Tristen, Charlatans At The Garden Gate

by:  Thomas Zinder

I stumbled on Tristen at a small club in Santa Fe and later learned how long and hard she worked on these 11 songs. There are songs here that will stick with you a long time because of their clever lyrics, deceptive vocals, beautiful hooks, and alluring harmonies. This is a terrific record, not someone's toss-off, but a combination of talent, insight, and experience, put together by some folks who clearly live to make good music. 


A native of Chicago, Tristen left the confines of the windy city after graduating from college.She set out for Nashville where she sought out a more granular, organic music scene.There she grafted influences from music and people she found in the city's grittier establishments.
She soon began recording with the help of friends, and based on the strength of a 5 song hand packaged EP sold at her many self booked tour dates and home town gigs, Tristen began to draw attention from local press and national taste-makers.

Paste named her a 'Best of What s Next' and American Songwriter praised her music, noting that Tristen's 'strength seems to reside in her ability to be musically versatile. Utilizing various orchestrations, Tristen weaves a glistening web of thoughtful and extremely mature melodies that tremble with undeniable power.'

For there part, the Nashville Scene has described Tristen's sound as encompassing 'the sweepingly delicate Kate Bush to the 50s pop of Sylvia Robinson of Mickey & Sylvia fame.'

Now signed to the indie label American Myth Recordings, Tristen is touring in support of a 7 inch for the single 'Eager For Your Love' which was released on February 1st.

Jacqui Sutton, Billie & Dolly

by: Harriet Goldsmith, Senior Contributor

What do Billie Holiday and Dolly Parton have to do with each other, well in short it is the brainchild concept of debut vocalist Jacqui Sutton, and she brands her unique sound as Frontier Jazz and calls herself a Jazzgrass Chic.  Jazz and bluegrass melding is not a new concept completely, it has been performed instrumentally by Béla Fleck, but what Sutton offers is the next step, a vocal reading that you can hear the joy in her voice coming through each cut.

Sutton employed composer Henry Darragh to assist her with putting her ideas down on paper.  The two have cooked up a jambalaya of tasty sounds and textures.  Even though the CD is named Billie& Dolly the two namesakes only bookend the release, Billie’s “God Bless the Child” is cut #1 and Parton’s “Endless Stream of Tears” closes out the journey.  In between the bookends are songs from the American Songbook, from the world of musical theater, and a science song written for children.

“Black Hole” comes from a collection of songs about the science of astronomy by contemporary composer David Haines, Sutton gives it a swampy feel supported by horn lines and the swank of banjo.

“Risk” from bluegrass man F.M. Turner a cut featured on his album Igniter is re-treated by Sutton at a slower pace with elements of R&B grooves splashed across the canvas to create a new work of art. 

The songs from composer Danny Ashkenasi are included in this embodiment of work,” Keeper of Your Love”,  ” Sweep Me Off My Feet” and  from the play, beTwixt, beTween & beTWAIN “Mississippi Song” is included from the Ashkenasi catalog and given a swampy torch song feel, with the twang of the banjo.  Sutton soars vocally as sounds of plucking and high register delights fill this delicate cut, joined by the cello and hints of horns dancing in the background, the listener is transported to the banks of folklore.

More than just a CD, Billie & Dolly is like listening to a play, with each cut having its own story.  I could easily see the theme set to a play, almost a story of America.  

Josh Groban, illuminations

by:  Sherrie Jackson

I came a little late to the Josh Groban party; he already had three albums out and the Christmas one on the way. I think that may be why changes in style and mood from album to album don't bother, or delight, me as they do fans who've been there from the beginning. I recognize "Illuminations" is a hard right turn away from previous efforts, but there is a lot to enjoy here. 

"Hidden Away" and "Higher Window" are real surprises for me; they're simple, beautiful songs, and not unlike the song "Awake" from the album of the same name; however, the melodies are very strong here and the lyrics feel close to home. "Straight to You" is starting to look like my favorite song of his: the interpretation is sublime, the instrumentation inspired, and I like that he stays in mid-range, which reinforces the lyrics of the chorus. 

