Showing posts with label Wynonna. Show all posts
Showing posts with label Wynonna. Show all posts

12 December 2017

Top Ten: Christmas Albums!






Welcome to our new Top Tens series in celebration of I Think, Therefore I Review's Tenth Anniversary! These monthly lists will highlight special themes and topics from our extensive archive of reviews.



This time a festive I Think, Therefore I Review presents...


Our Top Ten Christmas Albums!





Please see our Christmas tag for more holiday spirit or our Vinyl Records label for ye olde yule reviews!


I Think, Therefore I Review began as the blog home for previously published reviews and reprinted critiques by horror author Kristin Battestella. Naturally older articles linked here may be out of date and codes or formatting may be broken. Please excuse any errors and remember our Top Tens will generally only include films, shows, books, or music previously reviewed at I Think, Therefore I Review

 

16 December 2012

Wynonna's A Classic Christmas



Wynonna’s Classic Christmas Just That
By Kristin Battestella


Wynonna, the dynamic daughter half of eighties country pop sensation The Judds, makes an utterly blissful holiday debut with this 2006 release, appropriately titled A Classic Christmas. With big notes, seasonal sway, and a fine mix of traditional sounds and new spin arraignments, one would never suspect the country ancestry behind this chart topper.

The Christmas Song sets the tone for A Classic Christmas with an easy, jazzy, and festive feeling. It’s mellow, but full of holiday memories and timeless sound. Wynonna has a few long notes and room to stretch the rhythm and it all works wonderfully. Winter Wonderland continues the sophisticated style with the snowy echoes and fun bells.  It’s happy, even jolly, but also mature, adult, and not in your face one bit. This is a very pleasant listen indeed, but White Christmas is dynamite, too. No big production values are needed here- in fact, A Classic Christmas sounds like a quiet, intimate studio session with a few musicians and lots of egg nog. The melodies are dinner for two friendly even if you can hear a hint of country in some of Wynonna’s lyrics here. We’re only three songs into A Classic Christmas, and already there’s no doubt about Wynonna’s sentimental capability.

Nay, it’s quite the contrary.  I’ll Be Home for Christmas doesn’t sound like the country Wynonna some might have expected. I’m not a country fan myself, but Wynonna almost sounds like a soulful black singer from the sixties, with big, deep notes, total heart, and gospel. I can’t think of another way to say it, but I absolutely mean that as a compliment. There are shades of Ella and Mahalia on A Classic Christmas, and it keeps the set both modern and contemporary cool for today’s urbane listener and very old school traditional debonair at the same time. On a random radio listen, one might very well take pause and question in what year these songs were made. For a holiday album needing a perennial shelf life, this is the golden ticket.  Santa Claus Is Coming to Town adds an upbeat jingle with kids singing along in a fun moment for the whole family. Fortunately, this isn’t as hokey and overdone as most child tracks are. It’s not bad, but a bit unlike anything else on the album. Have Yourself a Merry Little Christmas returns to the refined style with a fresh opening and melancholy interludes. The expected bittersweet is excellent, simply put. I’ve no doubt Wynonna could have gone bigger with these secular staples. However, the fact that she keeps these tunes easy on the ears but vocally solid and strong note in and note out is so refreshing amid this century’s new wave of, well, singers who can’t actually sing. All that electronic voice box crap- give me someone who can carry a Christmas tune and put an amen to it!

