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Really haven't been feeling the Halloween thing, this year. Don't know why. Maybe being newly diabetic has spoiled my sweet fang. But I can't ignore it entirely, can I? I had a little folder I started earlier this year in case I did another Halloween mix. These are some of the tunes you might have heard--to quote OJ--"if I did it".
This next one's new--just came out today. Both sides are brilliant.
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 Otis Gibbs isn't a big fan of Christmas...not as we know it. Like many, he's been turned off by the commercialism and by the lack of appreciation of those who have been blessed with so much. After explaining that, he'll smile slyly and admit that he threw his own crap on the pile when he recorded "Once I Dreamed of Christmas" back in 2003. Otis Gibbs is a genuine and gentle soul. He has his music, he has a podcast called "Thanks For Giving A Damn" (just Otis and others sharing memories, stories, and history--nothing on the political issues of the moment), and he has planted over 7000 trees. He's doing his bit to make this a better world. Oh, and he once wrestled a bear (and lost). Hailing from Indiana, the Alt Country/Folk artist is rarely heard getting into the political machinations of the day. You get the feeling that he feels that the outrage of the moment doesn't accomplish anything, that it's all a huge distraction from the real work that needs to be done. Not that Otis doesn't have a point of view. He clearly believes in a larger picture of social justice and the struggle of the working man. Much of his music pays tribute to ordinary everyday people trying to make it through another day or to the labor leaders of the past--the Joe Hills and Lucy Parsons of the world. Otis tells the tale of the larger picture through smaller stories. Perhaps the best example of this is his song "Sputnik Monroe" from his most recent record "Mount Renraw". Sputnik Monroe was an actual person--a wrestling "heel" who was paid to be the guy wrestling fans would hate and root against. Monroe was a huge draw, more people paying to root against him than coming to root for his "good guy" opponents. Monroe was especially popular in Memphis and he had friends in the segregated black communities there. He was arrested repeatedly for the crime of having a beer with his black friends and he would further infuriate southern whites by being defended in court by a black lawyer. This only served to make him a bigger draw--whites coming to hate him and blacks coming to cheer him on. But the black fans were forced to sit, segregated, in the proverbial "cheap seats". One night, Sputnik refused to fight unless the promoters allowed blacks to sit wherever they wanted. And the promoters, recognizing that Sputnik was the biggest draw they had, relented. It was the first time any sporting event in the south was desegregated. This was in 1959. "Standing on the ground where King stood," Otis sings, making the point that, in his corner of the world, Sputnik had struck a true blow in the advancement of Civil Rights...and in Memphis, no less. You don't have to be larger than life to be a hero. You don't have to change the world to change the world.  "Once I Dreamed of Christmas", returning November 2 in a trimmed and digital fashion, has been described as an anti-Christmas album, but I never felt that way about it. Anti-commercialism? Certainly. Hard to say otherwise with a track like "Crap For Christmas" in there. But anti-Christmas? I don't think so. In "Color Wheel", for example, lies the heart of someone trying to get past all the crap to rediscover the simple good that is at the core of the holiday. Otis paints a unique but needed picture of Christmas through a series of vignettes. "Lonely Mistletoe Night" tells the story of a child being raised by a single mother who has to work double shifts to pay the bills, leaving the child contemplating the contrast of the bright colorful lights and the darkness of being alone through most of the season. There's "Carl and Mavis", about a couple so "cheap" they'd split up every year at Thanksgiving just to avoid having to buy Christmas presents for each other. Then there's "A Man Named Jesus", wherein the Savior does his best Marshall McLuhan, showing up at your door to say "You know nothing of my work". On the other end of the spectrum, Otis offers the story of "Lloyd The Reindeer", who dropped out of reindeer school, joined the Merchant Marines, and, ultimately, gets into a knife fight with Santa. "Lookin' Like A Hippy"--comparing Santa to a hippy--is a theme that has been done before, but Otis delivers it with such genuine skepticism that his take on the theme "wins". And there's the utterly charming, no dark or deep corners at all, "Mr. Santa Claus". The version of "Once I Dreamed Of Christmas" coming November 2 closes with a cover of Woody Guthrie's "1913 Massacre" (the true story of 73 men, women and children--mostly striking miners--dying in an incident on Christmas Eve, precipitated, according to most accounts, by the mining company owners).
The digital version of "Once I Dreamed of Christmas" omits the last two tracks, which is a shame as they were two of its best. "Cowboy's Christmas" is the story of a farmer or rancher trying to hold on to the joy of Christmas after "the Lord took his wife and the bank took his land". And "Jesus On The Couch" sees our protagonist having a sit down chat with the man, himself, on Christmas Eve. And what advice does Jesus have to offer? "Let bygones be bygones/Have fun every day of your life, son/Have love for your fellow man/And don't ever lose your self-respect" and, finally, "Don't work jobs that you hate to buy things you don't need".
