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 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.

My Music: “Look No Further”

So I just watched “The Sing-Off” finale, and it was indeed a treat. But before I get to my recap (which I shall commence writing right after I post this), here’s a new cover I recorded just today. It’s a stark, low-key ballad from British singer/songwriter Dido, who’s probably best known for the song “White Flag,” which was so big a hit it’s still playing on most adult-contemporary radio stations to this day. (Funny story about that song: For about 2 years I kept hearing it and loving it, but it being before the widespread advent of lyrics sites, and also due to the fact that I couldn’t quite understand the chorus whenever it came on the radio, it was a long time before I finally discovered what it was called.) This song is off her most recent album, “Safe Trip Home” (highly recommended), and its name is “Look No Further.” It’s admittedly a bit in my lower range for the most part, but it’s such a beautiful (and simple) song that I couldn’t resist singing it. Hope it strikes your fancy…and stay tuned for a “Sing-Off” recap coming later tonight. Thanks, as always, for checking my blog out.

Song of the Day: “Little Joanna”

I’m back with more Anniversary Week-related goodness! Here’s yet another reminder to not forget about the $15 iTunes gift card giveaway. There’s been only one entry so far, so your chances are still quite impressive. Go forth and comment!

This Song of the Day (true to form, posted either near the end of the day in certain time zones, or past midnight in others) harks back to my very first featured song, a delightful piece of pop goodness by way of Germany, Lena’s Eurovision-winning “Satellite.” This time around, it’s another guilty pleasure-type slice of European pop, but this time it’s from the UK. Say hello to…

“Little Joanna” by McFly!

I came across the sounds of McFly thanks to my current obsession with “Strictly Come Dancing,” the original British version of the popular US series “Dancing With The Stars.” (I may or may find it just the tiniest bit more fun and exciting than the US version. Maybe it’s because of the whole England mystique?) Anyways, one of the contestants this series (their name for TV seasons in the UK) is McFly’s drummer, Harry Judd, who is actually a pretty darn good dancer, and seems to be a fun guy. In honor of him, I decided to check out McFly’s music, and…well…hmmm. A lot of it isn’t quite my thing…it’s just way too poppy and I can’t say I really love it. A few songs, though, really caught my eye, and this was definitely one of them. Upon listening to it more than a few times, I’ve noticed something very unsettling…the band kind of bears a passing sonic resemblance to a US act I’ve hated for quite a while now…the Jo…the Jona…Jonas…K, I can’t bring myself to type their name, but you can probably gather that it’s these guys. They do share the same kind of youthful power-pop energy. This particular song, though, also is very well-written, the piano really drives it in a great way, the chords are effortlessly delicious, and basically, it’s just tons of fun to listen to. The lead vocalist also has a strong voice, and although it’s totally full of pop mannerisms, it’s also very nice to listen to. OK, those last two sentences were basically thinly veiled excuses to try to cover up the fact that I like a song that sounds like the Jonas Brothers. (Dang, I gave in to typing it out!) But oh well. I can live with that.

Thanks for reading, remember to enter the giveaway by commenting on any of this site’s lovely posts (it’s that easy!), and see you later this week with more of the Anniversary Week celebration, along with some good old regular features.

Artist Spotlight: Jamie Cullum

Apparently now “tomorrow” means “many days later, while Brandon is slowly recovering from wisdom teeth removal surgery.” Anyways, here’s my long-promised new Artist Spotlight, on…

Jamie Cullum!

Jamie is a singer-pianist from the UK with a very unique angle. His music is very grounded in jazz (not just influenced by jazz, like straight-up jazz-driven music)…but it also takes elements from pop, rock, even a tiny bit of hip-hop at some points. But before we get into that…how did I come across Jamie in the first place? That would be thanks to the dear, departed Star 97.5, what used to be our local vocal jazz radio station. It only lasted about a year or so in about 2007 (it met an untimely end due to ridiculous reasons that I will refrain from ranting about here), but while it was around, it was BRILLIANT. They played a mix of jazz-centered music that seemed to be tailor-made for me and my musical sensibilities. One of the songs that was playing one day was this gem, “All At Sea,” from Jamie’s second album (and major-label debut, if I’m getting my facts right), “Twentysomething”:

This is one of Jamie’s more pop-influenced songs, as most of his original stuff tends to be. The piano is simply gorgeous, Jamie’s voice complements the music almost effortlessly, and the lyrics are fine too. Naturally, this got me hooked on Jamie, and although it was a painstakingly slow and steady process, I started checking out more and more of his music. The rest is history. Ish.

Notice how I mentioned the piano first. Jamie is, as briefly mentioned in my intro, an accomplished pianist. What boggles my mind is…he’s not formally trained. It’s all done by ear, pretty much. Seeing as I myself can’t play piano that well with music smack dab in front of me, Jamie being able to do that off the top of my head…it’s not something I ever take for granted as a listener. Here’s another nice example of his killer piano chops, on a jaunty version of the classic standard “I Get A Kick Out of You” (also off the “Twentysomething” album):

As with pretty much any artist I end up spotlighting, I could pretty much just have you listen to my entire Jamie Cullum collection and call it a day. Which I’ll kinda probably end up doing. But anyways, as you may have heard a bit from his version of “I Get A Kick Out of You,” Jamie has a real knack for taking extremely well-known songs and completely reinventing them in a very dynamic way…not to mention the songs he ends up choosing are often quite all over the place genre-wise. Case in point…here’s his cover of “Singin’ In The Rain” off “Twentysomething,” and then a take on Rihanna (yes, you heard that right) off his most recent record, “The Pursuit.”

