year of posting on this blog, I’m pulling out all the stops. (Well, all the stops that a recreational music blogger can, more or less. ) I’ll be giving away a $15 iTunes gift card to one lucky reader who posts a comment this week on any of my posts. Here’s how it will work: Just post a comment on one of my blog posts. (It is, of course, preferable that the comment responds to said post. ) I’ll respond to your comment with a hearty thank you, and also assign you a number (1, 2, 3, 4, etc.). I’ll keep track of who goes to which number, and at the end of the week, I’ll enter them into a random number generator (as in the range, from 1 to whatever the last number is), and the winner will be the person whose number comes up. It’s as simple as that. The deadline for commenting is Saturday night, October 29, 2011, at 11:59 PM MST. Only one comment per person, and of course, you must be a real person, not a robot or computer or company or something. Good luck!

I’m excited to celebrate this Anniversary Week on Harmony Avenue. I’ll do my best to make it a party! As always, many thanks for reading.

Behind The Hymns: The Lord Is My Light

I’ve been meaning to get a Behind The Hymns post for last week up for a while now, and finally life has slowed down a bit so I can get that taken care of. For now I think I might switch to a different schedule for these…as is the case this time around, the posts for the time being will be about the hymns I played the preceding Sunday (rather than the upcoming Sunday), if that makes sense. (Note: As I did last week, I’ll be taking my background info from the terrific hymn reference book “Our Latter-Day Hymns: The Stories and the Messages” by Karen Lynn Davidson. Just giving credit where credit’s due.) Anyways, the opening hymn from last week…

“The Lord Is My Light” (Hymn #89, text by James Nicholson, music by John R. Sweney)

This hymn is one of many in the LDS hymnbook penned by those of other faiths, and it’s kind of interesting how beloved it’s become as a part of Latter-Day saint hymnody over the years. It takes its title (and really, its main message) from the Psalms, specifically the 27th one, which says, “The Lord is my light and my salvation; whom shall I fear?” Karen Lynn Davidson astutely notes in “Our Latter-Day Hymns” that “we need something stronger than our mortal vision. The answer is that our Savior’s vision is perfect: ‘There is in his sight no darkness at all.’” (The last line she references is directly from the hymn itself.) We can receive true, neverending light from a heavenly source, and that’s something incredibly comforting. I really like this hymn’s energy and brightness, and although it’s fairly simple musically (it doesn’t vary much in tone, notes, or structurally), it’s incredibly powerful and uplifting all the same.

“While of These Emblems We Partake” (Hymn #174, text by John Nicholson, music by Alexander Schreiner)

In the last Behind The Hymns post, I talked about “Tis Sweet To Sing The Matchless Love,” which is one of the hymn texts that features two different settings in the LDS hymnbook. (Funnily enough, I discovered that Sunday that we actually weren’t singing that hymn at all…somewhere down the line either me or my organ teacher must have read one of the numbers wrong, perhaps? Ah, well. At least you know about that hymn now. I’m sure there was a good reason. ) This hymn is one of the other ones, and is also a hymn we sing during the Sacrament (once again, if you’d like to more about it, check out some official words on the subject here). The “Our Latter-Day Hymns” book points out that the lyrics progress very nicely through the different aspects of the Sacramental ordinance…each verse kind of has a different focus. The words are also very poetic and beautifully written (though this is true of quite a lot of hymn texts, especially ones written for the Sacrament and about the Savior’s sacrifice, really). As for this hymn musically, I’ve gone back and forth over the years as to which of the two settings for “While of These Emblems” I like better (they’re actually pretty similar, when you look at them side-by-side), so I’m not sure whether it’s my favorite of the two or not, but as it stands alone, it’s incredibly lovely, and I really like some of the tensions in the harmonies towards the middle. An interesting biographical note about this setting: it was written by Alexander Schreiner, the organist for the Salt Lake Tabernacle and the Mormon Tabernacle Choir for many years, and its tune name, “Aeolian,” was named after the Aeolian-Skinner organ that Schreiner helped select for a rebuilding of the Tabernacle back in the 1940s. (The original organ from the mid-1800s is still part of the current one, by the way.)

