Bob Dylan’s “Christmas in the Heart” (2009) – The Weekend Review

Originally posted 2009-11-29 02:28:00. Republished by Blog Post Promoter

By Chris Moore:

Throughout Christmas in the Heart, Bob Dylan and his band are clearly enjoying themselves, embracing the timelessness of the Christmas music genre.  More specifically, Dylan and company are transporting themselves and their listeners back to a simpler time of deceptively simple songs and sentiments.

Still, not every nostalgia-inducing feature is practiced or purposeful.  For instance, that’s not static you hear on your compact disc or mp3 copy — that’s just Dylan’s voice.

Over the fifteen songs that comprise this new album, Dylan moves fluidly between the religious and the imaginative, from solemn, sacred hymns describing the birth of Jesus Christ to classic tunes about jolly old Saint Nicholas himself, Santa Claus.

Interestingly, this is the first time Dylan has included more than thirteen tracks on a studio release since 1970’s Self Portrait, the runner up being 1992’s Good As I Been To You, clocking in at thirteen tracks.  Granted, these are not the most positive comparisons in his considerable catalog, but fortunately, the comparisons end at the track count.

Christmas in the Heart is a unified collection of songs that are unlike anything Dylan has recorded before, and yet they somehow fit perfectly with the material he has released in the past decade or so.  Ever since the two albums of covers he released in 1992 and 1993, Dylan has seemingly been drawn to the sounds and styles of the past.  2001’s Love and Theft saw a wide variety of styles, and the songs on both Modern Times (2006) and this year’s Together Through Life have progressively relied on mid-20th century styles and arrangements.

In many ways, this is the most logical time for Dylan to contribute to the very American tradition of popular Christmas music.

Bob Dylan's "Christmas in the Heart" (2009)

Bob Dylan's "Christmas in the Heart" (2009)

I will admit that, upon a first listen, I was unimpressed.  Bob Dylan fanatic that I am, the deterioration of his voice initially alienated me and I felt distanced from these classic compositions, most of which I had heard before in at least one or more arrangements.

“The Christmas Blues” is perhaps the most Dylan-esque of the tracks, especially when considering the predominance of recent Dylan tunes with blues structures, the harmonica solo, and the more serious, even downtrodden tone.  In this song, his vocals are stretched and utilized to heartfelt effect.

As I listened a second and third time, the subtlety of these tracks began to set in.  The lead guitar in “Do You Hear What I Hear?” that more than adequately takes the place of the typical “answer” vocal components, the choral background singers with spot-on, traditional harmonies, and the variations in Dylan’s vocals — the rough edges in “Little Drummer Boy” and “Have Yourself a Merry Little Christmas,” the softened edges in “Christmas Island” — all contribute to what is largely a relaxing and entertaining record.

Is there a better description for a Christmas album?

What strikes me about Christmas in the Heart is the proof which it provides for the argument that this time of year is a special season, one which captivates the hearts and souls of men and women and inspires us to be better people.  Certainly, if Bob Dylan put this much effort into not only a holiday album, but also a specifically Christmas-themed release, then there must be something to be said about the power of music influenced by the Christmas spirit.

Dylan, known for turning around and surprising even his most loyal fanbase, has done it again.  It may not be as revolutionary as going electric, or as polarizing as songwriting from an explicitly born-again Christian perspective, but it is at least as dramatic a development in his career.  Rarely has Dylan prepared such well-known cover songs for a studio release, much less songs with such a concrete set of lyrics and straightforward message.

If nothing else, this album will provide some interesting fodder for the ongoing “Is he Christian?/Is he Jewish?” debate that continues to rage on…

For me, Christmas in the Heart is a clear reminder of the universal qualities of the Christmas spirit.  It is an album that further diversifies Dylan’s hand in American popular music, and likewise carries the torch for another generation to hear and appreciate a style that originated almost six decades ago.

All in all, Christmas in the Heart would make for a strong addition to any pop/rock music fan’s Christmas album collection.

Keane’s “Hopes and Fears” (2004) – Yes, No, or Maybe So

Originally posted 2010-06-15 14:30:22. Republished by Blog Post Promoter

Keane’s Hopes and Fears (2004) – MAYBE NOT

Keane's "Hopes and Fears" (2004)

Keane's "Hopes and Fears" (2004)

By Chris Moore:

(May 10, 2004)

Review:

Any album that deals its catchiest songs before track three begins is an album that’s bound to disappoint; it’s not so much that these songs are bad — they’re quite good, actually — it’s just that they threaten to put the listener to sleep after a while.

Top Two Tracks:

“Somewhere Only We Know” & “This is the Last Time”

The National’s “High Violet” (2010) – Yes, No, or Maybe So

Originally posted 2010-05-22 23:45:29. Republished by Blog Post Promoter

The National’s High Violet (2010) – MAYBE

The National's "High Violet" (2010)

The National's "High Violet" (2010)

(May 11, 2010)

Review:

Debuting higher on the charts than any previous album from the National, High Violet deserves the attention: these are some of the most pensive, most beautifully orchestrated tracks they’ve released (particularly on the second half of the album), even if they do threaten to lull you into a forlorn stupor by the end.

Top Two Tracks:

“Conversation 16” & “Lemonworld”

Eric Clapton’s “Back Home” (2005) – Yes, No, or Maybe So

Originally posted 2010-07-18 23:30:21. Republished by Blog Post Promoter

Eric Clapton’s Back Home (2005) – MAYBE NOT

Eric Clapton's "Back Home" (2005)

Eric Clapton's "Back Home" (2005)

(August 29, 2005)

Review:

The only “revolution” that happened between 2001’s excellent Reptile and Back Home was Eric Clapton’s conversion to the school of light contemporary snooze rock, filling up his new album with instrumentally pedestrian and lyrically boring recordings; Clapton’s guitarwork is, as always, interesting, but that can’t save most songs from dragging on a minute too long (“Love Don’t Love Nobody” has no business being over seven minutes!) or the background singers from drawing a smirk.

Top Two Tracks:

“So Tired” & “Back Home”

Honorable Mention:

“Love Comes to Everyone” (yes, the George Harrison song, recorded as a tribute following his death and recognized here for sounding so much like the original)