(EP cover for Dying for It, the extended play released in March 1988 by The Vaselines).
Dying for It opens the EP of the same name as a bit of an awkward teenage song craving for physical intimacy. Eugene Kelly and Frances McKee sing of having time with little to do and a floor seemingly begging for action.
As mentioned here, Molly’s Lips “is about the Scottish actress Molly Weir, who played Hazel The McWitch in late ’70s/early ’80s BBC children’s show Rentaghost.” As Eugene Kelly was quoted in the same place, Weir “always struck us as a great character, so we just wanted to sing a song about kissing her.”
Teenage Superstars is the first of two songs from Dying for It to cast the singer into a starring role of sorts for Jesus. The twist for this song is the notion of the band being unburdened among teenagers for the band’s aspiration beyond angst while being mourned by angels for efforts to sacrifice their soul in reaching for reaching fame.
Jesus Wants Me for a Sunbeam, as noted here, “is a parody on the Christian children’s hymn I’ll Be a Sunbeam” as composed by Edwin O. Excell. The song indicates that Jesus would prefer doing without the advocacy for souls that The Vaselines could perform, yet they declare their choosing not to do so.
(Jean-Pierre Marielle as Jacques Saunière in the Ron Howard movie The Da Vinci Code).
The movie begins with the pursuit if Louvre Museum curator Jacques Saunière, as portrayed by Jean-Pierre Marielle, in the world famous Paris, France art museum by Roman Catholic, albino monk named Silas; Silas was portrayed by Paul Bettany. Saunière, while coming out of the exchange dead, leaves clues amongst the artwork of Leonardo da Vinci, the namesake for the movie, the book, and the clues embedded in the art around the museum that lead the police to summon renowned Harvard University symbologist Robert Langdon to the case.
(From left, Paul Bettany as Silas and Alfred Molina as Bishop Aringarosa in the Ron Howard movie The Da Vinci Code).
Robert Langdon, as portrayed by Tom Hanks, initially is suspected of the murder of Jacques Saunière, by police captain Bezu Fache, as portrayed by Jean Reno. Police cryptologist Sophie Neveu, as portrayed by Audrey Tautou, disagrees that that Langdon should be suspected of her grandfather’s, that is Saunière’s, murder; Neveu and Langdon shake Fache’s pursuit and deduce that Saunière was a grand master of the French founded Priory of Sion.
(From left, Audrey Tautou as Sophie Neveu and Tom Hanks as Robert Langdon near the Louvre Museum in the Ron Howard movie The Da Vinci Code).
Silas, meanwhile, works for an anonymous to him person he calls The Teacher, which has links to the Bishop Aringarosa led Opus Dei. Aringarosa, as portrayed by Alfred Molina. Circumstances send Langdon and Neveu to Sir Leigh Teabing, as portrayed by Ian McKellan.
(Jean Reno as Police Captain Bezu Fache in the Ron Howard movie The Da Vinci Code).
It was Teabing, a purported expert on the Holy Grail, who introduces a theory contrary to accepted religious canon about a relationship between Mary Magdalene and Jesus, which motivated much of the subtextual mystery functioning in the movie. Charlotte Graham portrayed Mary Magdalene in The Da Vinci Code.
(Ian McKellen as Sir Leigh Teabing in the Ron Howard movie The Da Vinci Code).
The thriller aspects of the movie, along with the intrigue underpinning the mysteries animating the story for the movie, largely worked. That the resolution went in the direction it did was a bit provocative for my taste, though that does not mean the fiction did not work. I give The Da Vinci Code as directed by Ron Howard 3.75-stars on a scale of one-to-five.
(From left, Harvey Keitel as Judas Iscariot, Willem Dafoe as Jesus, Barbara Hershey as Mary Magdalene, Victor Argo as Peter the Apostle and Verna Bloom as Mary (Mother of Jesus Christ) in the Martin Scorsese movie The Last Temptation of Christ).