“Do What Is Right” (Hymn #237, text by an anonymous author, music by George Kaillmark)

If “The Lord Is My Light” is a very simple hymn as I mentioned above, then “Do What Is Right” is probably as musically straightforward as the LDS hymnbook gets. Whatever voice part you sing, chances are you’ll be repeating the exact same note for more than half of this song. Still, it speaks a very positive, direct, important message, one that really can be summed up in the title: Do what is right. You really can’t get any more concise than that. (Lines like “Angels above us are silent notes taking,” which would normally seem a bit blunt, perhaps, also turn into gentle reminders about obedience when in the context of this hymn.)  The writer of the text is unknown, but we do know that it comes from an 1857 Boston publication called “The Psalms of Life,” at least according to the writing credit. According to George D. Pyper, the writer of a previous LDS hymn reference, George Q. Cannon (an LDS leader) heard this hymn sung while in Britain back in the mid-1800s, and was impressed enough with it that he later saw that it was included in the next LDS hymnbook. Pyper also notes that “‘Do What Is Right’ cannot be classified as a sacred hymn, and it is doubtful that the author ever considered it as such [...] But if it is not a message of divine truth there was never one written.” (It’s funny to hear someone proclaim that a hymn normally sung in religious services isn’t sacred, but I think what George D. Pyper’s was kind of pointing out is that it’s a pretty universal message found in this hymn, not just confined to a church building on a Sunday.)

As for the hymn’s tune, it has had a very interesting history. George Kaillmark, a British composer, originally wrote the tune for part of a poem called “Lalla Rookh: An Oriental Romance.” The first stanza, which is reprinted in “Our Latter-Day Hymns, ” is just too deliciously random out of context for me to pass up sharing with you:

“Farewell — farewell to thee, Araby’s daughter!

(Thus warbled a Peri beneath the dark sea,)

No pearl ever lay, under Oman’s green water,

More pure in its shell than thy Spirit in thee.”

(If I was a braver, more mischievous soul, I would choose this as a solo sometime for a Church meeting, start singing these words, and see just how many confused, perplexed looks I’d get. ) In the United States, though, this tune became popular as the setting to a poem by Samuel Woodworth called “The Old Oaken Bucket.” A quick glance at Wikipedia helped me discover that The Old Oaken Bucket is now the name of the trophy given to the winner of the annual football game between rival schools Purdue and Indiana. (You can find the text of the poem in that Wiki article, in case you want to try out my singing-different-words-just-to-mess-with-people idea.) J. Spencer Cornwall, the writer of yet another previous LDS hymn reference work, was (somewhat amusingly) unhappy with this connotation, and said that “it is regrettable that such a forthright, positive challenge as is found in this hymn could not have been traditionally associated with more worthy music and a less ignoble connotation.” However, there are a few other songs in the hymnbook set to tunes from somewhat unsavory places, so at least “Do What Is Right” isn’t alone. (As a final note, this tune is also used for a song in the Primary songbook, used for kids to memorize the books of the Old Testament. I’ve never liked the way it’s done there, as there’s so many darn Old Testament books that the writers had to cram in the names every which way they could, and as a result it’s a beast to learn and sing. )

As always, let me know your feedback, and also let me know if I’m going on too many tangents or writing your ears off or anything. (I’ll always try to keep this feature as interesting and insightful as I can, and also I’ll do my best to make it applicable not just to those of the LDS faith as well.) See you soon with many more new posts (I have a lot to cover in the coming weeks!), and thanks for taking the time to stop by.

My Music: Somedays

Remember how I keep saying I’ve been wanting to post a cover or song or something by me that’s music-related for a while? Well, up until a few days ago, I hadn’t been able to get around to it. Finally, on…Friday? Saturday? whatever day it was, I sat down and went over a few songs (all covers, of course…I need to work on writing some more stuff soon…) I could play/sing pretty well, and then got my trusty old camera out and started recording. Unfortunately, I was only able to get one song down before my camera stopped working (battery trouble…thankfully, it’s back up and running again), but the good news is, it turned out pretty good, so there we go. Here’s my cover of an early Regina Spektor ballad that I absolutely love, called “Somedays.” I do mess up a little, but the sound is pretty balanced (at least for a random YouTube cover), and of course, with this song it’s pretty hard (even for me ) to go wrong. I hope y’all like it.