Like the albums of Yuletide yore, Wynonna saves the spiritual and carols for the second half of A Classic Christmas and starts the reverence off big with Ave Maria. You would not know this woman is not a Catholic opera trained Italian soprano who speaks Latin on a regular basis.  No production spectacle or orchestral take over is needed here. The hefty notes are retained and yet Wynonna keeps this lofty ode a soft, respectful lullaby.  The church choir comes out next to introduce O Come, O Come Emmanuel and the combination keeps this brooding medieval anticipatory seasonably solid. The somber instruments and grand but personal, quivering delivery would seem fit for a rousing Christmas Eve candlelight service. However, Wynonna creates an edgy household appeal and modern arraignment in ye spirit of olde. Though its one of the longer tracks here, I wish more people could do this carol this way- the way it deserves. Although I could do without the way Wynonna says ‘yonder’ and this rendition isn’t as traditional as expected, O Holy Night starts slowly and sweetly rises accordingly in music, high notes, choir sounds, and perfection. Today it seems most pop or songsters don’t bother to do O Holy Night- probably because they can’t vocally- much less ad lib and update what we often take as a serious and brooding carol.  It’s hefty and reverent with all the works to the hilt, but again, Wynonna’s innocent, almost private, and intimate delivery is a very pleasing listen.


Likewise, Silent Night is slightly more upbeat than the norm, with almost a happy ring instead of somber reflection. It’s as if Wynonna has the kids sitting on the floor in the studio while she sings about a mom, a baby, and the smile they put on her face.  Sometimes we make the religious carols so depressing and too heart tugging. Particularly since the recent massacre in Connecticut, I keep thinking of the blissful yet tragic closing line here. All those children who are sleeping in heavenly peace instead of opening presents that were probably already lovingly wrapped and placed under the tree. Obviously, such horrific things at this supposedly peaceful time of year can irrevocably shake us up. Fortunately, the spiritual purpose of the season is the opposite of evil and sadness. It’s a birthday party for all here and above to attend.  Instead of concluding with Silent Night or some big secular spectacle, Wynonna finishes A Classic Christmas in strong spiritual fashion with It’s the Messiah.  Previously I’ve heard the track on Kenny Roger’s Christmas album The Gift- which also includes Wynonna’s Mary Did You Know duet.  While Kenny kept this ode soft and country easy swag, Wynonna slows it down for a meaningful church finale. It’s not so extravagant that you can’t sing along, but held lyrics and choir heights make the listener pay attention to the tale being told. We’re lifted up with the titular refrain, and this exiting number finishes A Classic Christmas with Wynonna’s big and wonderful, “He’s come at last!”

As I said, I’m no country lover, but severe country fans might actually dislike the absence of down home elements and country sounds on A Classic Christmas. With Wynonna Judd’s vocal range and crossover capabilities, this could have been a much more grandiose album, too. Just based on the number of big and difficult carols in need of Wynonna’s vocals, this could have easily been a double album or box set. Marketability and sale pricing had something to do with that, I’m sure. However, this surprising and unexpected holiday delight is consistent throughout, and I hope Wynonna does another Christmas album soon. The titular class and sophistication cross musical genres and season spirits. This very pleasant and feel good listen doesn’t skimp on the music and the meaning and is perfect for the dinner table, a family activity night in, the car, or office. If you like Christmas music and the women who can carry a serious and refined tune, forget country.  Forget needing to like The Judds. Even if you never hear anything else by Wynonna ever again, get this Christmas album ASAP. 


24 August 2012

Music and Concert Magic


Music Mayhem and Discography Documentaries
By Kristin Battestella


Raise your hand if you remember the founding of MTV and the foretelling “Video Killed the Radio Star.”  Fortunately, with these great multi-genre concert videos and music documentaries, the timeless tunes and talent live on.


Marvin Gaye: Behind the Legend– Made in 2004, this hour plus tribute to the late soul singer of such exceptional hits as “Let’s Get It On,” “Sexual Healing,” “I Heard It Through the Grapevine,” and “Mercy Mercy Me” looks very dated and low budget.  There’s not much footage from his earlier career, and only snips of his Motown hits and duets with Tammi Terrell are heard. Ironically, his 1984 death is also quickly handled in the last few minutes. Despite its poor presentation, the treats here are in the intimate conversations with Gaye’s former wives Anna Gordy and Janis Hunter, his children, and close family and friends as they recount their memories and private stories through Gaye’s career highs, personal lows, and wonderful music.