CDs of "Once I Dreamed of Christmas" sold out pretty quick back in the day. For some time, Otis had the album available for digital download purchase on Bandcamp, but it's been unavailable in any form for a while, now. Even in this shortened form, "Once I Dreamed of Christmas" is a unique and essential window on a part (or parts) of Christmas we don't often think about. It's a Christmas that's more real than the idealized fantasy most Christmas music tries to project. If you can find a copy of Otis Gibbs' "Once I Dreamed of Christmas" at a reasonable price, I'd recommend picking it up. If not, this shortened digital version could do ya. Merry Christmas. And have a crap crap crappy New Year. Now this is what I'm talkin' about... Sir Charles Jones is known as the King of Southern Soul. Southern Soul, for the uninitiated, is a brand of Soul that encompasses a variety of deep Southern influences, most especially Blues and Gospel. There are a lot of artists you'd know who are considered Southern Soul (a Venn diagram would, frankly, be a mess), but I just point to Bobby "Blue" Bland as a perfect example. Southern Soul, also known as "Deep Soul", is all about the groove. It's smooth as silk and sexy as all hell. Southern Soul was huge in the 60s and early 70s, but got pushed aside during the Disco era and hasn't fully regained it's rightful status since, not nationally. But, in the South, the Southern Soul circuit is still huge, with artists largely making their living through a grueling schedule of playing a different town every night as many as 300 nights a year. The farther South you go, the bigger Southern Soul is. Sir Charles was born in Ohio, but raised in Alabama from a young age. After others discovered his musical talent, Jones worked and toured with Marvin Sease for years. He credits Sease with teaching him about the business and encouraging him to seek a recording contract (his first efforts, with Marvin's own label Malaco, failed to win over the executives who felt he was too young to know the Blues). Jones released his eponymous debut album in 2001. His second album, "Love Machine", reached number 28 on the R&B charts (quite a feat considering it was on a small regional label), and his fourth, "Southern Soul Party", reached number 11 on the Blues charts. Jones was praised for his "sensuality and emotional heat". But, just as his career was taking off, Jones suffered a motorcycle accident in 2003. He was in a coma for several days and a full recovery took years. Returning to recording and performing in 2006, Sir Charles Jones has spent the last decade reclaiming his crown. "Christmas With The Family" is his first Christmas album and follows "The Masterpiece", which was issued earlier this year.
"Christmas With The Family" from Sir Charles Jones is, indeed, a family affair. We don't have any album credits to know which family members are doing what (except that "Christmas And You" would appear to be a duet with his Mom), but they're clearly a talented group. There are no covers on "Christmas With The Family". Well, unless you count "Silent Night", which is loosely based on the old hymn. The Jones family borrowed a few of the lyrics but, otherwise, this is a sweet Southern Soul original. Clearly, my favorite is the Blues representative, "Santa Claus Is Home". "Holiday Lover" brings the mid-tempo Funk--it's got a nice shaggin' rhythm, so I suspect it'll be popular with the Beach Music crowd around here. "I Just Want You" does so in a more uptempo fashion. And I'm having a hard time thinking of another Soul Christmas ballad original to bring more Christmas love, nostalgia, and spirit than "Snowy White Christmas". "Christmas Tears" could be taken as a song lamenting a relationship break-up or the death of a significant other. Either way, Sir Charles Jones uses his voice to great effect; you can feel the heartbreak and your heart breaks with him. I'll grant you "Christmas With Louis Armstrong" is a bit of a throwaway, but it beats another over-cooked rendition of "Baby It's Cold Outside" by a mile. Watch, that'll turn out to be everybody's favorite. In recent years, I've bought a lot of Southern Soul Christmas albums and I'm often disappointed. I dunno. Artists I otherwise enjoy just don't always seem to bring it on their Christmas albums the way they do on their non-holiday sets. Southern Soul is all about the groove. If the groove ain't there, you can throw in all the jingle bells you want and it isn't going to make a difference. And, if the groove is there, you don't need 'em. Sir Charles Jones just brings it on "Christmas With The Family". At times he calls to mind Teddy Pendergrass and Luther Vandross, at others Tyrone Davis and Bobby "Blue" Bland, but he's always Sir Charles Jones. There might be a few more rough edges on his other albums (and I like rough edges), a little more Blues, a little more Funk, but the groove is most definitely there, the Soul flows like honey, smooth as satin sheets, and even on a family holiday affair, Sir Charles brings the "sensuality and emotional heat". I can think of any number of Soul artists I wish had given us a Christmas album as good as "Christmas With The Family". They didn't. Sir Charles Jones just did.  These are the times I'm somewhat happy I'm not still working in radio. Because pronouncing Khruangbin would be a regular nightmare. For whatever it's worth (and I'm sure I'll screw this up), "khruangbin" is a Thai word that is used for "airplane"; it literally means "engine fly". If I understand it correctly (I don't), it's pronounced "croong-bin". The Texas trio that goes by Khruangbin picked the name, originally, because they were influenced by Thai Funk and they honestly didn't expect to become popular enough for the name to matter. Well, they were wrong about that. Khruangbin became very popular very fast--a jam band whose influences don't stop at Thai Funk, but include rhythms and sounds from all over the globe, including American Psych and R&B. Mostly instrumental, the group's hypnotic and infectious sound is undeniable. After their highly successful sophomore effort, "Con Todo El Mundo", earlier this year, the members of Khruangbin were discussing how different their Christmases growing up had been. Yet they all had the same favorite Christmas song. And so they quickly jammed out "Christmas Time Is Here" with their distinctive Khruangbin sound. A limited edition green vinyl 7" 45 of "Christmas Time Is Here" is scheduled for release November 16. You'd better hustle to get a copy. The band has sold out on Bandcamp. Amazon never had it. Independent retailers like Bull Moose and Rough Trade still have a few to offer.
