Archive for the ‘holiday’ Category

Merry Christmas!

Thursday, December 25th, 2014

To those who celebrate, have a very merry Christmas. Since many other traditions have a celebration around now (solstice, Kwanzaa, Festivus, etc.), I wish you happy those-things as well.  Me, I’m celebrating the holiday with family, food and drink. Lots of all three, in fact.

Below is the full version of The Beatles‘ “Christmastime is Here Again.” An abbreviated version found its way onto one of the CDEPs released in conjunction with their Anthology series, but this is (a pirated/bootlegged version of) the full version as it appeared on their 1967 flexidisc sent to members of their fan club.

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Album Review: A Kool Kat Kristmas, Vol. 2

Friday, November 28th, 2014

It’s that time of year again. In the USA, at least, the days after Thanksgiving is the unofficial kickoff of the Christmas season. And every year about this time, I find at least one Holiday-themed CD in my inbox. This year the disc of note is A Kool Kat Kristmas, a thirteen-track compilation of Christmas-themed tunes fomr as many artists, most of whom fall into the powerpop genre.

As is always the case, Christmas music can easily fall into the maudlin, overly gimmicky, or just plain awful. When it works – when something appears that’s worth adding to the Holiday section on one’s CD shelf – it’s pretty good. A few wonderful but lesser-known tunes are out there: Bill Lloyd‘s “Under the Christmas Tree” is a favorite that most people have never heard.

And for the most part, the tunes on A Kool Kat Kristmas work. The general approach that these artists use is to take a sturdy pop melody, add some bells, and put a Holiday-themed lyric to it. If you didn’t understand English, little beyond the tubular bells would hip you to the fact that these songs are about Christmas and such.

For the most part, the bands here don’t sound all that different from each other; listen casually – -while you’re doing other things, like, say trimming your Christmas tree or writing a review – and you might not even notice that the disc is a various-artists set until you’re several cuts into the album.

Taken as a compilation of powerpop, it’s quite nice: not the most remarkable collection ever, and certainly no Yellow Pills, but sturdy and enjoyable.

Several of the acts found here have had their music covered here on Musoscribe: The Bottle Kids, The Genuine Fakes, Dan Kibler, Stephen Lawrenson, Martin Newell – and not surprisingly, their offerings are among the strongest tunes on this disc.

The Bottle Kids’ “Christmas in Paris” actually includes an actual guitar solo, something few of these yuletunes bother with; it’s a gentle number that perhaps fits with the theme of the Holidays better than some rave-up powerpop tune might do. The Genuine Fakes’ “You Always Come Back Home” is a plaintive, elegiac number, and its gently unfolding arrangement is a highlight of the set.

The Connection‘s “Poor Boy” has a goodtime jug band feel reminiscent of Sopwith Camel or Spanky and Our Gang. And though a good half of the tunes on the disc lean toward the melancholy, Shake Some Action up the uptempo jangle quotient for the wonderfully Byrdsy “Christmas in the Sun.” In fact they may have done themselves a disservice by penning a song destined only for play around the holidays; it’s perhaps the best song on the entire set. And save for the goofy “ho ho ho” that kicks it off, The Tor Guides‘ “Beatles Vinyl” is a winner: chiming guitars and warm vocal harmonies provide backing for a sentiment most everyone can agree upon.

Stephen Lawrenson’s “Glad It’s Christmas” is perhaps the disc’s most musically ambitious number; the acoustic guitar runs are reminiscent of Led Zeppelin III. Wyatt Funderburk‘s “Cold” suggests Brian Wilson‘s musical approach. And while Martin Newell (or anyone, for that matter) would be hard pressed to top “Christmas in Suburbia” from his 1993 The Greatest Living Englishman, the stately and melancholy “Ghosts of Christmas” ends the disc on a memorable ­(if slightly eerie) note.

In keeping with the sensibility of the season, a portion of the disc’s proceeds goes to The Susan Giblin Foundation for Animal Wellness and Welfare. The album is available from Kool Kat Musik.

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Album Review: Halloween Nuggets

Friday, October 17th, 2014

Halloween’s coming: October 31 is a mere two weeks away. Personally, it’s my favorite holiday: for several years I lived on one of my city’s busiest residential streets, the go-to location on Halloween. This upscale neighborhood (we were firmly at the bottom of of the street’s socioeconomic scale there, by the way) was very popular with trick-or-treaters. So much so, in fact, that people chartered vans and buses – I kid you not – just to drive their kids to our street where they could collect candy. One year, we had over 500 kids ring our doorbell.