The movie itself opens with an account of Jesus that deviates dramatically from the tales shared of the holy man and the events surrounding his life as shared in the New Testament of the Bible. We first encounter Jesus, as portrayed by Willem Dafoe, in Judea. The carpenter’s son is confronted by Judas Iscariot, as portrayed by Harvey Keitel, with a mandate to murder his friend for collaborating with the Romans to crucify Jewish rebels. Judging the messianic path in front of Jesus, Judas declines the mandate and spares his friend, warning him away from harming the rebellion.
(From left, Randy Danson as Mary, sister of Lazarus, and Peggy Gormley as Martha, sister of Lazarus in the Martin Scorsese movie The Last Temptation of Christ).
After being baptized by John the Baptist, as portrayed by Andre Gregory, and saving the prostitute Mary Magdalene, as portrayed by Barbara Hershey from a stoning, Jesus begins preaching in accordance with the visions he receives from God. A cursory telling of Jesus‘ preaching yields to a dramatized period of deprivation with temptation by Satan, portrayed in vocal form by Leo Marks. Having passed these tests, Jesus emerges from the desert and his nursed back to health by the sisters of Lazarus, namely Mary as portrayed by Randy Danson and Martha as portrayed by Peggy Gormley. Besides raising his health, the sisters encourage Jesus to follow the dictates of his flesh by settling down, getting married and having kids.
(Tomas Arana as Lazarus in the Martin Scorsese movie The Last Temptation of Christ).
Lazarus, dramatized in being saved from death by Jesus, was portrayed by Tomas Arana. It is with his ministry reaching Jerusalem that the Cleansing of theTemple of Jerusalem followed by the betrayal of Jesus at Gethsemane is dramatized following a dramatized negotiation for such between Judas and Jesus. It is in the court of Pontius Pilate, as portrayed by David Bowie, that Jesus‘ remaining passion is decided, with the aforementioned arrest, visit to Pilate and subsequent whipping, humiliating walk through the streets and crucifixion.
(From left, David Bowie as Pontius Pilate and Willem Dafoe as Jesus in the Martin Scorsese movie The Last Temptation of Christ).
The steps in punishment meted out by the hand of Pontius Pilate are shown, with the story of the moment just before death introducing a new storyline at the moment just before death. A Girl Angel, as portrayed by Juliette Caton, representing herself as a Guardian Angel for Jesus indicates to the savior that he’s suffered enough. Oblivious to the crowd gathered at the crucifixion site, Jesus is taken away to marry Mary Magdalene as God has found pleasure with Jesus and wants him, Jesus, to be happy. This lasts until Magdalene abruptly dies, Jesus living with Lazarus‘ sisters into old age with children, and Paul as portrayed by Henry Dean Stanton proclaiming the resurrection. With the Siege of Jerusalem burning Jerusalem revealed to Jesus among other things, the story has Jesus realize this temptation was indeed a ruse by Satan. Crawling back to the crucifixion and begging to die per the original vision, the temptation of family, marriage and a burning city is rebuffed with Jesus‘ death.
(From left, Juliette Caton as Girl Angel and Willem Dafoe as Jesus in the Martin Scorsese movie The Last Temptation of Christ).
The tug between the spiritual and the physical feels like the full value proposition that the film’s director, and the writers for the source book and the movie, had in mind. To say that exploring this point through the telling of this controversial temptation, as mentioned in the introduction to this summarization and review, was brave is perhaps the best light that I have to place on the emotions I experienced with my screening of the movie. While I understand the choices made in conveying the pull between the wants for spirituality and physicality, that exploration didn’t need to use the leader of what has been passed to us as Christianity to do so. I give The Last Temptation of Christ as directed by Martin Scorsese 3.5-stars on a scale of one-to-five.
Are You Gonna Go My Way opens the album of the same name as a song, as pointed out here, “about Jesus Christ, whom Lenny referred to as “the ultimate rock star.” It’s about how God gives choice to man about where to turn [spiritually].” The song, not released as a Billboard Hot 100 eligible single in the United States, plays hard and fast with an energy-filled hook that invites dancing. The song charted fourth in the United Kingdom and first in Australia. Lenny Kravitz wrote the song with Craig Ross.