"Voce Existe Em Mim" is the coolest song he's ever done. Had he stuck to the previous albums' formula, this could have had the track 1 spot. Obviously the beat is killer. And do the chords in the chorus sound distinctly...Native American? Even cooler. There are a lot of amazing layers in these songs, some of which require the use of headphones to fully appreciate. 

"London Hymn" is where I started to think I understood the underlying inspiration JG was working from. I don't know too much about his musical roots - I know he loves the theater - but it's hard not to think he owns a lot of classical music. When you hear pieces like Rachmaninov's "Vespers" or Sibelius' "Andante Festivo," it's extremely easy to make the transition to "London Hymn" or "Straight to You." 

There are other strong songs - "If I Walk Away," "War at Home," "L'Ora Dell'Addio." The French song was just okay for me, as were "Bells of NYC" and "Galileo." He does use quite a lot of falsetto this time around, which is...interesting, and sometimes it's lovely and sometimes I kind of raise an eyebrow... "The Wandering Kind" sounds like Jim Brickman, and I just don't go for that kind of piano music. Something, instead, along the lines of Enya's "A Day Without Rain" would have completely made my day. 

While I understand the frustration of the fans who were hoping for a different style and selection of songs, some of the highly negative reviews here are just silly. One reviewer said it was the worst singing they had heard, maybe ever? If that is the case, whatever criteria they are using is so far from the realm of actual musical adjudication as to be basically worthless. Even his most over-eager fans are still right: he has one of the best voices, period. It doesn't help anyone to demean him for the sake of a one- or two-star review. 

I applaud him for trying new things, for taking a risk in a new direction, and I feel as though with this album I understand better who he is, as a person and musician. Hopefully he will get the overall sense that this was a success by his definition, and continue to find happiness giving of himself in the coming years. 

Celtic Woman, Lullaby

by:  Jim Gardner

This is a nice addition to the Celtic Woman collection but I was disappointed that there are only 10 tracks on the album and out of the 10 tracks only 6 of them are new and the other 4 tracks are reused from previous albums. They also don't include any tracks by new Celtic Woman singer Lisa Lambe. I don't see why they waited so long to release this album as there are songs on here by Lynn Hilary who left Celtic Woman a few months back right after Alex Sharpe left. But the biggest disappointment about this CD was the packaging that the record label decided to put it in, they didn't put it in a standard jewel case, they packaged it in a cardboard digipak and it does't include a booklet with artowrk or lyrics either. 


For the price that they are charging as i bought 2 copies last night for 11.99 at Best Buy they could have packaged it in a jewel case with an artwork booklet just like all their previous albums. All in all for the die-hard Celtic Woman collector such as I it is a must have.

Eminem Strikes Back With 'Recovery'

by: D. Reid

If you have been let down or disappointed by the last few efforts by Eminem, don't count him out just yet. 'Recovery' is, in my opinion, probably one of the best albums since his debut, if not the best of his entire career. Gone are the immature pop hits that have occupied his albums since Encore (Deluxe Edition). In their place are really deep songs that aren't really hardcore rap or hip-hop but certainly aren't weak, forgettable pop songs that made it onto his album in the past. On a few tracks of 'Recovery' he acknowledges that his past efforts, especially 'Relapse', weren't that great. He also states that with 'Recovery' he wanted to raise the bar and return with something that would silence his critics and reassure his fans that he was back to true form and better than ever. In my opinion, 'Recovery' does just that. It's a deep and personal album but better produced than Relapse and features some of his best lyrics and raps. If you thought Eminem had lost his edge, give this album a listen because I think it's clear that he found it again. 