Leaving other family members to dispense the loot, I stood out front in a creepy mask, hood and gloves, playing (well, playing after-a-fashion) my Theremin. The spooky tones fit perfectly for the play-fun that is modern Halloween. Music – especially music laden with eerie, gimmicky sounds – has long been a staple of this fall holiday.

Like Christmas, Halloween has engendered a fair amount of its own theme music. But not a lot of it has hit the charts in a big way, despite its quality. And so when an artist records a Halloween-themed tune, it usually slides quickly into obscurity. I mean, who wants to hear spooky music once November rolls around?

Well, if you’re thinking to yourself, “Me,” then I have a treat for you. Rock Beat Music has put together a box set – three discs packed to the limit – of 1960s music loosely built around the theme of ghosts, goblins, witches and monsters. Drawing mostly from among the era’s hopelessly obscure sides, Halloween Nuggets: Monster Sixties A Go-go is a fun if modest collection of ninety-plus tracks.

Because from a cultural point of view “the sixties” really began circa February 1964, there are a number of 50s-sounding tunes here. Most lay on the gimmicky theme a bit thick – loads of spooky sonds, scream and whatnot – but the underlying theme is an undeniably kitschy sort of fun. While there are a few duds – Ralph Nieson and the Chancellors‘ manic psychobilly raver “Scream” is repetitive enough to give even the most die-hard listeners a headache – there are plenty of gems here. The song titles (“Tombstone No. 9,” “Cha Cha with the Zombies”) and one-off band names alone (Frankie Stein and His Ghouls, The Graveyard Five) are entertaining enough, and a lot of songs are goofily wonderful.

Some of these tunes will be familiar to connoisseurs of garage rock obscurities: Positively 13 O’clock‘s reading of The Count Five‘s “Psychotic Reaction” has been comped many times, as has Kiriae Crucible‘s “Salem With Trial.” But for every one of those, there’s a too-rarely-heard track like Baron Daemon & the Vampires‘ “Ghost Guitars.”

The track sequence is peppered with laughably awful audio tracks from B-movie trailers. You don’t really need visuals to know what The Astro Zombies or Night of the Blood Beast are about; their inclusion here doesn’t impede the flow of the music. Instead they just add to the fun.

James Austin – the label’s leading light when it comes to compilations: see also Los Nuggetz – has done his usual fine job of collecting and choosing the songs. What he hasn’t done – and where Halloween Nuggets leaves me a bit wanting – is to provide anything along the line of discographical information, or any sort of liner notes, for that matter. So listeners are left to wonder exactly what was behind an admittedly ace number such as Ervinna & the Stylers‘ “Witch Queen of New Orleans” or the good-timing garage jangle of The Circus‘ “Burn Witch Burn.” (The exceedingly tiny type used for track listing on the box’s back is frustrating to readers of a certain age, too).

But those are minor issues; we’re here primarily for the music. And Halloween Nuggets digs deeply into the graveyard of rock’n'roll (and pop) obscurities for this set. And this 3CD set might be just the ticket to enjoying a little bit of lightweight fun before the Christmas decorations come out. (How’s that for scary?)

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Jamie Laval’s “Christmas in Scotland”

Thursday, January 9th, 2014

A deep love and understanding of Celtic cultural and musical traditions; a foundation of classical training; and a fresh look at celebrating the Holiday season: that was the recipe for “Christmas in Scotland: Seasonal Music and Stories from Celtic Lands,” a holiday show at Asheville’s Isis Theatre on December 27, 2013.

Hosted by award-winning fiddler (and Asheville resident) Jamie Laval, “Christmas in Scotland” featured music and storytelling focused on the season. But not, perhaps, the season you’d think. While Laval acknowledges that “we have our own signature music from Appalachia,” he notes that “by the time Scots-Irish settlers came to this area, the Christmas music tradition had already been well-established. A lot of the traditional carols that we all know and love had existed for centuries.”

“Those were village dance tunes,” he explains. “The church took a hold of them, slowed them down, and added Christian-based lyrics to them. By the time the settlers came here, the tunes were thought to be regular Christian Christmas carols. But if you look way back, that changeover from being pagan-based holiday music had already long since taken place.”