So, my plan is to do a cover (or, in the future, an original or two…or as many as I get written) every so often. Not so much that this blog becomes “Hey! Look At Brandon Sing Stuff And Play The Piano!”, but from time to time. Feel free to give me feedback…and as always, thanks for reading and watching.

And The Nominees Are…

So 2010 had a bad year in film music, eh? I beg to differ. Make sure to read the post right before this one for explanation of the rules/all that jazz. Here are full video and/or sound clips for all 6 of the nominees I’ve chosen. Make sure to listen to them all if you haven’t (or even if you have), and most importantly, make sure to vote for your favorite! Be mindful that you’ll only be able to vote once, and that the results will be hidden from view until I reveal the two lowest-scoring nominees. Now, let the games begin!

The nominees are…

If I Rise (from “127 Hours”) — Dido & A.R. Rahman (Music by A.R. Rahman, Lyrics by Dido & Rollo Armstrong)

I See The Light (from “Tangled”) — Mandy Moore & Zachary Levi (Music by Alan Menken, Lyrics by Glenn Slater)

Bound To You (from “Burlesque”) — Christina Aguilera (Music & Lyrics by Christina Aguilera, Sam Dixon, & Sia Furler)

Darling I Do (from “Shrek Forever After”) — Landon Pigg & Lucy Schwartz (Music & Lyrics by Landon Pigg & Lucy Schwartz)

Sticks & Stones (from “How To Train Your Dragon”) — Jónsi (Music & Lyrics by Jónsi)

Dear Laughing Doubters (from “Dinner For Schmucks”) — Sondre Lerche (Music & Lyrics by Sondre Lerche & Theodore Shapiro)

The following tracks were oh-so-close to being nominated, and receive Honorable Mention:

• Little One (from “Mother and Child”) — Lucy Schwartz
• Shine (from “Waiting For ‘Superman’”) — John Legend & The Roots
• Coming Home (from “Country Strong”) — Gwyneth Paltrow
• Alice (from “Alice In Wonderland”) — Avril Lavigne
• Eclipse (All Yours) (from “The Twilight Saga: Eclipse”) — Metric
• We Belong Together (from “Toy Story 3″) — Randy Newman

The following songs were also close to being nominated, and receive Honorable Mention, but weren’t on the shortlist:

• Country Strong (from “Country Strong”) — Gwyneth Paltrow
• My Love (from “The Twilight Saga: Eclipse”) — Sia
• When Will My Life Begin? (from “Tangled”) — Mandy Moore
• Heavy In Your Arms (from “The Twilight Saga: Eclipse”) — Florence + The Machine

Now, the poll! Make sure to vote, and spread the word.

Let’s Go To The Movies!

“And the Oscar goes to…”

Ah, Oscar season. The glitz, the glamour, the awards, the craziness…anyways, I find it very interesting/fun. But it’s over now. The Academy Awards for this year (honoring the past year, 2010) have already happened. But that doesn’t mean we can’t keep the Oscar spirit alive for a few more weeks…especially when there was a bit to disagree with in terms of the Academy’s choices. One category in particular? Best Original Song. While Randy Newman’s jaunty tune from Toy Story 3, “We Belong Together,” was quite a wonderful song, there were quite a few other choices I would have made instead had I been a member of the Academy. That got me thinking about what my nominees would be, and subsequently, I’ve decided to try out a little contest-type thing. I’ve chosen six songs from the Academy’s shortlist (released back in December) consisting of 41 songs from 2010 films that the eventual nominees were chosen from. (The Academy nominated 4 this year, and the limit is usually 5. I went with 6 because there were a few I couldn’t end up eliminating from contention. Just be glad I didn’t pick 20. ) 2 of the nominees are songs that the Academy nominated, and I tried to pick songs that I loved from this year in film, but also didn’t all fall into one little corner of music.

So how will the winner be decided? By you, of course…in a voting method partially based on the Academy’s current process for selecting Best Picture. First, you’ll vote for your favorite out of all 6 nominees. After a day or two (I’ll outline the first voting deadline in the next post, where I’ll post clips of all the songs), the two songs with the lowest numbers of votes/voting percentage will be eliminated. Then you’ll vote on the remaining 4 nominees, after which the song with the lowest number of votes/voting percentage will again be eliminated. Finally, you’ll vote on the final 2 nominees, and the nominee with the highest number of votes/voting percentage will be the winner. And that’s all there is to it…stay tuned for a following post with videos of the nominees, and of course…the opening poll! Tell your friends, tell your family…and be sure to vote!

