Author Archives: Chris Moore

The BEST REMASTERS / REISSUES of 2011 (The Year-End Review Awards)

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By Chris Moore:

This year, I didn’t listen to all that many remasters or reissues.  Pink Floyd re-released all their albums in one intimidating batch.  Had it been one at a time, I might have tried one.  Nearly every week, there have been remasters or reissues on the new release rack at Newbury Comics.  And yet, at year’s end, I am left with only one in mind that carries any weight with me:  The Beach Boys’ SMiLE Sessions box set.

This is – finally, officially – the closest we’ll ever come to hearing what SMiLE would have sounded like, had it been released in context over four decades ago.  Brian Wilson’s 2004 take on SMiLE turns out to be, as expected, a close approximation and, in some ways, a more complete version.  That is the most heartbreaking aspect of this box set: there are parts missing, instrumentation with unfinished vocals, and a general sense of genius abandoned.  This being said, The SMiLE Sessions present a gorgeous, expansive vision that may well have been yet another game changer in a series of re-visionings then taking place, led largely by the Beatles.

We’ll never know how much of an impact this album would have had, or how great a success it would (or wouldn’t) have been.  What we can do is marvel at the beauty of Brian Wilson’s vision and the Beach Boys’ remarkable vocal soundscapes.  (The deluxe box set may only be for the diehard fan, but believe me, it’s well worth it if you consider yourself to be anything approaching diehard!)

1) The SMiLE Sessions – The Beach Boys

 

 

Christmas, Volume 2 – Playlists on Parade

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By Chris Moore:

This is the second installment in my Christmas music playlist series, perhaps my most brilliantly titled one yet!  😉

As you’ll notice, I’ve done my best to present a wide span of time periods and topic matter, including songs that touch on winter in general, the legendary figures of Christmas (such as Santa, Rudolph, Frosty, etc.), and the spiritual music honed in on the “reason for the season” (i.e. the celebration of the birth of Christ).

Perhaps my greatest failing in this list (and, with a subject as broad as Christmas, I am sure to have many) is the lack of traditional Christmas songs, hymns and otherwise.  I have two comments about this: first, it is simply a fact that many, if not most, artists have tended to pour more of their creative energy into non-denominational tracks, perhaps hoping to avoid alienating their audiences, and second, there is also a tendency for truly great bands to record some of their best performances on their own original holiday music.

For this reason, you’ll see a lot of contemporary classics of the Christmas genre represented here.

If you’re a person who appreciates and perhaps even prefers traditional music, I would strongly recommend checking out the original Beach Boys Christmas album for “We Three Kings of Orient Are,” which was cut from this list only because “We Three Kings” is included in the BnL/Sarah McLachlan version of “God Rest Ye Merry, Gentlemen.”  Brian Wilson recorded some fine renditions of traditional tracks on his 2005 solo release What I Really Want for Christmas, including “O Holy Night,” “Hark the Herald Angels Sing,” “The First Noel,” and “Silent Night.”

And, if you can get beyond the gravel in his voice, Bob Dylan gives a bang-up, wannabe 1940’s treatment to many of these tracks, plus “O’ Come All Ye Faithful” and “O Little Town of Bethlehem.”

The track listing below is another assortment of Christmas songs, fast and slow, happy and sad.  In fact, starting with the hopeful but tentative tenor of Stevie Wonder’s “Someday at Christmas,” I plugged in several of my favorite somber yuletide tunes: BnL’s “Green Christmas,” the Moody Blues’ “A Winter’s Tale,” and Ben Fold’s Grinch soundtrack offering “Lonely Christmas Eve.”

Don’t fret, though, there are plenty of upbeat tracks to balance it all out.  Consider the typically punky/poppy Weezer take on “We Wish You A Merry Christmas,” the disaster-averted hilarity of Relient K’s “Santa Claus is Thumbing to Town,” and the Temptations’ excellent and unique arrangement of “Rudoplph the Red-Nosed Reindeer.”

As always, I hope you enjoy reading through this playlist, and that I’m able in some small way to nudge you toward getting into the spirit of the season, despite how busy or how burdened you may be.

Check back next week for the third installment in the series!

1. “Santa Bring My Baby Back (To Me)” – Elvis Presley

2. “We Wish You A Merry Christmas” – Weezer

3. “Jingle Bells” – The Brian Setzer Orchestra

4. “The Man with All the Toys” – Brian Wilson

5. “Someday at Christmas” – Stevie Wonder

6. “Green Christmas” – Barenaked Ladies

7. “A Winter’s Tale” – The Moody Blues

8. “Lonely Christmas Eve” – Ben Folds

9. “Away in a Manger” – Johnny Cash

10. “Wonderful Christmastime” – Paul McCartney

11. “Feliz Navidad” – Jose Feliciano

12. “Christmas All Over Again” – Tom Petty & the Heartbreakers

13. “Santa Claus is Thumbing to Town” – Relient K

14. “I Wanna Be Santa Claus” – Ringo Starr

15. “Hey Santa!” – The Wilsons

16. “Rudolph the Red-Nosed Reindeer” – The Temptations

17. “Frosty the Snowman” – The Beach Boys

18. “Merry Christmas, Baby” – The Beach Boys

19. “Christmas Evening” – Jim Fusco

20. “Auld Lang Syne” – Barenaked Ladies

The Weekend Review: December 2011

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By Chris Moore:

Here they are: the final two reviews of the year!  It’s taken me a week, but I’ve prepared all my “end of the year” lists, and they’ll be going live a day at a time, starting tomorrow…

 

El Camino (The Black Keys)

Producer: Danger Mouse & The Black Keys

Released: December 6, 2011

Rating: 3 / 5 stars

Top Two Tracks: “Little Black Submarines” & “Lonely Boy”

Instantly accessible, this new Black Keys album picks up more or less where its predecessor, Brothers, left off, though this time around some of the nuances have been dumped in favor of a streamlined, more formulaic sound.  This isn’t necessarily a bad thing, as it does create a sort of unity on the album, but it also tends to make the tracks run together a bit too seamlessly.  “Little Black Submarines” is the standout here, if only for its use of acoustic guitar to establish the track before picking up, though “Lonely Boy” was the perfect choice for a lead-off single (you’ll get no argument from me there).  Others, like “Run Right Back” and “Nova Baby,” are notable for their hooks, but the remainder of the songs generally feed into one album-length grunge/blues-rock fest that is, again, instantly accessible for the tracks’ consistent tightness, brevity, and catchiness.