(The cover art for Are You Gonna Go My Way, the third studio album by Lenny Kravitz).
The rock ballad Believe, as pointed out here, “finds Kravitz singing of the power of faith. He explained on a Reddit AMA the song is, “about the power of God, self and positive thinking, which all equates to love.” As mentioned here, “This had its greatest chart success in Iceland, where it peaked at #1.” Charting at #30 in the United Kingdom and #60 in the United States, the song musically mixes a high production value of strings with a guitar sensibility that, for me, echoes the Andrew Lloyd Webber musical Jesus Christ Superstar.
(Believe was the second single released in support of the third Lenny Kravitz studio album Are You Gonna Go My Way).
Come on and Love Me seemingly raises faith in the first stanza, yet that isn’t where this percussion-heavy song finds its ultimate message of needing and seeking a human connection to romantic and intimate love. There’s clear messaging for both an emotional and physical connection. That Kravitz spends much of the song singing in a higher key than the first two songs intrigues me, with a more musically soulful influence to the feelings invoked by the song than with the first two songs on Are You Gonna Go My Way.
Heaven Help was written by Gerry DeVeaux and Terry Britten. As indicated here, the song reached #92 on the Billboard Hot 100 in the United States, #20 in the United Kingdom, and #30 each in Canada and New Zealand. Calling this ballad is musically incorrect, with the song relying on piano and guitar with harmonizing vocal that rises to a new level for this album. Musically, the song feels gentle, soulful and intimate in declaring a lyrical readiness to experience love; the listener gets to choose if the aspiration to love is romantically, spiritually or romantically and spiritually based.
(Heaven Help by Lenny Kravitz was the third single released in support of the 1993 album Are You Gonna Go My Way).
Just Be a Woman opens with a plodding, almost bluesy cadence of acoustic guitar. With romantic love on his heart, the song lyrically strikes me as a direct conversation with a love interest fully open to being whatever Kravitz as a male love interest wants in a relationship. As a piece useful for the early stages of romantic love, the sentiment resonates for me at a level of innocence and beginning, before experience or baggage are parts of love.
Is There Any Love in Your Heart, as indicated here, “reached the top 50 in Australia and New Zealand and peaked at number 19 on the USBillboardAlbum Rock Tracks chart.” A less energetic companion to the song Are You Gonna Go My Way, Is There Any Love in Your Heart lyrically addresses an emotionally distant love interest who misses the singer’s need, shall I say request for emotional connection and consolation on a romantic level. A degree of bitterness might be at play with this song as Kravitz may have been dealing with people after a payday rather than romantic love.
(Is There Any Love in Your Heart is the fourth single released in support of the Lenny Kravitz album Are You Gonna Go My Way).
Black Girl sees Lenny Kravitz declaring a specific romantic love interest by type that inspires interest. The song romanticizes specific feelings of attraction for the performer on an emotional level that feels more positively charged by a long distance than, for example, the sexually charged Brown Sugar my The Rolling Stones.
My Love lyrically and rhythmically deals with physical intimacy. The whole point is the performers desire with little ability to interpret the musicians intentions or feelings another way. If interpreting this song at an album level, the fact of Kravitz‘ intimate desires can be focused rather specifically.
In offering a retro 1970s sound, Sugar focuses the desire of physical intimacy that invokes a time and style as clearly in tune with the style and time implied by the album cover imagery for Are You Gonna Go My Way. The mastering of the production combined with the soulful sounds and horns says early 1970s as strongly as any song on this album.
The acoustic guitar introduction for Sister had me thinking of the soul song Angie by The Rolling Stones, a second song on this song making me think of that band. That sonic resemblance bears little resemblance for whose hearts are at stake, with Kravitz focusing on the romantic hearts of (black) women. I hear a hopefulness for change in the patterns of romantic attraction in play, almost a prayer for the souls of women heading in a direction that still can change for a more soul-centered path.
The song Eleutheria takes clear inspiration musically and lyrically from the island Eleutheria in The Bahamas. Lenny Kravitz had a home and a recording studio on the island, with the rhythm and sensibilities uplifted, shining like the sun, perfect. That these feelings seem independent of a religious or a romantic relationship feels instructive in that Kravitz found well-being based in community and doing what brings happiness to his soul.