The Good: For me, what makes 'Recovery' such a great album is how personal it is. There are a lot of tracks that deal with his personal demons such as his toxic relationship with his ex wife, the death of his close friend, his inability to deal with fame, his addictions. Unlike with 'Relapse' that seemed to lack any real feeling or personality, this time around he holds nothing back and combines revealing lyrics with some great beats that gave the album a real epic feel, starting with "Cold Wind Blows" where he starts off the album proclaiming his return and striking out at some of his adversaries and critics (including, of course, Mariah Carey) and the album ventures into personal territory from there. "Talkin' To Myself" shows off a different side of Eminem as he reveals his insecurities and admits that he envied the rise of rappers like Lil Wayne and Kanye West and wanted to tear them down just because he was starting to fall off his pedestal. He goes so far as to apologize to them for wanting to rip them, which seems very mature and new for an artist who used to go after everyone and anything in the past that irked him even in the slightest. "Going Through Changes" is a track where he admits he needed help and that he had issues with addictions; "Space Bound" deals with his fears of being alone and isolated and how those fears impact his relationships with others; "25 to Life" uses the metaphor of a relationship gone sour with a woman to describe his relationship with hip-hop. There are also some upbeat/triumphant tracks such as "You're Never Over" where he eulogizes and celebrates the life of his friend Proof and is able to turn a dark situation into motivation to go on and accomplish big things; "Cinderella Man" features a boastful, proud Eminem who proclaims that mediocrity isn't acceptable in his career anymore; "No Love" deals with him getting over being dissed and ignored by a woman he loves and how he won't let her actions bring him down. There are definitely a wide variety of emotions at play on 'Recovery' that shows off Eminem's insecurities, issues and his strengths and makes for a great listen overall. 

The Bad: A few tracks didn't work as well for me and disturbed the flow of the album. "Won't Back Down" featuring P!nk sounds like an attempt at rock and a freestyle session - it was okay but I had no desire to listen to it again after hearing it for the first time. "Seduction" and "On Fire" felt like filler tracks. There are a few tracks, such as "W.T.P." (white trash party) and "Seduction" where Eminem tries to be flirtatious and attractive through lyrics and it just felt awkward and out of place. 

In all, the number of good tracks with depth, feeling and good production definitely outweighs the weaker tracks. I was really impressed by this effort from Eminem and have had over half of the album on repeat. This is definitely worth checking out and worth purchasing. 

Listen To These: "25 to Life", "Going Through Changes", "You're Never Over", "Space Boud", "No Love"

Marsha Ambrosius, Late Nights, Early Mornings

by:  Nishelle Ette

Marsha Ambrosius was one half of UK Neo Soul duo Floetry, and also co-wrote the Michael Jackson hit "Butterflies". With such pedigree, I had high expectations for this, her debut CD, which unfortunately are largely unmet. It comes some 3 months after her former bandmate Natalie "The Floacist" Stewart's stunning debut. 

Not to say it is a bad album. The mood is largely slow paced with most of the songs barely distinguishable from the next. Standouts include the title track (with tinkling piano and Ambrosius singing in a higher register), lead single "I Hope She Cheats On You (With A Basketball Player)" (with bitter vengeful lyrics), the lilting soul-searching "Lose Myself" (a ballad version of a Lauryn Hill song from the "Surf's Up" soundtrack), the retro soul ballad "Tears", and the heartfelt piano ballad "The Break Up Song" with soaring vocals and soothing harmonies, the album's standout! 

Her cover of Portishead's "Sour Times" lacks the icy cool of Beth Gibbons' delivery which added to it's haunting allure, while her inclusion of yet another version of "Butterflies" (it was featured on Floetry's debut CD) seems rather redundant. It doesn't add much to the original, but it at least raises the tempo of the album and adds some much needed groove. 

Like I said, not a bad album, but it promises more than it delivers. 3 and a half stars.

Lucinda Williams, Blessed (Deluxe Edition)

by:  Rudy Palma


With the eminent status she has achieved in American song Lucinda Williams could not be blamed for coasting a bit. Much time has passed since the two decades of largely unheeded obsessive perfection that predated her late-90s breakthrough. 

How fortunate that "Blessed" finds her lyrical and melodic powers at their zenith. Fresh, blazing inspiration is especially evident in spite of her droll, cool-as-cucumber delivery. 

The tempo is subdued, but not in the vein of "Essence" or "West," which were immensely tortured and soul-searching by comparison. A decidedly less precious approach to the songs' overall execution plays to their strengths because Williams' outlook, while still immense with thought and world-weariness, is less clenched and more relaxed. Clipped, factual acceptance is therefore fitting in its thematic dominance. 