Anticipation for the single was so great that audio and the digital A-side were released last week, but you'll still have to wait until November 16th if you want to get the B-side..."Christmas Time Is Here (Version Mary)" (see what they did there?). Much as I'm happy to not have to pronounce Khruangbin on the air, I will miss playing "Christmas Time Is Here" on the radio, as it's just the kind of track I loved to feature on my Christmas shows (much to the displeasure of my Program Directors). Still working on trying to fill out the Jazz and Blues section of our musical Christmas tree. Here's a release that sort of slipped into circulation this past week without hype or notice.
 Les McCann was born in Lexington, Kentucky. A piano player, Les won a Navy talent contest which led to an appearance on The Ed Sullivan Show. He began recording for Pacific Jazz Records as the leader of a trio. His first album, "It's About Time", was released in 1960. His breakthrough record was the 1969 album "Swiss Movement". Recorded live at Montreaux, the album featured what is likely Les' most enduring track, "Compared To What". Les had cut the track, which was certainly political, as a ballad a few years earlier. But both the times in 1969 and the swinging arrangement of the Montreaux performance (which featured Eddie Harris and Benny Bailey), grabbed attention as it had not before and the song was a hit. Listen to it today and there's no mystery why; "Compared To What" is one of the finest Jazz recordings ever made. The rest of the album is pretty great, too. After "Swiss Movement", Les became a pioneer of Jazz/Soul fusion...a movement that Stevie Wonder would later join and which would provide a career path for artists like Al Jarreau. Les began experimenting with synth and started stepping out more as a vocalist. He suffered a stroke in the 90s that sidelined him for a while, but he was back making music in the aughts. In 2002, Les recorded his first Christmas song, "My Christmas Heart". The track appears on the compilation "Jazz Yule Love". For some reason, everywhere I go on line, the song is credited to everybody BUT Les, but he wrote it and that's him pounding the keys on what really should be a song more frequently included in holiday Jazz playlists. In 2003, Les turned up as a guest performer on "White Christmas" from The Blind Boys of Alabama Christmas set, "Go Tell It On The Mountain". Prior to this Christmas recording, Les' most recent record was released in 2004. He has nearly 60 albums under his belt.  Les McCann turned 83 in September and "A Time Les Christmas" could be said to be a birthday and Christmas present to himself and to his fans. The album leans closer to Soul and Standard than it does to Jazz and the emphasis is on Les' gruff but affecting vocals. "A Time Les Christmas" opens with one of the set's best pieces, a Jazz and Blues rendition of "Merry Christmas Baby" featuring some solid vocals from Les, the Hammond Organ of Bobby Sparks, and great guitar work from Josh Sklair. "Let It Snow" gets a Big Band Swing treatment with a Jazzy keyboard solo from Michael Wolff. Les duets with Maxayn Lewis on "Baby It's Cold Outside" which is sort of fun and playful, but I still find the tune creepy, no matter who is singing it. The album's one new original, "The Gift" (which Les co-wrote with the album's producers) is a simple, soulful, and spiritually uplifting number. That is followed by "My Christmas Heart", which appears to be the same 2002 recording that appeared on "Jazz Yule Love", and possibly the only track on the record that actually features Les on the keys (hard to say without specific song credits; Les is still performing live around the globe). And the record closes with a brief rendition of "Away In A Manger". Personally, I might wish that Les had done a Christmas album at the time of "Swiss Movement", but people weren't doing Christmas albums back then. I might wish that "A Time Les Christmas" were more a pure Jazz record. And I might wish "A Time Les Christmas" were available in hard copy form, instead of just digital (perhaps it will be down the road). But I'm extremely glad we got a Christmas record from Les. His vocals are excellent and convey the essence of a true Jazz giant, the supporting musicians shine, and it's a superb listen which has the added benefit of giving people the chance to re-discover (or discover for the first time) "My Christmas Heart". 
OK. We're going to have to declare a moratorium on talented youngsters. From now on, I don't want to hear Christmas music from anybody younger than me. Eric Clapton, Mickey Dolenz, step right up; everybody else... Ah, who am I kidding. Age is irrelevant; I never had any musical talent. Rhyan Sinclair is 17 years old and hardly a newcomer. Around the age she was putting out her first album, the music teacher at my school was begging my mother to convince me to drop out of his class. "Please. Don't let your son ever play an instrument ever again." True story.