Grammy Predictions & Picks, Part II

So this second installment of my Grammy predictions and picks, thanks to some big, time-consuming (but fun) events in my little corner of the world this weekend, is exceedingly last-minute. So last-minute, in fact, that I believe the pre-televised Grammy ceremonies (where the bulk of the awards, especially the non-big-ticket ones, are given out) have already occurred/are occurring at the moment I’m writing this. I’ve only seen two of those categories’ winners, and neither of those categories are being covered here, so rest assured I’m not making fake “predictions” just to look good. So very hurriedly…let’s do some more Grammy discussin’.

Best Female Pop Vocal Performance

A nice cross-section of talent this year…we’ve got ourselves some Norah Jones and Sara Bareilles, as well as superstars (for better or for worse) like Lady Gaga and Beyonce. And oh dang it, I was looking through the category Wiki page just now and I accidentally saw the winner, so I can’t really predict anyone, can I? (Because of this, btw, I will probably refrain from looking at any category histories at this point to help my predictions, so I might be winging it a little bit from here on out.) Anyways, interestingly, the live version of “Halo” by Beyonce is nominated (probably because the studio version isn’t eligible for this year, and last year around nomination time it must have been still growing). I’d go for that, Norah, or Sara if I was a Grammy voter. As for the actual winner, I shan’t spoil it here.

Best Male Pop Vocal Performance

If the female category for pop vocals is a “nice cross-section,” the male category is kind of…all over the place. But in a good way. I can’t say I dislike any of the songs here (even the Adam Lambert one, admittedly, and I am NOT a big fan of him at all, dating from his AI stint). As for who I think will win/already won? I’m going to go with some other predictors and say that the Grammy voters will go the sentimental route and give a posthumous award to the legendary Michael Jackson for “This Is It.” (Seeing as it’s probably one of the last chances they’ll have to give MJ a Grammy, I doubt they’ll pass it up. Heck, I probably wouldn’t pass it up either.) Bruno Mars could be a spoiler, though. He’s nominated for quite a few other things (a lot of them producing/songwriting), and “Just The Way You Are” is the kind of song that’s both popular and kind of old-school (AKA huge Grammy bait). I’ve grown rather fond of the tune, so that’s one of my personal picks, along with “Haven’t Met You Yet.” Another nominated song in the category, “Half of My Heart,” is also on my iPod, and I rather like it, but I’m kind of scratching my head at why it was nominated here in the first place, seeing as it’s more of a duet/collaboration than a solo performance by John Mayer. (Taylor Swift contributes prominent vocals to it.)

Best Dance Recording

I have to admit, I was totally not planning to cover this category at all. (P.S., I don’t have time to cover all the categories I could conceivably write about/have knowledge of, so I’m basically going to skip to the jazz ones after this. ) But last week, I finally decided to check out the music of Robyn…and I fell in love. Mad musical love. So I’m going to throw conventional wisdom to the wind and predict that the Grammy voters will be kind and awesome and give her terrific “Dancing On My Own” an award. (Either that, or La Roux, who similarly rocks, or Goldfrapp, who I admittedly haven’t heard too much of, but have loved what I’ve heard by her so far.) It’s soulful, easy on the ears, great to dance to, and heartbreaking all at the same time. And as talented as Rihanna and Lady Gaga can be, methinks that Robyn could really do wonders with the extra recognition.

Best Rap Solo Performance

Kidding!