(The Annie Lennox album A Christmas Cornucopia was released in November of 2010).
Angels from the Realms of Glory opens A Christmas Cornucopia as a carol reminiscent of many worship services I’ve attended over the years. Upliftingly presented with backing orchestration and chorus, the music for the song was published as written by hymnwriter and poet James Montgomery of Scotland in 1816.
(Scottish born hymnwriter, poet and editor James Montgomery wrote the hymn Angels from the Realms of Glory. The song is the first on the Annie Lennox album A Christmas Cornucopia).
God Rest Ye Merry Gentlemen follows the album opener with tidings of comfort and joy upon the birth of the historical Jesus. The charm for me is the focus on the singing featuring Lennox throughout, the subtle vocal accompaniment for the first stanza, and the orchestration through the full performance. The accentuating drums add a full-bodied beauty for me that combines with subtlety for what I take as flute through the last quarter of the song, ending as flute in isolation.
See Amid the Winter’s Snow manifests more beautiful orchestration as led by Dave Robbins throughout this album. First published in 1858 for English hymn writer Edward Caswall, English organist and composer John Goss composed a hymn for the original piece in 1871. The presentations then and now express joy in the birth of Jesus Christ at the commemoration of his original arrival.
Il est né le divin Enfant is French for He is born, the divine Child. Lennox sings the FrenchChristmas carol in the original language in narrating the story of the 4,000 year wait for the humble birth of Jesus in a manger.
(A Christmas Cornucopia album by Annie Lennox was released in November of 2010).
The First Noel as a piece of music is “a traditional Englishcarol most likely from the 16th or 17th century, but possibly dating from as early as the 13th century”, as quoted here. The chorus vocals in a brief dreamy spell between verses at a pair of points elevates the piano and strings that accompany the Annie Lennox singing for this song. The trumpeting of the joyous event of Jesus‘ birth to close the song presented an unexpectedly uplifting conclusion to this piece.
The Holly and the Ivy is a traditional folk Christmas carol of British origin. The song harkens back to the association between Christmas and holly, which has origins in the Middle Ages (or Medieval times). The cadence performs a bit quicker than my senses and heart wanted to experience this song.
(This portrait of Christina Rossetti was made by Dante Gabriel Rossetti, her brother. Christina Rossetti‘s poem In the Bleak Midwinter was published under the title A Christmas Carol).
Written as a poem by Christina Rossetti, In the Bleak Midwinter is frequently performed as a Christmas carol as done by Annie Lennox on A Christmas Cornucopia. The song postulates a series of cJoseph (Earthly Father of Jesus Christ)omparisons of religious importance foe how Jesus came to exist, the prophesied two comings of Jesus, Jesus‘ birth and surroundings, and the affection types offered Jesus by angels and Mary, his birth mother.
As Joseph was a Walking (The Cherry Tree Carol) surprised me as both a Christmas carol and a children’s ballad. The lyrical version presented by Lennox includes an angel previewing the birth of Jesus for Joseph, Jesus‘ father on Earth.
O Little Town of Bethlehem plays to different music than I’ve heard it presented previously. The song is presented solemnly and traditionally with an almost understated piano accompaniment. The chorus that joins Lennox at periodic points makes for a beautiful rendition of this song.
Silent Night with lyrics by Joseph Mohr and composition by Franz Xaver Gruber presents the second to last song on A Christmas Cornucopia. Presented with a traditional piano approach that grows to include a children’s choir and strings, the musical arrangement does as much for the song as does the Annie Lennox singing.
(Universal Child is a single released in 2010 to support the Annie Lennox album A Christmas Cornucopia).
Universal Child is the original Annie Lennox composition on A Christmas Cornucopia. As quoted here, the song is an advocacy for all kids to experience “Safety, security, access to medical care, to love, protection, education, a future, a decent place to live – a child must have all these things.”
(Cover art for Christmas Album by Herb Alpert & Tijuana Brass).