Rhyan Sinclair is from Lexington, Kentucky. I know some people have pre-conceptions about the favored music in Kentucky. I've been to Kentucky once in my life and the thing that surprised me most was the diversity of music. Rhyan took in all of these sounds--Blues, Country, Rock, Jazz, and more--and put together her first band at the age of 11, a band that fused all those sounds into one. Again, dispense with any pre-conceptions, if you're thinking a band led by an 11 year old is "cute" or "precious". All The Little Pieces was a serious Indie Alternative bands with an amazing and original sound and a large following that stretched from the deep South to the Mid-West, at least. Rhyan was the vocalist and primary songwriter for the critically acclaimed and award winning group and their albums sound remarkable. And just a tip, fairly late in the game, a few of the songs on their last record, "The Legend of Lavinia Fisher" would sound great on your Halloween head-tape (the album was inspired by tales of America's first female serial killer). As time went on, Rhyan found herself drawn, more and more, to Country and Americana music. In particular, the 1987 album "Trio" by Emmylou Harris, Linda Ronstadt and Dolly Parton was hugely influential. Some members of the band resisted the musical shift and All The Little Pieces soon dissolved. Sometimes, what looks like the end of a road is simply the beginning of a new one and Rhyan, from whom songs flow like a mighty river, embarked on a solo career. Her first record under her own name, "Barnstormer", released earlier this year, is a testament to Rhyan's skills as a songwriter and artist. The depth and range would be remarkable from someone more than twice her age. Musically, as a whole, it more than holds it's own next to my favorites from Nanci Griffith and Emmylou Harris. Let's put it this way, if you hadn't heard of Rhyan Sinclair before now, you're going to be hearing a lot from and about her from now on. (Personal favorites, fwiw, "Selfishly, Heartlessly", "Retrograde", "The Sad Song" and, I can't help it, I'm an absolute sucker for "Skeleton Sam").
Rhyan's latest project--a labor of love--is the Christmas record "Marshmallow World" and it officially drops November 2. Let's have a listen, shall we?
I'll tell you what I absolutely love about that version of "What Christmas Means To Me" from Rhyan Sinclair. It perfectly marries Soul and Americana to the point that you don't even think of them as being different genres. It's just music (and, in a utopian world, that's how we'd hear everything).
"Marshmallow World" is a 6-song EP and something Rhyan has apparently been wanting to do.
There are only two originals on "Marshmallow World", but Rhyan doesn't waste them. "Santa How You Gettin' In My House" is a fun old-time Country number, the kind you could hear Buck Owens or George Jones singing, the kind that would fit right in with the songs on Rhino's 1988 comp "Hillbilly Holiday".
On the entire other end of the spectrum is "Let The Light In (In The Name of Christmas)". Dang, I don't even know how to put this. Let's try it this way. How much are you looking forward to your family gatherings this holiday season? We aren't just divided as a country; as you no doubt know well, our very families are just as divided. So Rhyan pleads,
Can't we set aside our differences in the name of Christmas in the name of something bigger than us in the name of Christmas I don't have the answers but I know we gotta do something to come together and let go... grant each other pardon. 
I don't know whether Rhyan has wisdom beyond her years or whether we need to look to 17 year olds as the last bastion of reason. Either way, "Let The Light In" is supremely affecting. And perhaps it should be required listening before anybody says anything this Christmas. (To be on the safe side, start playing it on a loop before election day.)
Since the rest of the songs on "Marshmallow World" are covers, what we mostly have to evaluate are the arrangements. And, surprise, Rhyan does all of her own arrangements. We've already talked about Motown meets Mountain Music. The medley of "Winter Wonderland" and "Marshmallow World" is fairly straight forward, though the instrumentation and performance are excellent (the word "heartfelt" comes to mind). Do you know how many versions of "Please Come Home For Christmas" I've heard? Rhyan makes the song sound fresh and new. Nuff said. I was a tad worried at the beginning of "O Come, O Come Emmanuel" as it starts off with that "voice in the cathedral" sound I've heard a million times. But then the prairie wind blows in and we're treated to a remarkable, almost mournful, Americana walk through the dust bowl, in a way that mirrors a personal search for spiritual salvation after a life of tribulation. Spirituality aside, the song just sounds better to me with banjo and fiddle. Throughout both "Marshmallow World" and "Barnstormer", I was really happy to find that Rhyan didn't just "lose" all those other sounds and influences; you can feel their continued presence in her music, even as she's moved in a more Americana direction. I think I've already said as much, but this young woman is really good. "Marshmallow World" by Rhyan Sinclair arrives November 2. There will be hard copy CDs at live shows and online, though I don't have a direct link just yet. I'm sure they'll be at Rhyan's web store and, while I don't know for sure, I suspect they'll be on Amazon (I came across a listing that said "not available" that then re-directed me to the digital). But, hey, I know a way you can get the CD for sure. From now until October 31st, order "The Legend of Lavinia Fisher" on vinyl or CD from Rhyan's web store and you'll get a copy of the "Marshmallow World" CD for FREE! Can't beat that. Get "Barnstormer" while you're there; it will not disappoint. Downloads will be available at the usual hot spots. Now, if you'll indulge me... What the heck, it's almost Halloween. And I just love every little thing about this song...the rattling bones, the old school backing vocals, everything, every little touch, everything. Let's give a listen to "Skeleton Sam".