"Buttercup," one of the few upbeat selections, does not set the stage with its classic rock feel and almost boisterous sense of levity as Williams criticizes a former flame in a nonetheless dignified manner. Its chorus is ingratiating with full throttle guitars and percussion. "Seeing Black," written for Vic Chesnutt, does not cast judgment on the troubled singer/songwriter's suicide but scratches the wounds of those left behind. She probes his motivation with a series of unanswerable questions amid searing guitar work from Elvis Costello. 

The shrewdly observed, expertly executed title track finds affirmation in unlikely places - "we were blessed by the neglected child who knew how to forgive/we were blessed by the battered woman who did not seek revenge" - and exemplifies Williams' signature incisive simplicity, the backbone of her talent. It informs more than a few songs here, also among them "I Don't Know How You're Living," typical of her slow-burning, marinated, downbeat best. Her vocals wrench as she contemplates what has become of a former love without any bitterness or self-pity - just acceptance of what has happened - and declares her continued good will. 

"Copenhagen" is lullaby-like and huggably warm as it offers an olive branch to an estranged friend, while "Born to Be Loved" is deceivingly simple as it insists upon its title phrase. "Soldier's Song" comes from the perspective of a departed serviceman and the family he has left behind. Her sparing matter-of-factness maximizes the songs' effectiveness. 

"Awakening" is a swirling, epic tour de force with deadly serious percussion and guitar work. Her vocals, hanging loose and icy in the mix as she repeatedly declares her intentions to accept the unchangeable are bone-chilling in their funereal restraint amid the song's topsy-turvy arrangement - and appropriately so, since the song is a death of sorts in its resolution to put an end to habits that, for more than half a lifetime, have proven unsatisfying. 

"Kiss Like Your Kiss" with its summery, meditative imagery sounds like a safe haven in the storm as it waxes love and comfort. It is the most resolute, unambiguous closing track of Williams' career. 

"Little Honey" had many incredible songs, but it was more a hodgepodge than a fully focused, clearly inspired album. "Blessed" is a welcome return in that regard. Her major artistic assets are in full evidence, but she also demonstrates a personal growth that provides a unique listening experience from those she has previously offered, all the while matching the quality of previous albums that cemented her reputation such as "West" and the evergreen "Car Wheels on a Gravel Road." "Blessed" is destined to join that much-lauded company.

Lisa Maxwell Continues the 30 Year Love Affair

By: Harriet Goldsmith, Senior Editor

Jazz standards are musical compositions which are an important part of the musical repertoire of jazz musicians, in that they are widely known, performed, and recorded by jazz musicians, and widely known by listeners. There is no definitive list of jazz standards, and the list of songs deemed to be standards changes over time. Songs included in major fake book publications (sheet music collections of popular tunes) and jazz reference works offer a rough guide to which songs are considered standards.

Not all jazz standards were written by jazz composers. Many are originally Tin Pan Alley popular songs, Broadway show tunes or songs from Hollywood musicals – the so-called “Great American Songbook.”  A commonly played song can only be considered a jazz standard if it is widely played among jazz musicians. The jazz standard repertoire has some overlap with blues and pop standards.

So the introduction of jazz standards vocalist Lisa Maxwell, who seems to have had a 30 year love affair with jazz.  The wife of famed composer and arranger, pianist George Newell - together the two have chosen to create a recording that focuses on songs that speak directly to their close knit loving collaboration Return to Jazz Standards.

Lisa’s voice is very endearing; a non-affected delivery gives the listener a pleasing experience.  Husband George Newell provides all the instrumentation except for guest artist John Alfred on trombone.  All equally contribute to the beautiful fabric of the release.  A traditional take on the swinging classic “You’d Be So Nice to Come Home To” is a perfect way to open a CD, one of my all time favorite jazz CDs by Cheryl Bentene adopts this same approach.  Maxwell and Newell complement each other quite well; Newell creates a perfect pad for Maxwell to sell the listener on the lyric.

