‘Best of’ year-end lists are very subjective, being subject to the individual musical tastes of the compiler and my list, of course, is no different. Thus, the albums I have named (in no particular order) are simply the newly released ones that I enjoyed listening to the most during 2014.
Love and Gravity – Mary Fahl: This newest album by Mary Fahl recalls the glory days of her now defunct group October Project and excels them. Fahl’s rich contralto voice sounds as good as ever with no fillers here. Each track is a treasure, but a few standouts warrant special mention. It is hard to imagine a siren more spellbinding than in the song, “Siren,” and Fahl’s cover of “Both Sides Now” sounds like the song was written especially for her, infusing it with a deep emotional introspection I never appreciated before (not to take away from Collins’ timeless original). Then there is the beautiful memorial, “The Dawning of the Day,” written for the fallen firefighter heroes of 9/11. This is a stunning album from start to finish.
This is part of a series suggesting ingredients for mixtapes or playlists on a variety of themes.
Whether you have a special someone to be your valentine this year or not, we’ve got you covered with this genre hopping “two-fer” mixtape of old and new songs ranging from easy listening to rock, pop, R&B, and lesser known indie singer-songwriter folk stuff. Side A is just the thing for happy couples to play while celebrating Valentine’s Day with a romantic evening alone – or, if the love affair’s over, flip it to Side B and let the music keep you company this Valentine’s Day. Either way, it’s a night spent with some great music.
Links to artist websites are provided for each track – a good way to learn more about the artists or to catch up on their latest news. Many of them are working on new recording projects for 2012.
When Irish troubadour Declan O’Rourke wrote this song, he thought no one would want to hear it. But he liked it and says he only finished it because he thought his family might enjoy it. He was more than a little surprised when he learned Josh Groban picked it up for inclusion on one of his albums – and a little sad to say goodbye to “his little song.” Since then, it has been covered by numerous artists and is destined to become a romantic standard.
I was never more surprised than when I saw the self-titled album Burlap to Cashmere on a recent list of Top 100 best albums of 2011. I knew this band. Discovered by an agent who heard them playing in a New Jersey coffeehouse, Burlap to Cashmere had independently released a live record in 1997 and the following year signed with A&M to release their major label debut, Is Anybody Out There? (an award-winning unconventional Christian music album). Within a few years, they had disappeared without a trace. They were a high-energy folk/rock band with a unique sound, thanks to the band’s talented songwriter and lead singer, Steven Delopoulos, and his cousin’s (John Philippidis) quick-fingering flamenco guitar riffs. That combination created their one-of-a-kind Mediterranean-influenced folk/rock sound of Greek rhythms and world beats that reflected their Christian Greek Orthodox heritage.
That was 13 years ago. Now an album bearing their name appears on a 2011 best albums list and I’m thinking it must be a re-issue or something. But, no. It is indeed a brand new album with 11 brand new songs. And it is creating quite a stir:
My compatriots have done an excellent job highlighting music that restores the seriousness of Christmas. As a Jew (a Reconstructionist, the lit-crit version of Judaism), I don’t feel like I have a stake in this game. Outside of a few songs, there aren’t any great Hanukkah albums. My holiday music tends be Klezmer, which can be played any time of the year.
There are a handful of Christmas songs I do enjoy. Wassails and winter songs aren’t necessarily Christmas songs: they are seasonal, coinciding with the Holidays. Indeed, “Jingle Bells” was written for Thanksgiving. There are carols that are based on excellent folk tunes that can get me moving (I will play “We Three Kings” and “It Came Upon A Midnight Clear” as jigs). What tends to bother me about some Christmas songs is the repeated use of the same chord progressions, composed of I-ii-Vs and IV-iii-ii-I turnarounds (see “Jingle Bell Rock”, “Frosty the Snowman”, and “Rudolph the Red-Nosed Reindeer”). Popular Christmas tunes tend to sound alike, which in my opinion reflects the composers’ laziness.
Among my favorite Christmas songs is The Pogues’ “Fairytale of New York,” which could either be seen as deep and dark or over-the-top, the alternative version of It’s a Wonderful Life or the Christmas version of “Bohemian Rhapsody”. From the production standpoint, the song is impeccable: soaring strings, perfectly timed transitions, even a big dropout to give power to “the bells were ringing out on Christmas day.” From a more cynical standpoint, the song is a crass attempt at a big commercial hit: the duet with Kirsty MacColl could be construed to be a gimmick, and the New York theme and the stadium sound are things a band might employ to try to crack the American market. It’s everything to be expected and dreaded from a Christmas song.