When you're trying to post something new every day (if not here, then on the Previews or Free pages), it sorta matters what you write about. I simply can't work myself up to write about something I don't feel like writing about. So, for example, yesterday's post about Lucy Lockwood...I really wanted to write about that album and I hope it showed. Today, I wasn't much feeling like writing about anything. There are lots of things I could write about today, but I wasn't feeling any of it. And then I found this. In another time, on another day, this would be on the International page (and it'll eventually get moved there). But it's what I want to write about today, so here it is. It may not have the kitsch of William Shatner or the fan base of Eric Clapton, but it caught my attention and flipped my Christmas switch and maybe it'll do the same for you.
Sund Yard is a German duo. Their "slogan", or whatever, pretty much sums them up--"A voice, a piano--simple and stirring". Both Elena Janis (the voice) and Wolfgang Torkler (the piano) come from Jazz backgrounds and most of their live programs (and their other projects) reflect that background...with material ranging from Jazz vocal interpretations of old standards to gentle Bossa Nova to the more contemporary Pop songs of Joni Mitchell and others.
"Weihnachtslieder (Christmas Songs)", on the other hand, consists primarily of Sund Yard's interpretations of old German Christmas carols (many most often heard in the performances of choirs) and, as such this falls much more into the Classical Crossover arena. Or you could throw a New Age label on it. Or Jazz; yeah, I can see the Jazz aspects, here, though its an entirely different kind of Jazz than our album from yesterday. Regardless of what you call it, what it is is incredibly moving. As near as I can tell, though Sund Yard have been performing together for a little while (since 2010, it appears, albeit as the Sommerfeld Duo), "Weihnachtslieder (Christmas Songs)' will be their first official album release (once again, instant bonus points). Some of the songs will be familiar--"Stille Nacht, Heilige Nacht" ("Silent Night"), "O Tannenbaum" ("O Christmas Tree"), "Es Ist Ein Ros' Entsprungen" ("Lo How a Rose e'er Blooming")...these songs have made their way into the American Christmas canon. But many of the songs on Sund Yard's album will be unfamiliar to you, unless you're of German heritage or have listened to other traditional German Christmas efforts. Nonetheless, they're as timeless and beautiful as "Carol of the Bells" and "The First Noel" (carols we borrowed from other countries).
Within the past week, or thereabouts, Sund Yard began a crowdfunding campaign to raise the money necessary to produce and distribute CDs of "Weihnachtslieder (Christmas Songs)", much of which was recorded over the summer. The crowdfunding site is Startnext, which appears to be a platform for projects in Germany, Austria and Switzerland. While an mp3 version is posted to Amazon US for November 23, Sund Yard believes a digital download is a poor substitute for a product, lovingly created, that you can can see and touch. Even the sound of a CD is superior. And I agree with them about all that. As with the crowdfunding platforms we're more familiar with, the Startnext campaign has assorted tiers and incentives. I hope they reach their goal and that, if they do, copies of "Weihnachtslieder (Christmas Songs)" will make their way to American shores. Regardless of that, however, the download version should certainly be available here (ain't the Internet a wonderful thing?). It may be a poor substitute for a CD, but it's a pretty good alternative to nothing at all.
At this point in the holiday season, most of our musical focus is on the more fun, frivolous, and rockin' and swingin' Christmas music. Yay, William Shatner! Yay, The Monkees! We often don't think too much about the quiet, spiritual, introspective, and beautiful Christmas music until we get much closer to Christmas day, itself. This far out, the real meaning of the season is almost an afterthought. That's kind of the regular tempo of things. There's the hustle and bustle of Halloween, the hustle and bustle of Thanksgiving, the hustle and bustle of last minute Christmas shopping. And it isn't until all of that is done that most of us find the time to enjoy the more calm and peaceful music of Christmas. Don't worry. There's time. This won't be released until the end of November. But remember, when the time comes, "A voice, a piano--simple and stirring". That's a pretty good recipe for a Christmas album that will be more than mere ear candy. You'll find a few 100 second samples of a handful of songs from "Weihnachtslieder (Christmas Songs)" on Soundcloud. Here's one for "Kommet ihr hirten" ("Come, Ye Shepherds").
It's turned out to be a pretty big year for new Christmas music. We've gotten or are getting new holiday albums from Eric Clapton, John Legend, Ingrid Michaelson, The Monkees, William Shatner, Rodney Crowell, JD McPherson, Dailey & Vincent, The Mavericks, Engelbert, Martina McBride, Moffat & Hubbert, and we just announced the best edition yet of the fabulous Snowflakes Singles. But, for my head, the portion of our musical Christmas tree reserved for Jazz and Blues is still looking pretty bare. And so I go looking. And, sometimes, I find a gem that I missed the first time around. Or it finds me.