And, as I talked about earlier, his original compositions are terrific as well. He really was firing on all cylinders with his latest album, “The Pursuit”…two choice cuts off that disc, the buoyant “I’m All Over It” (which interestingly enough, seems to be about a breakup) and the deliriously catchy “Mixtape” are two of my absolute favorites:

And just so I’m not leaving his excellent sophomore major-label effort “Catching Tales” out, here’s a song from that record called “Catch The Sun” (which is actually a cover, of an English alternative band called the Doves). The piano (as always with Jamie’s music) is absolutely terrific:

I could go on and on about him (for example, did you know he has his own BBC Radio show? or that he and his wife just had a baby? or that he was the singing voice of the main frog in “Meet The Robinsons”?), but I won’t. Jamie just has a knack for taking jazz music, a genre that people often see as old-fashioned or one-sided,  merging it with his own outside influences (as well as his own clear love for jazz), and creating something fresh and vibrant that both celebrates the old and embraces the new. I honestly couldn’t think of a better sign that the jazz genre will be thriving for years to come than Jamie’s endlessly inventive and incredibly accessible music. To close, here’s a rollicking performance of his song “You and Me Are Gone,” with the BBC Heritage Orchestra at a 2010 Proms performance (the fact that he’s a jazz/pop/rock artist and was invited in the first place to play the Proms is a major recognition of just how versatile he and his music can be):

See y’all soon (and “soon” hopefully won’t change into a similar meaning as “tomorrow” ) with some more new posting. I hope to get my cover-centered new feature off the ground, and we’ll see if that ends up happening. For now, thanks for reading!

Artist Spotlight: Ellie Goulding

Before I post a new Artist Spotlight (you’ll really love this one), another reminder to VOTE in Harmony Avenue’s Best Original Movie Song contest. So far there’s only 2 votes on the poll…so yeah, we need just a few more votes. The more, the merrier! Make sure your favorite song doesn’t go unrepresented.

Now, we turn the artist spotlight onto the UK’s own…

Ellie Goulding!

Believe it or not, it wasn’t love at first sight between me and Ellie’s music. The first time I was introduced to it was one late night watching “Later…with Jools Holland” (a popular weekly music show in Great Britain, hosted by the charming Jools Holland, that features a lot of great music acts each week), which airs on a random cable channel called Ovation here in the States. Ellie sang a song of hers called “Under The Sheets,” and while I was thought it was OK (and interesting how she kind of played the drums in her performance), it didn’t make too much of an impression on my tired soul that night, and I didn’t really investigate her music any further.

Fast forward to a few months later where I was listening to music on iTunes one night, and I had my little “Ping sidebar” thing turned on, so as I listened, various music suggestions and posts from artists I “follow” on it were coming up accordingly. I’m pretty sure I was listening to Lucy Schwartz (interestingly enough, the subject of a previous Artist Spotlight here on Harmony Avenue), because her feed came up, and she had posted something about how she loved a song called “Starry Eyed”…by none other than Ellie Goulding. Since it’s iTunes and all, there was a button right there to listen to a 90-second clip of the song, so I decided to try it out, since Ellie’s name sounded familiar. I listened to it…and the rest is history. I simply HAD to check out more of Ellie’s music. (More proof why Lucy Schwartz rocks, btw. ) The song that started it all, right here:

It’s an energetic, beautiful, addicting song, and rather than detract from it, its very glossy production really brings it to life, I think. The parts where Ellie sings “next thing, we’re touching” are my favorites. For some reason, the way she sings that line, and the harmonies around it…it always gets me.

Ellie’s music is somewhat unclassifiable, though a lot of people have used the “folktronica” label for it, which I think kind of fits. It’s very melodic, beautifully written music, but it’s produced under a more beat-driven lens, which makes it very unique and engaging. Her music takes the best of both worlds and marries them together into something all her own. You can see similarities to artists like Florence + The Machine, Imogen Heap, and Robyn here and there, just to name a few…but in the end, it’s something undeniably fresh. Here’s a lovely, sweeping ballad called “The Writer” from Ellie’s debut album:

While her music is layered and, well, shiny, Ellie can also cut it in a more stripped-down, acoustic setting. A prime example is her drop-dead gorgeous cover of Elton John’s classic “Your Song.” (The bridge is quite possibly one of the most beautiful musical moments I have ever heard.) It really turns the song on its ear and brings a haunting, breahtaking new dimension to it:

She also does brilliantly in a live setting. Her voice is soft and fragile and times, but also full of power. Here’s a stunning cover of a Rihanna song that I actually kind of discovered just now, while looking for a good example of her live performing skills. (You learn something new every day! ) Sorry the video quality isn’t completely amazing, but at least it’s easily available on the Internet. That’s a plus.

And of course, this post wouldn’t be complete with a little irony. Here are the studio versions of the two songs Ellie sang that night on Jools Holland…that have turned out to be two of my favorite cuts on her album. Speaking of her album…more on that in a second. But first, here are “Guns and Horses” and “Under the Sheets” (apologies for the ad that may come up on the video):

And, to close things off, had I posted this a month or two ago, I would have had to tell you readers that live in America that Ellie’s album wasn’t available anywhere here (well, at least not anywhere like iTunes or whatnot). Now I don’t have to! A special US edition of her debut album, “Lights,” complete with a few bonus tracks that weren’t on her original UK release, came out here in the States back on March 8th! Even better, Ellie’s offering a free full preview of the album on YouTube, so you can try before you buy! (I promise I’m not a corporate shill…I just love her music and want as many people to love/support it as possible. Promise. ) I’ve taken the liberty of embedding it here, though it may be easier for you to view/listen to it directly on YouTube. Enjoy the music! (And be sure to check it out sooner rather than later. I have no idea if Ellie’s label will keep it up for too long or not.)

So that’s the outstanding Ellie Goulding for you. Remember to vote in the Best Original Song contest, and I’ll see you in a day or two with another new post! 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.