Best Jazz Vocal Album

I could write for hours and hours about this category, but I only have about less than ten minutes (and I have at least one other category I wish to cover), so here’s the skinny. (Sort of. ) My predictions are twofold…I’d say Dee Dee Bridgewater‘s energetic, innovative tribute to Lady Day, “Eleanora Fagan (1915-1959): To Billie With Love From Dee Dee” (now THAT’S  a title) has the best chance to win, seeing as it’s by a prestigious previously-nominated artist, it goes outside of the box (but in an accessible way, for the most part), and it’s a tribute, which in the past, if  memory serves me right, Grammy voters have simply eaten up. (An example off the top of my head is Patti Austin winning a few years ago for “Avant Gershwin.”) However, here’s where the second part of my prediction comes in…I think Freddy Cole (AKA Nat King Cole’s younger brother, something I did not know until recently) and his fine (albeit a little low-key) Billy Eckstine tribute, “Freddy Cole Sings Mr. B,” could be a definite spoiler here. The Bridgewater album is terrific, but some more traditionally-minded voters could be turned off by her unique approach to Billie’s classic songs (they shouldn’t, but it’s a possibility). Freddy, being pretty close to jazz royalty and all, would be what said traditionally-minded voters would flock to next, I’d wager. As for what I’d pick if I were king a member of NARAS? Definitely Denise Donatelli’s outstanding “When Lights Are Low.” Geoffrey Keezer’s arranging is superb (more on that in a second), Denise is in fine voice, and it’s even a little close to home, as I’ve sung/worked (!!!) with the husband & wife who do background vocals throughout the record, Kerry Marsh & Julia Dollison. It’s just a beautifully put together album (though I may be a bit biased ). The other two entries, “Ages” by Lorraine Feather, and “Water” by Gregory Porter,  sound great too. I was especially intrigued by the former, and it could be  a sleeper win if the votes get split in weird ways. However, as stacked as the vocal jazz category is this year, I hate to say their chances are slim. (Can’t we just give the Grammy here to everyone? )

Best Instrumental Accompaniment Accompanying Vocalist(s)

Yeah, so this isn’t one of the big Grammy categories at all…but I’ve been very interested in it for a while (I even know the 2011 nominees by heart), mostly because I’m a big arrangement buff. (I have a mental list of favorite arrangers. No joke. ) This category is pretty dang stacked this year. First is “Baba Yetu” (a track by the Soweto Gospel Choir that interestingly enough, was used for a video game trailer if I’m not mistaken). The orchestral arrangement is sweeping, and I dig it a lot, but it did seem a little by-the-numbers. So that one’s out. Next is “Baby” by Bobby McFerrin, from his absolutely breathtaking album “Vocabularies” (which should have been nominated for Best Jazz Vocal, but instead got shoehorned into Best Classical Crossover…sigh). It’s a stunningly beautiful song…but it doesn’t quite belong in this category, in my opinion. The vocal arrangement (and the song itself, of course) is worthy of a billion awards…but the song is almost entirely a cappella, so I think NARAS just shoved it into the wrong category. That leaves three heavy-hitters…”Based On A Thousand True Stories” by Norwegian artist Silje Nergaard and arranged by the brilliant Vince Mendoza; “Don’t Explain” by the aforementioned Denise Donatelli & arranger Geoffrey Keezer; and the Herbie Hancock-led and co-arranged “Imagine” project. I’d say Herbie & Larry Klein have the best chance to win (seeing as he’s been a Grammy fave in the past). Vince Mendoza is a multi-time winner in this category, and his arrangement brings “Based On A Thousand True Stories” to life, so I wouldn’t count him out either. I’ll be quite happy if either of these two win, but my very, very favorite would be Geoffrey Keezer’s work on “Don’t Explain.” He turned it from a Billie Holiday chestnut to a fresh, dynamic showcase for Denise’s terrific vocals. Plus, to my knowledge, he’s not a past winner, so he’d be getting his first Grammy.

So that’s all, folks. The Grammys are already airing (at least in my time zone), so I’m running late/irrelevant anyhow. Now I’ll go to check how many of my predictions were right, yo. Look out tonight or tomorrow for a new Sketches post (complete with video!), be sure to subscribe, and thanks for reading!

Grammy Predictions & Picks, Part I

Here we are…the weekend before arguably the biggest music awards event of the year…the 53rd Annual Grammy Awards. I’ve been planning to do a little who will probably win/who should win-type post for a while, so here it is…well, part one, at least. I’ll be taking on a few of the big-ticket categories, as well as some more specialized ones (mostly jazz). And at least in the case of this part, I shall be writing this quick like a bunny, since I’m a bit pressed for time. Caveat: My predictions are not incredibly well-founded, but I’ll do my best. And feel free to disagree with my choices in the comments. We need a little good-natured controversy around here.