Lucy Lockwood is a Jazz and Blues singer from the Northwest portion of England (near Liverpool) and "Warm Hearth - Shivering Heart" is one of the best Christmas albums I've ever missed and then found (possibly the best). As you can hear on "Silver Bells" above, Lucy can scat with the best of them. We haven't heard scatting that good since Ella.
But Lucy is more than just scatting. The best Jazz vocalists are the ones who use their voice as an instrument (we spoke about this a bit in our earlier look at Dred "Perky" Scott and the Steve Rudolph Trio). That's more than just vocal improvisation, at which Lucy does excel. There's the ability to bend notes, something we most often think of when we think of Blues guitarists. And there are times when Lucy sings where she has the precise resonance and tone of a brass or a woodwind instrument; at times, you'd swear her voice has become the personification of Dizzy's trumpet or Bird's sax or J.J. Johnson's trombone or Benny Goodman's clarinet. That's talent. And she whistles, too. Lucy is unafraid of tackling the entire panorama of music. Material in her live shows ranges from Hoagy Carmichael to Howlin' Wolf, from Cole Porter to Iron Maiden. "Warm Hearth - Shivering Heart", originally released in 2016, is Lucy Lockwood's debut record (instant bonus points for debuting with a Christmas record). And, much to her credit (and our enjoyment), she eschewed the usual suspects and selected a program of lesser known, but no less classic, songs of the season. Sure, Joni Mitchell's "River" has had it's share of covers lately, but how many people have covered Peggy Lee's "My Dear Acquaintance (Happy New Year)"? Only Regina Spektor that I can think of. Then there's "Winter Moon" (speaking of Hoagy Carmichael); even the few covers of that standard that I can think of off the top of my head (Art Pepper's and Banu Gibson's) weren't on Winter or Christmas albums. And how many covers of Smokey Robinson's great "Christmas Everyday" can you name? I can only think of two--The Temptations and The RMS Five (the latter because I bought and enjoyed their 2012 Christmas album, which is titled after the song). Isn't that amazing? Such a great song (personally, I've always felt the best of all the Motown originals...no offense Stevie) and nobody covers it. And, since we've mentioned "Christmas Everyday", let's also make the point that "Warm Hearth - Shivering Heart" isn't just for Jazz heads; there's a nice assortment of sounds, here. Finally, Lucy deserves credit for assembling a cast of musicians who are simply splendid. I won't mention them all by name because I don't want to leave anyone out (you'll find them listed in the "Album Notes" at CD Baby), but I can't help but single out Dave Eatock whose Blues Harp only appears on "Silver Bells", giving the song some additional texture. Nice touch. Lucy Lockwood would probably appreciate if I would mention that there's a concept, here, reflected in the album's title. Two sides of the season...festive fun and quiet reflection, winter romance and lonely isolation. And I get that; I categorize Christmas music that way in my own head. But I'm less about concepts and more about the music. And the music on "Warm Hearth - Shivering Heart" is exceptional from beginning to end. Lucy knows when to pour it on and she knows when less is more. She knows a good song when she hears it and she knows how to make a good song better. And, finally, she clearly loves Christmas music--it shows in every decision made, here, and it shows in every note. While we wait for Lucy Lockwood to release another album, there are some non-holiday tracks you can enjoy at Soundcloud. And I highly recommend adding "Warm Hearth - Shivering Heart" to your holiday playlist. CD available direct from Lucy Lockwood and digital download available pretty much everywhere. My personal favorites on the album are "Good Morning Blues" (all 7 outstanding minutes of it) and "Winter Moon", but its all superb. And what better way to conclude than with a free download track. Here's Lucy's rendition of the holiday love song made famous by Nancy Wilson, "That's What I Want For Christmas", available at ReverbNation. 
Did you know that Michael Buble has decided to retire? There are some things we connect with Christmas that are completely within our control... What kind of tree will we get or will we even get a tree at all? Will we have turkey or ham for Christmas dinner, or maybe that old standby the Holiday Stromboli? Will we go over the river and through the woods to Grandma's house for Christmas or is everybody gathering at our own humble manger? Nativity scene or reindeer and Claus? We all have our own traditions of the season that we decide whether to continue or to change. But there are other aspects of the season over which we have no control. And, when those change, we always feel a bit of a loss. I'm still crying over the fact that there are no more Santastic mixes. How many years has it been, now? Bing Crosby dies, Michael Buble retires. Dear God, don't give me any bad news about the Macy's parade or "A Charlie Brown Christmas". We need our traditions and we especially need the traditions we can't control.