And it’s those pre-Christian traditional village folk dance tunes that Laval and his compatriots would play at this special performance. “I’ve made my specialty in really, really ancient Scottish music, Laval says. “And I try to give a fresh spin to it.” Laval is well-suited to such an ambitious goal: he began his formal musical training in British Columbia at the Victoria Conservatory of Music, where he studied classic violin. But he quickly fell in with the region’s folk traditions. “My first summer job was playing chamber music in the lobby of a grand old lodge,” Laval recalls with a chuckle. “Everyone who worked at the hotel had a tendency to spend off-days at the grange hall dances. So after being in music a very short time, I started doing square dances, barn dances.” Initially, those folk dance events were a mere sideline and hobby for the young fiddler. “But,” he continues,” over the years, as I pursued a classical career in symphony playing, I got better and better at the folk music.” He says that he eventually devised his own style, a “signature rendition of Scottish and Irish” traditions within the framework of the Celtic music format.

“Ten or twelve years into classical music,” Laval recalls, “I realized that my heart was really leaning more toward folk music than classical. I made a decision to turn a corner. He went out in style, though: his final classical gig was Puccini’s Madame Butterfly, performed with the Seattle Opera. “A grand send-off,” he laughs.

Celtic music is handed down through note-for-note re-creation of the tunes. Asked if he finds that relatively strict format limiting or liberating, Laval chooses the latter, and attributes it to a characteristic one might not think to associate with the style: groove. And, unlike classical, “the liberating part is that there’s no requirement to be faithful to a score.” In folk music, Laval points out, “it’s perfectly permissible to re-render the music in a different tempo, a different harmonic structure, with different emotion.”

Reflecting on the universal appeal of folk music, Laval suggests that humans are “hard wired for rhythm.” Moreover, he says, “I understand the depths of emotion that come across through folk music.” That, he says, is due in part to the fact that “folk music is the product of not one composer, but a collective body of people as the music is passed from one generation to another. It gets imbued with the sentiments of each of its contributors. And so the music ends up being an expression of a people, of a whole culture.” In Celtic music, Laval hears the “yearning and longing and struggle and triumph that’s built into that long tradition.”

And that culture – with its long-held pre-Christian traditions – was the focus of the “Christmas in Scotland” show. “This is a chance to put together the kind of lineup I don’t usually get to play with,” says Laval. He customarily performs solo or with a very small group. Bigger ensembles usually necessitate large venues and large stages, with the accompanying divide between performer and audience. Laval promised that “Christmas in Scotland” at the Isis, would be “intimate, but yet I get to work with dancers. And that’s always fun.”

An edited version of this feature ran in the December 25, 2013 issue of Mountain Xpress.

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‘Tis the Season…

Friday, November 29th, 2013

Okay, not everyone likes Christmas. Some are turned off by the commercial character of a day that is supposedly to commemorate the central figure of Christianity (a child who – most Biblical scholars agree – was born in the spring, by the way). Others dislike it for the music.

I don’t subscribe to either of those viewpoints: I like Christmas. A lot. It’s not my favorite holiday; that would be Halloween (for the costumes) or Thanksgiving (for the fellowship and food). But I do enjoy the secular focus upon taking time to share gifts with loved ones. Most years, I even set up that most pagan of Christmas symbols, my fiber-optic lit artificial Christmas tree, festooned with construction paper-and macaroni ornaments my now-adult kids made when they were tots.

And I like the music. Yes, really. I know that certain songs are overplayed, and people get sick of them by the Sunday after Thanksgiving (if not sooner). And I am no fan of Band Aid‘s “Do they Know it’s Christmas” nor Wham‘s treacly “Last Christmas.” And though I am a lifelong Paul McCartney acolyte, I too think “Wonderful Christmastime” is a stinker.

My favorites, though, include Roy Wood‘s perennial UK favorite, “I Wish it Could Be Christmas Everyday,” John and Yoko‘s “Happy Xmas (War is Over),” and the still officially unreleased full version of The Beatles‘ (admittedly repetitive) “Christmas Time is Here Again.” And there’s a special place in my heart for the instrumental genius of Dave Amels (Reigning Sound) and The SmithereensDennis Diken (and friends) as found on Husky Team‘s delightful Christmas in Memphis. Find that one if you possibly can; it’s a gem, and fun in any season).

I mention all this not to fill space but to give you the context for the point of view I bring to the capsule reviews of this baker’s half-dozen of holiday season offerings. In short, I enjoy Christmas music as a style enough to appreciate the fine examples of it. But that doesn’t mean that I’ll still be playing any of it come Boxing Day; at that point it all (with the exception of Husky Team) goes back on the shelf until next year. But in the meantime…

David Ian – Vintage Christmas Wonderland
If you like your holiday music in a classic vibe – think Frank Sinatra, Julie London and Mel Torme rather than Mitch Miller – then you’ll find plenty to like on this five-song EP. Ian on subtle, jazzy piano is joined by an upright bassist and drummer (mostly on brushes) for this low-key affair that also features tasteful string work and (on three cuts) an assortment of smooth male and female vocalists. Ian goes for a Vince Guaraldi vibe (also see below) on an instrumental reading of “O Little Town of Bethlehem” in this all-standards offering. Brief but fun.