Album of the Year

The Grammy voters have gone all over the place with this category in the past…everywhere from jazz to hip-hop to folk to country-pop. One thing that’s sometimes held true in the past is that they tend to go for the dark-horse choice. Examples: “Raising Sand” winning the ’09 trophy; “River: The Joni Letters” taking the ’08 prize over Amy Winehouse and Kanye; OutKast earning the top honor in ’04. Thus, I’m going to get a little bold (and OK, full of wishful thinking…) and say that Arcade Fire‘s outstanding “The Suburbs” will be the voters’ choice for Album of the Year in 2011. Eminem definitely is a huge contender, seeing as he had a whirlwind year both critically and commercially in 2010 (one of his greatest detractors says through gritted teeth), and the Academy could finally decide to give Lady Gaga more recognition than she’s received in the past, but Arcade Fire’s album seems like the kind of quality, slightly offbeat entry–that nevertheless pleased tons of critics and fans alike–that has won in the past. “The Suburbs” is both what I think will win, and what I want to win.

Record of the Year

One of the oft-confusing twin categories that usually overlap a lot (Song of the Year, which honors songwriters, is the other one), Record of the Year goes to performers. It’s often hard to predict this category, as sometimes the NARAS goes for something pretty expected (“Use Somebody” and “Rehab”)…but just as often, the winner comes from out of the blue (“Please Read The Letter” and “Here We Go Again”). I’d say “F— You” has the right combination of “big song” and “unique song” status to catapult it to the top. One of the other nominees (except for perhaps “Nothin’ On You,” though I wouldn’t count it out) could easily take the prize, of course. My personal preference goes to “F— You” (though I’ve only heard it in its edited form, “Forget You”) or “Need You Now.” (I have both of them on my iPod.)

Song of the Year

Interestingly, though this category usually has a few less high-profile nominees than Record of the Year, one of the big-ticket items usually takes the honors here, judging from years past. I’ll say “Love The Way You Lie” as my prediction here. I’m not a personal fan of the song, but it takes on a weighty issue (domestic abuse) with a wide-appeal combo of rap & vocals. “Need You Now” and “F— You” are also in the thick of things. My personal picks are the same as Record of the Year, with the addition of Ray LaMontagne’s beautifully understated “Beg Steal or Borrow.”

Best New Artist

And here’s where things get a little messy. In years past, there’s maybe been one or two dogs I’ve had in this race., tops..but this year, the NARAS went ahead and decided to stack it with 3 of my absolute favorite artists (well, I have a lot of favorite artists, so it’s not like it would be a long shot for that to happen)…and then top the category off with 2 huge acts (the Bieber and the Drake) that have a combined 40% chance to break my Grammy-following heart. It kind of goes without saying that I’d prefer for the latter two boys (interestingly enough, both Canadians) not to take home this particular trophy. And thus, I flatly refuse to predict that either of them will win. (It’s my blog, I can cry if I want to. ) My prediction goes to Florence + The Machine, simply because she had a breakthrough year (“Dog Days Are Over” simply exploded, almost out of thin air, after doing so well in the UK), and she’s the kind of quirky, daring choice the NARAS loves to go with, mostly to look somewhat hip. As for who I want to win…it’s a huge step forward just to have Esperanza Spalding nominated in this kind of high-profile category, so I’d be fine with her either winning or not. As for Mumford & Sons, their sweeping brand of folk-rock is simply irresistible, and I’d LOVE for them to receive some more recognition here across the pond. And of course, Flo’s music is absolutely breathtaking. I can’t choose between the three, so if any of them win, I’ll be as happy as a clam. (I do have a feeling Florence & Mumford/Sons fans might be a bit more gutted, though, should either of them not take home the prize. Us jazz fans are [I hope I'm reading this sentiment right] happy enough to see the field break through here, and a win would just be cherry on top. Sadly, there’s probably not too many people who love all three artists basically the same, as I do, though I could be wrong.)

That’s all for Part I. Stay tuned for Part II (and possibly Part III, though probably not)! And be sure to state your opinion and challenge my picks/predictions, with style and class (ish), in the comments.