As Elizabeth Chan has become our new Bing Crosby, bringing annual cheer in the form of new Yuletide music every year, our friend Robert Voogt is helping to keep another tradition alive...that of the Christmas 7" single. While we still get a handful of Christmas vinyl singles every year, it's worth remembering that that ghost had about been given up for dead when Robert started the Snowflakes Singles Club, and that the only reason there's any Christmas vinyl out there at all, these days, has more to do with the shrinking into non-existence CD market than with the growth of the vinyl market. For now, at least, we can count on Robert to keep this holiday tradition alive as Snowflakes Singles enter their sixth year. And thank goodness he isn't in it for the money; otherwise Snowflakes probably would have melted away after the first or second year. So we just got word of the 2018 crop of Snowflakes Singles (always an exciting reveal). These are Christmas records recorded by some of the finest Indie groups and artists from around the world, all pressed to white vinyl, enclosed in a sturdy record sleeve with fantastic artwork, and limited to (this year) no more than 320 each. The "A" side features an original Christmas song and the flip features a cover. They are NOW available for pre-order and will ship the third week of November. Let's see who is coming to Christmas dinner this year. Click on the artwork to get to the purchase site (or wait til the end and buy all 3). As the audio for these is not yet available, it is our tradition here at Stubby's to give you some non-holiday audio from each of the artists. 
Oh! Gunquit is a Rumble-Pop band hailing from London. A little bit Punk, a little bit Surf, a little bit Psych, and a spoonful of Exotica, and just far enough out there to remind you that you didn't know what to make of Esquivel the first time you heard him either...but you knew that you liked it. They pride themselves on being inappropriate and their interests include hissing cockroaches. I $#!% you not. They've been releasing strange yet oddly irresistible music since 2011, including a 2015 album with one of the best titles ever, "Eat Yuppies And Dance". For my head, the horns (musical, not on their heads) make all the difference and I find there's a bit of a kinship, musically, to the B-52's (only more so). And, as you explore Oh! Gunquit's musical reservoir, you'll find several tunes that would be awesome for a Halloween mix (just sayin').
For their Snowflakes Singles release, Oh! Gunquit has created the original "High On Xmas" which, given the rest of their work, promises to be on another plane of reality from any Christmas music you've ever known. If Spinal Tap is going to 11, Oh! Gunquit's gonna take it up to a 15 real quick. For their cover tune, Oh! Gunquit is doing up the Sonics' classic "Don't Believe In Christmas". That should be real fun. I've chosen an early song from Oh! Gunquit to share with you (might even be their debut single), because the production values of this video are exceptional. Musically, I don't think they're quite as reserved as they were back then. Here's Oh! Gunquit with "Lights Out". 
Green Seagull, also from London, is a relatively young band having formed in 2016 when Paul Milne and Paul Nelson, formerly of other bands, decided to write together. They found that they shared a love for late 60s Baroque Psych and a band was born. And, man, do they have it down. It's like they travelled from 1967 to the present in Doctor Who's Tardis (thank you, Doctor, for once again saving the planet; Star Trek only brought whales to the future, but you brought us Green Seagull). Somewhere on the tip of my ever failing brain are a list of groups I could compare Green Seagull to. But the best I can do right now is The Byrds of "Eight Miles High" vintage. Yes, I get the Association and Left Banke references, even the bit of the Stones (the band takes its name from the misheard lyrics of "Paint It Black"). Timothy Clover maybe? Still not quite right. But I know I'm going to place them better once it's too late for this piece. So forget comparisons and just go listen to Green Seagull's body of incredible work on Soundcloud. It'll have you drooling in anticipation of their Snowflakes Single.
Green Seagull's original, "First Snow of Winter", is a Baroque Pop number, set to wrap you in a blanket of winter white and take you back to your childhood...especially if your childhood was in the 60s. As for Green Seagull's cover song, get ready for a treat...an organ drenched Psych Rock version of "God Rest Ye Merry Gentlemen". I love the sound of organ-driven Psych in the morning; it sounds like...victory. It's sadly the case that, back when Psych was at the height of its popularity, Christmas music was at its nadir. So there just aren't nearly enough Christmas songs featuring those head tripping sounds, magical organs and jangly guitars. Thank you, Green Seagull (and Doctor Who) for doing your part to set right what once went wrong. For our sample of the sounds of Green Seagull, I chose "Remember The Time", but, really, I could have picked anything; their musical output thus far is a virtual buffet of delectable goodies. 
The third Snowflakes Single is from Art Folk artist Rachael Dadd. Rachael, who debuted in 2004, lives what is described as a semi-nomadic lifestyle, splitting her time between Bristol in the UK and Japan. Her music is no less untethered. She plays multiple instruments, is constantly trying on new sounds, working with new percussive techniques, wandering in and out of Jazz, and collaborating with a wide range of other artists including Laura Marling, Alessi's Ark, The Atlas Mountains, and ICHI (who also happens to be her husband). As reviewer Lauren Laverne says, "you never know what she's going to do next."