John Fahey – Christmas Soli
What little I knew about Fahey suggested that his music would be a stiff affair. And maybe a bit pretentious: “Soli?” In my neighborhood we call ‘em solos. But this set – compiled from among the readings of public-domain Christmas songs found on four Fahey albums – is filled with heartfelt yet precise fingerstyle acoustic guitar work. A couple of the songs are not strictly solo pieces (er, soli) as they feature guitarist Terry Robb alongside Fahey. But for those who enjoy this style of music, this is a fine collection of traditional holiday songs within a folk instrumental idiom.

Various – Mad Men Christmas
Conceptually, this one’s a bit of a head-scratcher. The album’s subtitle – “Music From and Inspired By the Hit TV Series on AMC” (emphasis mine) – gives the compilers some breathing room, insofar as a a few of the twelve tracks are contemporary tunes. Those are by the likes of Jessica Paré (the totally-not about-the-holidays instrumental “Zou Bisou Bisou,” which sounds more like Pizzicato Five than anything else) and Nellie McKay‘s more thematically relevant “Christmas Waltz.” But ringers from Tony Bennett and Rosemary Clooney go some distance toward conjuring that pre-Beatles 60s vibe. Available exclusively at Target.

Vince Guaraldi – A Charlie Brown Christmas
In 2012, Concord re-re-released this album with unreleased tracks; this favorite contains the jazz songs that people who don’t like jazz, like. Disliking this will earn you the title “Scrooge,” as it’s delightful and – at least for members of a certain generation – evocative of pleasant childhood memories gathered ’round the TV set. The Library of Congress calls it a “culturally, historically, or aesthetically important” sound recording. Now in 2013, Concord has yet again reissued this set, this time making the digipak into a clever die-cut piece than can be manipulated into the three-dimensional shape of Snoopy’s doghouse.

Ernie Kovacs – Presents a Percy Dovetonsils Chrithmath
Televisionary Ernie Kovacs created a simpering character called Percy Dovetonsils, unknowingly presaging the public personae of Charles Nelson Reilly and Paul Lynde by more than a decade (though Kovacs’ character was more erudite and subtle). This limited-edition 10″ vinyl picture disc is a swell companion to the pink vinyl album from 2012. True, the humor is dated, but get past that and this is a hoot. One track from the …thpeaks album plus five unreleased poetry vignettes from the Kovacs Unlimited TV show make up this set. The jokes run right through the printed track lithting and liner noteth. Thilly.

Various – Psych-Out Christmas
Where Cleopatra Records are concerned, Santa’s gift sack is best described as a grab bag. How else to characterize this mishmash of covers and new material from the past and present? Hot modern psych band Elephant Stone are on hand with a dodgy cover of The Beatles‘ “Christmas Time is Here Again.” The Fuzztones rewrite “Farmer John” as “Santa Claus.” Iggy Pop ruins “White Christmas.” Other current acts turn in psych-inflected readings of holiday classics, but what, pray tell, does The Zombies classic “Time of the Season” have to do with this season? Perhaps Sons of Hippies know. Still, fun.

Special mention:
The Waitresses –
Just Desserts: The Complete Waitresses
Not a Christmas album at all, this new 2CD collection from Omnivore Recordings does include the group’s “Christmas Wrapping,” originally from their 1982 EP I Could Rule the World If I Could Only Get the Parts. Patty Donahue‘s sing-song delivery was and remains an acquired taste (one to which I have found myself largely immune) but the arty arrangements are outstanding, in a distaff Roxy Music sort of way. Art rock and white-boy reggae are filtered through a new wave sensibility. And “Christmas Wrapping” injects the holiday season with a much-needed bit of levity and irreverence, 80s style.

Happy Holidays. And there ain’t no “war on Christmas,” despite what the FOX propagandists might have their mindless followers believe.

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Happy Xmas

Tuesday, December 25th, 2012

Today I (like you, I hope) am taking a day off to enjoy time with those I love and cherish. Normal blogging will resume tomorrow; this is “interview week” on the blog. Thanks for stopping by; below are a couple little treats for ya.

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