 

Cloud Maintenance (Kevin Hearn)

Producer: Kevin Hearn & Michael Phillip Wojewoda

Released: December 20, 2011

Rating: 4 / 5 stars

Top Two Tracks: “Always Changing” & “Northland Train”

Cloud Maintenance is about what you would expect from a Thin Buckle or a Kevin Hearn solo album, with an added sense of sonic and thematic unity that hasn’t always been present on previous releases.  Perhaps due to his soothing vocals or to the overwhelming sense of utter calm his instrumentation often projects, Hearn’s releases have the potential to be overlooked, or simply admired for their quirkiness yet denied the honor of future listens.  Here, however, there is a thread that weaves each track together, and the lyrics, though quite simple in most cases, tell a story for those willing to listen.  From the opening refrain of “Northland  Train,” there is a theme of departure and loss — of presence, of position — that pervades the first several tracks.  “She Waved” adds a bus to the transportational imagery (not to mention a gorgeous barrage of lush vocal harmonies), just as “Don’t Shuffle Me Back” brings in playing card imagery to express, again, the loss of a position once held dear.  “Grey Garden” delves deeper into the sense of loss, and “Tell Me Tell Me” ponders, albeit from afar, on what Hearn has disclosed as the cover painting by artist Don Porcella.  In “The House of Invention,” the tone begins to shift to a brighter, fairy tale-esque perspective.  The touching, beautiful “Always Changing” settles the contemplation explored earlier in a sturdier, life-encompassing paradigm that suggests wisdom and ease arriving at last.  “The City of Love” opens up a brief window that hints at fresh possibilities in a world that was previously possessed by the “could have been” and the “once was.”  Finally, “Monsters Anonymous” takes a twist, adding the humorous MA meeting introductions of seven classic scary fellows, each suggestive of a deeper layering of underlying thoughts, concerns, and regrets.  In this sense, there is the same positive, if pensive, energy here on Cloud Maintenance: you just need to experience the indecision and sad feelings of loss to reach it.  (And, with only eleven days to share, Hearn offers up my favorite stanza of lyrics of 2011: “I’m Frankenstein’s creation / and here’s my explanation, / why I’m bad at pro-creation: / my nuts are in my neck.”  So, there’s that.)

Music Reviews – Meade Skelton’s “My Loudoun County Home” Single

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By Chris Moore:

The notes for Meade Skelton’s 2003 release They Can’t Keep Me Down declare, “In an era of serious singer-songwriters with overly pretentious lyrics, Meade Skelton keeps it simple and sincere.”

This indeed continues to be true for the music he is making five years later.

His new single, “My Loudoun County Home,” is a lyrical stroll down memory lane, recalling and reminiscing about people, places, and events of importance in Skelton’s life.  There is a bittersweet combination of love and sadness in his words.  Truly, Skelton’s voice brings this song to life.  His voice is clear and crisp; clearly he has been classically trained.  And yet this training has not affected his ability to sing with the sort of emotion that one cannot be trained to project.  His vocals have a soaring quality that conjure John Denver at his best.

Meade Skelton

Meade Skelton

Skelton is clearly singing from his heart, and when he sings, “No matter where I roam, I’ll always love my Loudon County home,” it does not come across as too simple or trite — it translates as true and heartfelt.

And this song holds true to that claim made in 2003 — he sounds far from pretentious.  Quite to the contrary, his lyrics are straightforward and his sound is perfectly matched to the tone of this single.  In addition to his pitch-perfect, emotive vocals, the instrumental accompaniment is simple, but full.  Predominant in the mix are Skelton’s piano, a violin, bass, and drums.  The piano may be the grounding force in this track, but the violin accents the tone of the song in all the places that his voice does not, the string instrument holding back as he sings only to come to full and vibrant life as his singing pauses in between lines.

“Moved By The Spirit,” the second track (the B-side if you decide to purchase the vinyl edition of this single instead of the CD), delves into the spiritual overtones referenced in “My Loudoun County Home.”  Here, the lyrics are even simpler and more straightforward.  The instrumentation is sparse to match, highlighting Skelton’s abilities on the keyboards, which have been — perhaps purposely — set to an organ tone.  This is, of course, fitting for a song about the Holy Spirit.

Meade Skelton

Meade Skelton

Overall, this seems a very appropriate time for Skelton to release a fairly serious, autobiographical song.  After all, he has been performing music since childhood and has been “playing the scene” (as his YouTube page states) since 2001.  His two releases in the past five years have included an album of standards, which is of course the traditional way to gain people’s interest in your own work.  Now, as he pays tribute to his “Loudoun County Home,” Skelton sounds confident in his work.

As well he should be, considering the amount of time and energy he has dedicated to this endeavor.  Even a quick stop at Meade Skelton’s YouTube page will reveal a virtual treasure trove of life performances, as well as a video promo for this, his latest single.

Whether you are a fan of Skelton already or a newcomer to his music, this new single is an excellent opportunity to acquaint (or re-acquaint, as the case may be) yourself with the sound and the background of this talented performer.