Winter Wonderland is presented as the opening song with vocalizations to support the instrumentation, minus specific lyrics for the song. Two primary lyrical bents do exist for the song, which we’ll not address in detail here given the presentation of the song as an instrumental.
Vocalization as an interlude to begin Jingle Bells. Presented as an instrumental like Winter Wonderland, the arrangement offers a strong influence for a Herb Alpert & the Tijuana Brass sound that characterizes the album.
(The title page of The One Horse Open Sleigh, the original title for Jingle Bells as written in 1850 by James Pierpont at Simpson Tavern in Medford, Massachusetts).
My Favorite Things continues the vocalization introduction of the preceding songs, taking the Rodgers and Hammerstein creation of Richard Rodgers and Oscar Hammerstein II in a direction that offers both upbeat and slow musicality. The full result provides an interesting take to an unexpected song for this collection.
The Christmas Song, sometimes referred to as Chestnuts Roasting on an Open Fire or simply Merry Christmas to You, was written by Robert Wells and Mel Tormé. With soft singing accompanying softly strummed stringed instruments through much of the song, horns roll in for a brief point about two-thirds of the way through the song.
Written by composer Alfonso Esparza Oteo, Las Mañanitas is a traditional Mexican birthday song. The inclusion on the Herb Alpert & Tijuana BrassChristmas Album, beyond being culturally on-point, feels like it can be a reference to the birth of Jesus Christ.
(Herb Alpert in 1966).
Sleigh Ride was composed by Leroy Anderson for light orchestras. The tempo changes beginning a bit past the 90-second mark and continued through the song present an original and appreciated instrumental take on the song that I find highly appealing.
The Bell That Couldn’t Jingle is an original song written by Burt Bacharach and Larry Kusik. Begun with a chorus singing the song almost as a chant, the almost playful arrangement slightly more than 30-seconds into the song has charm. The singing for The Bell That Couldn’t Jingle returns to a convention present in The Christmas Song.
Written by Sammy Cahn and Jule Styne, Let It Snow, Let It Snow, Let It Snow begins with soft horns from the start. A cautious amount of singing is presented in a lovely song that needed the vocals not at all. Stated another way, the instrumentation carries this song of its own accord.
Jingle Bell Rock was first released by Bobby Helms with writing credits resting with Joe Beal and Jim Boothe. The Christmas Album version by Herb Alpert & Tijuana Brass takes an instrumental approach that inspires clear excitement among the performing musicians; the occasional vocalization that trickles in gives the recording character.
(The cover art for Jingle Bell Rock, which was first released by Bobby Helms in 1957).
Jesu, Joy of Man’s Desiring as composed by Johann Sebastian Bach brings a beautiful rendition to a beautiful song to close the album. The harmonizing vocals accompanying the performance brings a choir feel present with many songs for the album. The horns offer the best part of the song for me.
As the All Music website helps clarify here, “Trans-Siberian Orchestra is…not a permanent musical organization. Rather, it is the trade name for the session orchestras assembled for a number of symphonic rock cross-over albums produced by Paul O’Neill.” O’Neill was from Queens, New York City, New York, offering a series of rock cross-over albums that we begin looking at today. The Christmas Eve and Other Stories album was released on October 15, 1996.
(Presented is the album cover for Christmas Eve and Other Stories. This Trans-Siberian Orchestra album was released on October 15, 1996).
O Come All Ye Faithful/O Holy Night follows the album opener with a more pronounced piano with guitar introduction to two songs eventually fused with drums into a clear harder hitting rock sound than typically heard from either song. This song is presented in strictly instrumental form.
(Adolphe Adam of Paris, France set O Holy Night to music with the song’s original composition in 1847).
A Star to Follow begins with pronounced adult male singing and supporting instrumentation at first to God Rest Ye Merry Gentleman. The presented composition moves into pre-teen children singing to the expected joy of the Christmas celebration. A third movement returns a chorus of the men singing the words Merry Christmas with the kids singing harmony. An appealing effect follows with an adult choir adding lyrics for the Ukranian folk chant Carol of the Bells. The song ends with the children singing their willingness to follow into the magical joy the holiday promises.