Ah, but, Lauren, we do. Because next up from Rachael Dadd is her Snowflakes Single. In true non-conformist fashion, Rachael forces us to mention her "B" side first, "The Holly And The Ivy". And that is because Rachel's original is the poetic, sparse, atmospheric "Spark Illuminate" which is inspired by "The Holly And The Ivy". For "Spark Illuminate", we hear just Rachael and a piano that's been specially prepared by placing objects on or between strings to alter the sound. The effect mimics the stillness of the mid-winter in a manner that's every bit as unique as is Rachael Dadd. I'd again recommend exploring Rachael's music for yourself. But I decided I would have to find a track that featured the piano (prepared or not) and so I chose "Happiness", a song from the 2008 Japanese EP "Little Things".
And there you have it, Snowflakes Singles, the class of 2018. I am being 100% sincere when I say that this promises to be the finest collection of Snowflakes Christmas Singles ever. Yes, even better than year one (which you'll recall featured Smoke Fairies and The Garlands). Curse you Robert Voogt, I'm going to have to buy them again (as I have every year). And bless you Robert Voogt for keeping this holiday tradition alive.
As noted before, pre-orders are now being taken for these singles, each limited to 320. Click on the artwork for the single you're interested in. Or buy the whole collection here and save a few shekels (and save on postage, too). And, if you missed any of the earlier Snowflakes Singles, some are still available in limited numbers. You'll find the remaining selections here. A little later on, the 2018 singles will also be available through Bandcamp and there will be audio available as well. I know not what others may feel but, as for me, Snowflakes Christmas Singles are as important a part of my Christmas as "A Charlie Brown Christmas", Elizabeth Chan, and Santa Claus. There, I said it. And I mean it. Don't miss out.  They're baaack...... DJ Remixes go back a lot farther than you might think. And the first album in the Verve Remixed series was issued in 2002. Nonetheless it was Six Degrees Records that created a sensation in 2003 with the original "Christmas Remixed". Six Degrees, a label founded by former Windham Hill employees, grabbed some of the best DJs and Producers of the day and set them loose to do the voodoo that they do to some of the best loved Christmas songs of all time. The result was an album of music that was, in the truest sense of the phrase, at once comfortably familiar and astonishingly fresh. Be it Chill, Electronic Beat, Acid Jazz, or whatever else, you could not deny its appeal, largely because the remixers in question approached the originals with due respect. "Christmas Remixed" reached #5 on the Dance/Electronic charts. Six Degrees followed with a second Christmas set, "Christmas Remixed 2", in 2005. Then Verve did their own Christmas Remix album in 2008. Fifteen years on from "Christmas Remixed", Six Degrees is back at it with "Christmas Remixed 3". As you might expect, and depending upon your personal taste, some of the tracks work better than others. For my head, the best results come when the DJ or Producer creates an electronic landscape that compliments the sound of the original, rather than trying to take it in an entirely new direction. For example, I dig the way King Kooba gives Mahalia Jackson's "Silent Night" a Bluesy beat and feel. Meanwhile, Stuhr Midnight and Q-Burns Abstract Message enhance the joy and nostalgia of the performances by Patti LaBelle and Bobby Helms, respectively, rather than try to tear them apart and create that feeling from scratch. Ditto for n.In's remix of the Royal Philharmonic Orchestra's "O Come All Ye Faithful". The remix of "The Nutcracker Suite" makes a piece I personally consider boring into something inspired, irresistible and funky, without going wildly astray. The Chill treatments given songs from Patti Page, Joyce, and Mel Torme are fascinating and, well, chill. OTOH, I confess I don't get what what Johnny Hardway did with Johnny Mercer's "Winter Wonderland" at all. I'll be skipping over that track. Your mileage may vary. Overall, though, the approach on "Christmas Remixed 3" is as cool as it ever was. And it's been a few years since we had a new album like this. "Christmas Remixed 3", released October 4, is digital only at the moment, and you can pick it up from Amazon, Bandcamp, iTunes and pretty much any other digital platform. 1. The First Noel (John Beltran Remix) – Bing Crosby 2. Have Yourself a Merry Little Christmas (Pom Remix) – Joyce 3. The Christmas Song (Jay Rodriguez & Rev Scott Remix) – Mel Torme 4. Jingle Bell Rock (Q-Burns Abstract Message Remix) – Bobby Helms 5. Jingle Bells (Rise Ashen’s Reindeer Dub) – Duke Ellington 6. Winter Wonderland (James Hardway Remix) – Johnny Mercer 7. What Are You Doing New Year’s Eve (Stuhr Midnight Remix) – Patti LaBelle 8. Frosty The Snowman (Paul & Price Remix) – Patti Page 9. Baby, It’s Cold Outside (King Kooba Remix) – Louis Armstrong, Velma Middleton 10. The Nutcracker Suite (Operatica’s Nutcrackeratica Remix) – Berlin Symphony Orchestra 11. Jingle Bells (Tino Remix) – Celia Cruz 12. Have Yourself A Merry Little Xmas (Rondo Brothers Remix) – Rosemary Clooney 13. Silent Night (King Kooba Remix) – Mahalia Jackson 14. O Come All Ye Faithful (n.In Remix) – Royal Philharmonic Orchestra |
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