“Lazy Afternoon,” a classic standard that seems to be getting a lot more focus lately, is given a string treatment by Newell creating a dreamy mood for Maxwell to easily maneuver.   A truly stellar rendition, this is the track Maxwell really shines on.  Her matter of fact delivery is quite effective and transcends the listener to a late night supper club where Maxwell is front and center and the spotlight is firmly fixed on her.

Return to Jazz Standards offers a classic intimate sound and the opportunity to hear the standards as the writer intended, with a focus on the lyrics and the uncluttered simplicity of the catchy melodies, which is why standards continue to shine through generation after generation.

Jessica Simpson, Do You Know

By: Kaitlyn Sierra


I've always been on the fence when it came to Jessica Simpson's music as her previous albums have been okay, but nothing stellar. This album, however, is without a doubt my favorite of hers. I'm not a country fan by any means of the word and hesitated when I opened the package.  But, after listening to Do You Know, I think Jessica is on her way to changing my mind.   

Her single "Come on Over" is an upbeat toe-tapper and Simpson brings it home. The hit of the album, in my opinion, is the emotional and poignant "Sipping on History," it's beautifully written and emotionally performed by Jessica, a wonderful showcase for her talent. "You're My Sunday" and "Pray Out Loud" are also wonderful songs, both seem much more mature and deep than her previous albums and are among my favorites, and why I think she is definitely on the right path for the future.

On "Do You Know", Jessica has certainly grown and reveals much of her personal overtone of trials and rewards. The music itself is very relaxing but the message is deep at the same time. It will quickly have you tapping your fingers and wondering how you became a Jessica Simpson fan. 


Kudo's Simpson, you are truly onto something with Do You Know.

Michael Bublé, Let it Snow

By:  Belusha Dornin


The Adult Standard vocalist of the millennium is Michael Buble, with shades of Connick, Darin, Sinatra and Torme, all rolled into one nice neat package this youngster had certainly studies his predecessors. 


Just in time for the holidays Buble has released Let It Snow!, featuring an unforgettable youthful style that takes you back to the Christmas' of yesterday, when times were simpler and the strip was bright (Vegas that is).  


Listening to this five track compact disc, brings back memories of Bing Crosby in "Holiday Inn", where Bing first sang the Irving Berlin classic song of these special times "WHITE CHRISTMAS" 


"THE CHRISTMAS SONG (CHESTNUTS ROASTING ON AN OPEN FIRE)", composed by Mel Torme/Robert Wells and debuted by Nat "King" Cole (one of the greatest entertainers of all time), but Michael nails this classic tune with his own signature and makes it his very own 


"LET IT SNOW!", wonderful arrangement by Johnny Mandel, is masterfully executed by Buble, he sings with flair and conviction.  "GROWN-UP CHRISTMAS LIST", is a beautiful, almost music box tune written by David Foster (producer of this album), the verse brings a tear to your eye as Michael pours his heart out, this track alone is worth the price of the album.

The classic Christmas song is "I'LL BE HOME FOR CHRISTMAS", is a befitting song for our troops who are so far away from home.  Buble takes the David Foster and Jeremy Lubbock arrangement along with heartfelt lyrics and brings it home, just listen quietly and see if you don't agree.

A first class vocalist, a classy album a definite addition to your Christmas collection!

Miracle on 34th Street

By:  Clay Roberts


A delightful Christmas fantasy of a charming old man who believes he is Santa Claus, and the wonderful change he brings to the people around him. This perennial holiday classic adorns many short-lists of Christmas viewing and is one of the all time great Christmas movies. 


The film just oozes with warm-hearted humor. A very young Natalie Wood sparkles as Susan, who learns to stop being so grown up, and enjoy childhood, with all its wide-eyed wonder. Edmund Gwenn plays Kris Kringle, and brings the role to life.  He totally connects with the kiddies who visit "Santa" at Macy's department store. 


The brief scene with the little Dutch refugee girl is a definite emotional high point in this movie. The combined reaction of relief and wonder in the child's face as she visits Santa and finds he speaks her language is memorable. Gene Lockhart as the harried judge, and William Frawley as his street-wise political advisor provide the needed comic relief to keep the court-room segments from becoming too overwhelmed by lawyers and their tactics. 