An acoustic guitar introduces First Snow for a few seconds before giving way to a clear electric guitar melody with accompanying drums. Following A Star to Follow, I felt the evocation of satisfied revelry for adults and children. Hinting at a notion of Christmas with snow does not hurt, either. The song plays as a full instrumental without lyrics.
The Silent Nutcracker plays to a more fully throated acoustical instrumental performance. Hints of Silent Night are again made in strictly instrumental form for a more extended playing in what proves to be another song presented without lyrics.
A Mad Russian’s Christmas opens with piano playing in solitude an authoritative electric guitar riffs accompanying. A series of explicit rock melodies follow in instrumental succession, invoking classic orchestral rises and falls of mood to tunes sure to be recognized by most. Of all the songs on Christmas Even and Other Songs, A Mad Russian’s Christmas perhaps best exemplifies why the word orchestra belongs in the Trans-Siberian Orchestra.
With The Prince of Peace, the reintroduction of singing proves welcome and as emotionally uplifting as the reason for the season sung about. An adult female sings of Jesus Christ‘s birth, explicitly invoking Hark! The Herald Angels Sing just beyond minute and a half into the presentation.
Christmas Eve/Sarajevo 12/24 begins with a few seconds worth of traditional instrumentation introducing God Rest Ye Merry Gentleman. A fully instrumental presentation continues from here with a different rocking sound, evoking anticipation, discovery and magic coming with the next day. The birth of Jesus with the celebration indicated with A Star to Follow earlier in the album come to bear again. The band Savatage, who played a significant role in bringing this song to life, were formed in Tampa, Florida in 1983.
(Christmas Eve/Sarajevo 12/24 was released as a single by Savatage and Trans-Siberian Orchestra. Trans-Siberian Orchestra a side project of several members of Savatage).
Good King Joy raises the octave level on every song that preceded it on Christmas Eve and Other Stories by announcing the birth of Jesus with a bright introductory verse of Joy to the World. Heavy piano and guitar follow in furtherance of the Jesus‘ birth. Switching to a rhythm and blues theme three minutes into a song that plays more than six minutes with lyrics invoking the nativity story with the Magi in Bethlehem works magic.
Ornament brings us back to a raspy blues singer view of a young lady separated from her family leading up to Christmas. We find that the viewpoint is that of a father desperate to have his daughter call a truce to whatever ails the relationship. A specific ornament between the two stands in as the token of hope, memory and joy to bring the two together again on this pending Christmas day.
The First Noel is presented in an acoustic and quick interlude of instrumentation. The song itself reminds of the birth of Jesus and the first nativity in less than a minute of song.
A sympathetic and acoustic, storytelling vibe brings the song Old City Bar. The bluesy father from Ornament continues the story of the disconnected daughter who couldn’t get home on Christmas Eve. The song is a sad tale that turns unexpectedly happy with cab fare to JFK Airport in New York City to get home to her father.
Promises to Keep opens with distinct piano playing that quickly opens to the singing of children in chorus taking upon themselves the seeking and the keeping of the promises of love represented by Christmas. The wishing upon stars give way to keeping the spirit and goodness through the season, the years, the lifetimes. The sweetness is meaning like a music box invoked through the song.
This Christmas Day brings the optimism and feeling of Christmas in stringing together Ornament, Old City Bar and this song with bright strings of lights, ribbons, and the returning home of the daughter to her home, accompanied by the joy of her father. With the promise of desperation giving way to promises delivered now and forever, the feeling resonates through repetitions of the lyrics of “Merry Christmas, merry merry Christmas!”
An Angel Returned frames the album with the opening song of Christmas Eve and Other Stories, An Angel Came Down. In referencing Kyrie (Lord) and at least partially calling upon the “Kyrie, eleison,” or “Lord, have mercy” prayer, this song with new lyrics (An Angel Returned) set to essentially the same music (An Angel Came Down), the Christmas spirit as embodied by faithfulness expressed in song has transformed people through the joy felt in the hope of the savior’s birth on the night of Christmas Eve as told through the songs of this album.