Marvin Gaye: What’s Going On – By contrast, this 2006 retrospective subtitled The Live and Death of Marvin Gaye begins with Gaye’s youth and his estranged relationship with his now infamous father, Marvin Gay, Sr.  Archival footage of the man himself speaking on his faith, a strict religious upbringing, and ongoing family conflicts is anchored with great early videos and hit performances of “How Sweet It Is”, “Pride and Joy,” “What’s Going On,”  and more. Family and friends from the 2004 set also appear along with Gaye’s own interview reflections on the struggle of black musicians in the sixties, the Vietnam War, and how the times both personal and larger influenced his life, career, and ultimately his death. Fans and scholars really need both of these videos to get the whole picture of the man and his music.


Janis - For those like my mother who dislike the eponymous singer’s live shouting and concert screaming, this archival set is not for you.  Vintage video interviews and great concert material wonderfully capture the unique musical spark of the gone too soon star in this 1974 ninety-minute documentary. For fans and music historians, It’s great to see the fun, confident interviews of Janis Joplin being her honest, open rock self in contrast with the shy, awkward, and uncomfortable conversations of a woman trying to find herself. Pieces of her past and psyche can be explored thru the music in both today’s retrospective analysis and the then seventies contemporary lenses. An interesting study indeed.


Nine Hundred Nights - Early black and white conversations and rare intimate footage of Big Brother and The Holding Company anchor this 2001 hour long video highlighting the band often overshadowed by its brief and more famous member Janis Joplin. From the formation of the group to early Texas stories, surviving members and retro footage with Joplin tell a tale of rifts, egos, and substance abuse. Even the current Big Brother incarnation’s grievances and distaste over the aforementioned Janis documentary not mentioning them is heard. The Behind the Music format of a band being brought down is nothing new. Some might find the format here old, annoying, or even bitter. However, there is a not often told story here with an interesting dynamic in comparison to Joplin’s legend.  


Queen Rock Montreal – This 1981 concert starts a bit slow, with an unnecessarily fast “We Will Rock You” and few now lesser-known songs such as “Let Me Entertain You” and “I’m in Love with My Car.” We’re pre-Highlander after all, so those soundtrack tunes won’t be heard as well.  “Somebody to Love,” however, is glorious, as are “Love of My Life,” “Save Me,” and “Under Pressure.” While some might be put off by Mercury’s theatrics, you cannot deny his skill and star power. Guitarist Bryan May looks a little uncomfortable in the spotlight, but Mercury drinks beer during his songs and slowly strips down from white jeans to nothing more than tiny white eighties undies.  It’s bemusing to see some of the girls fawning towards the stage, too; but Mercury thrives on the attention, taking all the love and giving it back with music. By time we reach “Bohemian Rhapsody” and “Another One Bites the Dust,” it’s as if the audience- and today’s video viewer- are on an intimate level with Mercury. His magnetism is forward and unforgiving, but also captivating, sweaty, and beautiful. Not to mention it’s all damn good music! Check out the new DVD release with more Live Aid footage for a special evening in the bedroom with Queen. 


Wynonna Her Story: Scenes from a Lifetime – I thought this 2005 video was a sit down conversation focusing on the daughter half of The Judds.  But no, this two hour concert is an exclusive evening with the country crossover star belting tunes such as “Love is Alive,” “Love Can Build a Bridge,” and covers like “I Want to Know What Love Is,” “I’m the Only One,” and “I Can Only Imagine.”  Wynonna does share back-story both tender and fun between sets, and mom Naomi has a few moments in the audience, too. I must say, Wynonna makes some bemusing facial expressions when she sings, but you have to respect that when she’s reaching spiritual notes that would make the rest of us turn blue.  The country here isn’t for everyone, but there are also rock tunes and gospel inspiration worth the listen. Ironically, I got this DVD from Netflix the same week that Wynonna’s current husband Michael Moser lost his leg in a motorcycle accident, adding an extra spin to her talk of life and struggles healed through song.