Even Jack Albertson shows up as an ingenious postal clerk who helps Kringle solve his legal problem. The on-location scenes filmed on the streets of New York assist the viewer in suspending disbelief. An enthusiastic cast, crisp direction by George Seaton, a sentimental holiday message, and great humor make this movie a solid holiday treat for the entire family. Multiple viewing only enriches the rewards. 

Katharine McPhee, Christmas Is The Time

By: Dottie Sikes

This is a classic and elegant Christmas album. A perfect recipe for the holidays. One part Katharine Mcphee's vocals, add equal parts of Christmas songs and you have a delightful taste of magical perfection! 


Christmas Is The Time is destined to become one of my favorite Christmas albums! There is indeed a certain quality to Mcphee's voice that sets her apart from other vocalists. I love every track in this album, no exception! A different take on "Jingle Bells", gives the release just the right appeal. Her original Christmas composition, "It's Not Christmas Without You" is a beautiful song. 


The title track, "Christmas Is the Time to Say I Love You", is purposely approached in an ethereal high register of her voice, which I truly love.  "Have Yourself A Merry Little Christmas", features trumpet icon Chris Botti, it is bound to be a classic. Her voice resonates and is crystal clear on the poignant album closer,"Who Would Imagine A King".  A sure Christmas playlist topper every year!

Olivia Newton-John, Christmas Collection

By: Darma Selmis


This Christmas cd is a bit of a patchwork, which Olivia owns up to in the liner notes. But mixing material from a Hallmark Christmas cd she did last year, along with tracks from Kenny Loggins "December" TV special, does not lessen the effect of the presentation.  


Olivia has put together a satisfying collection of holiday standards. Despite being dismissed at times as a 70's pop star, Olivia's voice has grown in strength and assurance with age, as evidenced on her beautiful version of "Ave Maria." Her tracks with the London Symphony Orchestra are rich, and her more country flavored holiday tracks give the cd a nice variety. The only mis-step is "Let it Snow!" with Kenny Loggins and Clint Black, which worked better on TV when you could see the 3 singers goofing around a bit.

Christmas Collection is targeted at Olivia's mainstay fans, who will delight in its offering.  If you're looking for something special to slip into your cd player this season, you'd do well to make it Olivia's Christmas Collection, which you just might find yourself continuing to play once Christmas has come and gone

Wilson Phillips, Christmas in Harmony

By:  J Bags

Christmas in Harmony is Wilson-Phillips first Christmas CD - and their first album in six years.  Reconnecting with their original producer Glen Ballard, Christmas in Harmony is the modern Christmas music masterpiece we were hoping for. For those who like their Christmas music on the familiar side, there are plenty of standards to be found here like "Little Drummer Boy" and "Silver Bells" and "Winter Wonderland" that are elevated to a celestial level thanks to Wilson Phillips' incredible harmonies. Like the Everly Brothers, their sibling harmony is unmatched.  They even recreate Spector's production of The Ronettes' "Sleigh Ride" right down to the "ringa linga linga ding dong ding" backgrounds. 

What makes this Cd a standout in the myriad of Christmas releases is the stellar quality of the original tracks "Warm Lovin' Christmastime" (written by Carnie's hubby Rob Bonfiglio), "Christmastime" (penned by Chynna Phillips and producer Glen Ballard - the same pairing that wrote Wilson Phillips' first hit "Hold On") and the appropriately joy-filled "Joy" (composed by all of the gals, Rob and Glen). 


The  does have its one aberration.  It leads off with a noisy revival of `70s glam rockers Wizzard "I Wish It Could Be Christmas Every Day." Once you get past the fuzz it is Happy Holidays - and a Merry Christmas for all. 

Mariah Carey, Merry Christmas II You

By: R Palma


Mariah Carey's Merry Christmas II You is as satisfying and ideally suited as her first Christmas release, only offering a different side of Mariah.  Making the season festive and bright, it is cool, classy and uncalculated, confidently delivering holiday cheer. 