(Pictured here is Paul O’Neill, the founder of Trans-Siberian Orchestra).
O Holy Night was presented as a bonus song beyond the original album, with an instrumental version of the song that varies from the second half of O Come All Ye Faithful/O Holy Night earlier in the album. This presentation feels like it was played on guitar, though a dobro might have been the primary instrument.
God Rest Ye Merry Gentlemen adds an additional bonus of 75-seconds of an exclusively acoustical presentation of the song.
(The cover art for the 1985 Ray Charles album The Spirit of Christmas).
Opening The Spirit of Christmas album is the William Chatterton Dix composition What Child Is This?Chatterton Dix was originally from Bristol, Avon, England. The song invokes the birth of Jesus Christ, emphasizing this before invoking a jazz reprise that lasts for approximately the last three minutes of the song.
The Johnny Marks composed Rudolph the Red-Nosed Reindeer sees Ray Charles offering a jazzier version of this holiday standard in the United States for more than fifty years. The effect of this song is among the more enchanting of any on the album. Marks is from Mount Vernon, New York.
(Mable Johnson, one of the composers for the song The Spirit of Christmas, as seen when she performed for one of two record labels in the 1960s).
The Spirit of Christmas comes to us with composers Mable John of Bastrop, Louisiana, Parnell Davison and Joel Webster. The song is a sentimental reminder of the love that surrounds us with the joy of the happiness that, in experiencing the joy of those around, enlivens us. As a complete song, this is my favorite from the album overall.
(Ray Charles had a long and distinguished career in music).
The penultimate song for The Spirit of Christmas album is Winter Wonderland, as composed by Felix Bernard of Brooklyn, New York City, New York and Richard B. Smith of Honesdale, Pennsylvania. An uplifting jazzy feeling brings a lightness to the composition. The strength of the keyboards as performed by Ray Charles, among other instruments, stands out as much as his singing.
Christmas Time as composed by Edward Cole makes use of Charles on keyboard with horn, bell and other instrumentation. The somber invocation is an easy reminder of the familial blessings and symbols of love and giving with the season. Cole is originally from Montgomery, Alabama.
With the joy of late fall weather offering the tokens of the coming winter for some northern climates, I was moved to look into a holiday album released November 26th, 2008. The album Home for Christmas by Sheryl Crow of Kennett, Missouri.
(This image shows the Sheryl Crow album cover for Home for Christmas. The album was first released on November 26th, 2008).
(The ‘definitive’ version of The Christmas Song as performed by Nat King Cole was released in 1961).
White Christmas presents with uplifting horns, guitars and drums that brings a light and fun experience. The uplifting tempo is as catchy as any offering on the album. Original writing credits for the song belong to Irving Berlin, born in the Russian Empire of the 19th century.
(Bing Crosby sang the first released version of I’ll Be Home for Christmas in 1943).
Merry Christmas Baby brings a clear pop sensibility to a studio recording featuring keyboard play that gives the song a fusion rhythm and blues and jazz flavor. The original writing credits belong to Johnny Moore of Selma, Alabama and Lou Baxter.
The Bells of St. Mary’sincludes music written by A. Emmett Adams with lyrics by Douglas Furber, dating back to 1917. The sound is very modern, with a vocal range offered by Sheryl Crow that brings a pleasing effect open to continued listening.
(Blue Christmas as performed by Elvis Presley made the song as popular as ever in the United States).
O Holy Night opens with a partial singing of It Came Upon a Midnight Clear, with the latter accounting for nearly 1-minute and 10-seconds of the 3-minute and 39-second performance. Distinct production differences points to what feels like performances intended to have been separate. The singing proves inspired and moving, making for a rewarding experience.
As written by Sheryl Crow, the song There Is a Star That Shines Tonight has perhaps the most authentically true song on the album. Strongly piano based with stringed instrument accompaniment, the quiet sweetness invokes celestial inspiration, missing one’s loved ones and the inspiration of the newborn spiritual king.