Carey's 1994 Merry Christmas collection - which yielded "All I Want For Christmas Is You," perhaps the biggest hit of her career - was sprinkled generously with formal elegance and vocal bombast, although in welcome doses. Merry Christmas II You is not Carey's attempt to recapture that same formula but rather to offer a more festive, relaxed counterpart that complements the first album well. She no longer has anything to prove, so she can afford subtlety. 

"Oh Santa!" revisits the theme of "All I Want for Christmas Is You." With its rhythmic handclapping and vibrant background vocal work it strikes a resemblance to Outkast's "Hey Ya!" It is endearing, extroverted and giddy-sweet.


"Christmas Time Is in the Air Again" is airy, breathy and delicate offering a softer side to Carey's delivery, it is an exceptional track - another fine original that, like "All I Want for Christmas Is You," shows Carey's gift for timelessness as a writer. It is romantic, elegant and soul-stirring enough to arouse emotions without breaking the yuletide mood. "One Child" is another cornerstone original - a serious moment worthy of working its way into church hymn books. It is dignified, restrained, sincere and devout, with a lovely children's choir. 

On the likes of "The First Noel/Born Is the King (Interlude)" and "O Little Town of Bethlehem" Carey is blissfully understated. She sings the songs with grace, tenderness and maternal warmth rather than the youthful exuberance that colored 1994's Merry Christmas, unleashing those signature high notes only at climactic moments. Those who listen for vocal acrobatics will not find a surplus of them - rather, just the right amount. She also makes interesting song choices - such as "Christmas Time Is Here (Charlie Brown Christmas)" - which suit this style. 

Carey's mother Patricia provides operatic vocals on "O Come All Ye Faithful/Hallelujah," which will surprise those listeners previously unaware that her mother's career as an opera singer gave rise to Carey's talent. The elder Carey sounds wonderful, and the blending of both their voices not only invokes sweet sound but the warmth of family. 

The live rendition of "O Holy Night" is only partially live; some portions (generally, the most vocally challenging) of it are lifted right from the 1994 recording, while other moments are clearly live. It is fine listening, but it is also baffling. The updated version of "All I Want for Christmas Is You" is almost indistinguishable from the original - good news for those torn between which of Carey's Christmas albums to purchase. 

Merry Christmas II You is a fine testament to Carey's enduring talent and generation-defining voice. The prospect of a recession-informed Christmas - one where fewer presents will be beneath the tree - is a very real one this season, but the presence of this album on the stereo will go a long way to putting smiles on faces, rejuvenating spirits and underscoring the real meaning of Christmas.  My only complaint is; was it necessary to make Mariah look like a size 2 again, we all are quite aware that she is not a youth anymore, so in presenting a product that makes her look 20 (when she clearly is not) to me creates an imagery problem.  Remember Island Records, we are not buying this CD because of how she looks, but because of how she sings.

Annie Lennox, A Christmas Cornucopia

By:  Chuosta Suder

The ever-artistic Annie Lennox brightens the season with a whole new take on traditional Christmas songs. Unique harmonies, strikingly evocative production, and a musical homage to both merry olde England and to the pagan roots of yuletide. Aside from the use of pre-Christianity instruments that hearken back to winter solstice festivals, the song selection is unapologetically Christ-related.

There's not a snow man,a pumpkin pie, or a gift-wrapped present in sight. Yet, being the abstract, right-brained artist that she is, Christ comes across as a glorious, non-religious idea for humanity, a concept that everyone can strive for. It's all tied-up nicely with "Universal Child."  Cornucopia is different, perhaps not everyone's cup of grog, but well worth the exploration, simply because of the masterful vocals of Annie Lenox.   Annie's vocals venture out to the classical/operatic side for this material, but she's also surrounded by the ethereal, pristine soprano counter-melodies we've come to expect from her. 


Lennox is a full-bodied vocalist, able to tackle any genre with style, grace and sincere technique.  Cornucopia is a true addition to any holiday collection, and well worth adorning your holiday festivities. 

Welcome to the new All Vocals Blogspot

Welcome to the new All Vocals blogspot.  We welcome you to interact, join and be a part of the community.  Our focus is vocals only.  Male, female of any genre.  Join us each week as we present new and excting titles for you to explore.