Hello My Friend, Hello offers a gentle meditation of friendship and winter’s regeneration. The accompanying instrumentation offers a sweet accompaniment to Crow‘s singing. Bill Botrell is credited with writing this song.
(Sheryl Crow‘s album Home for Christmas was first released on November 26th, 2008).
The final song for the 2008 release of the Home for Christmas album is All Through the Night, a sleepy meditation of a song with seemingly Welsh origins under the name Ar Hyd Y Nos. As noted here, the song “is still sung in Welsh, especially by male voice choirs, [although] it is better known by its English title “All Through The Night.”
It was 25-years ago in June that arguably the best Screaming Trees album was offered to the world. The 1996 album Dust followed 1992’s Sweet Oblivion, the duo of which could have elevated the band to a higher profile had the members been able to get along and tour in support of the first album. Regardless, let’s look at this quality product offered by guitarist Gary Lee Conner, bassist and guitarist Van Conner, lead vocalist and guitarist Mark Lanegan and drummer / percussionist Barrett Martin.
(The album cover for Dust by Screaming Trees).
Halo of Ashes opens the album Dust with the opening declaration for the ground that will be traveled emotionally. The reference seems to evoke death and a biblical calling to facing the valley of death with nothing to fear. The foreshadowing of death is a remembering of what the soul and the spirit mean. That the album starts with this warning, and a long-term distance from them, captures my attention with each playing of this song.
All I Know alludes clearly to the passion story of Jesus Christ, with the temptation that precedes it. The halo of ashes give way to an earthly crown of thorns calling the spirit back to earth to suffer a fate while passing on the wants of physical humanity.
(The CD single for the song All I Know was released to support the album Dust by Screaming Trees).
The instrumentation beginning Look at You stands out among the range of songs on Dust. In lyrically calling to the spirits of remembered losses and the pain that joins an uplifting, hopeful melting into something meaningful that helps peace of mind. The calling and the sound make this song work so well, in my humble opinion.
Dying Days includes Pearl Jam guitarist Mike McCready. While the song looks into feelings related to growing up to find the people and attitudes of a once familiar place and people no longer bringing comfort, the lonely in the song deals with not knowing where to turn when the divine doesn’t bring the needed help. It has been suggested this song contemplates the deaths of Nirvana‘s Kurt Cobain or the popularity of Grunge as a musical style.
Make My Mind brings an end to the first side of Dust with a request in love to allow the singer to catch up with where his love emotionally is, in advance of the feelings between the couple. The feeling of love is in the singer’s heart, but where is his love. Is the song lifting a request to meet him where he is in love?
(The back of the album for Dust by Screaming Trees).
Sworn and Broken opens the second side of the album Dust. The song was released in single as well, and evokes the sense of new beginnings after an old ending that comes with a resolution to change. A sadness overrides the feeling of the song with ending in breaking, dying. Do you sense an opportunity to assess, change and try again? Simply the hurt of a failure that could rest in the divine purpose?
In perhaps the closest thing to a distinctive Screaming Trees sound, Witness lyrically seeks a spiritual awakening through confession, both received and given in a mirroring effect with the listener of the song. The clear declarations of feeling seek to be heard and hearing. Do you hear the personal heartache in this song?
Traveler hits you with a brooding, moody appeal to move from the darkness in one’s soul to a place of light. The acoustical choice for this song contributes to a mood that stands up with the other instrumentation to offer something melodic and growing that evokes the feeling of travel, whether that be physically or spiritually as has been discussed through the album or the specific lyrics of this song.
(The 1996 band members of Screaming Trees included Mark Lanegan, Barrett Martin, and brothers Van Conner and Gary Lee Conner).
Dime Western hits you with a rhythm and blues lick that lyrically and through sound asks for a mood uplift in the face of a desperate experience with but one path to the metaphorical promised land. The song itself is well played in evoking desperate feelings, ending this foray into the corporeal with a higher feeling.
The traditional African American SpiritualGospel Plow. The full-blown power and emotional pull of this song caps with another direct evocation of Jesus Christ brings forth such force that statement that I cannot help but smile.
Matt Lynn Digital 