Summertime Jams #7: Sun Goddess

Smooth as a sunny summer's day...Ramsey Lewis with Earth, Wind, and Fire...the great groove of "Sun Goddess"

The Sellout

Don't call it a comeback (unless you're talking about the lush, soaring, defiant closing track by that name)...the irrepressible Ms. Macy Gray never really went anywhere (even if it has been 3 years since she dropped her last disc)...but this disc feels like a return to form just the same. Gray has never managed to catch the magic of her wonderful break though, On How Life Is, but that doesn't mean she hasn't put out some compelling music in the years since that great debut disc.

The Sellout isn't quite in the same league as Life but, that said, it is fierce, funny, engaging, and rock solid from beginning to end. There is a positive vibe throughout...even when she's decrying wayward lovers or haters who don't understand her...and it definitely keeps your head nodding and your feet tapping.

From the joyful sunshine of "Beauty in the World" (see below) to the sexy, irresistable thump of "Kissed It"...from the clever word play of the infectious title track to the aching blues of the grand "Still Hurts"...from the acoustic mid-tempo lilt of the plaintive "Let You Win"...from the in-the-pocket funk of "Stalker" to Macy's magnificent rasp of a voice is in fine form and the grooves around her are uniformly tight and engaging (the groove...including a great breakdown in the middle...of the sassy girl group romp "That Man" is so cool I just had to smile all the way through.)

Gray and Brown (Macy and Bobby) come together for a downright golden old school R&B duet on "Real Love" (Bobby Brown's voice blends right nicely with Ms. Gray's.)

Bottom line is that The Sellout is a winner that will be spending a lot of time booming out of my stereo this summer (and for a long time after that.)

Summertime Jams #5: Tell Me You Love Me

What would summer be without a silky smooth R&B jam to sway to...while in the arms of somebody you're totally into...on a balmy July night? Not much. Ladies and gentlemen, the fierce and beautiful Ms. Leela James with the undeniably soulful "Tell Me You Love Me" from her new CD My Soul. Yeah, you're welcome :-)

Summertime Jams #2: Open Your Eyes, You Can Fly

Soothing as a balmy Summer's day, this song and this video make the season come to vibrant, engaging life. The amazing Lizz Wright with her shimmering version of "Open Your Eyes, You Can Fly":

Grammys 2010

The awards really don't matter that much (quick...without Googling...what was the Album of the Year at the 2009 show? Yeah, I don't remember either), with the Grammy show, it's the music that matters.

The unavoidable Lady Gaga and the legendary Sir Elton John opened the show in bombastic (but admittedly fun) fashion and Green Day and the cast of the upcoming musical "American Idiot" made a good case for the blending of Punk and Broadway.

Beyonce got a jump on the Michael Jackson tribute with backup dancers dressed like stormtroopers and by grabbing her crotch during a searing medley of "If I Were a Boy" and Alanis Morrissette's "You Ought to Know" and Pink is apparently trying out for Cirque du Soleil (it's a bit odd but kind of cool too.)

The unavoidable Black Eyed Peas cranked up the spectacle to 11 (though after making a big deal about the fan videos of "I Gotta Feeling" they were barely seen in the far background.)

Second hour means the country folk can come out to play. Lady Antebellum leads off with a sweet and smooth performance. Best New Artists, The Zac Brown Band did themselves proud playing a spirited medley with the venerable Leon Russell. And Taylor Swift got to share a stage with one of her heroines, Stevie Nicks.

Jamie Foxx and his Auto-Tune continued the martial costume theme (T-Pain and his white tuxedo must not have gotten the memo and Slash is just too cool for that stuff.)

The Michael Jackson tribute...with Celine Dion, Usher, Carrie Underwood, Jennifer Hudson, and Smokey Robinson singing along with MJ's recording of "Earth Song"...was stirring (and Jackson's children were dignified and gracious afterwards.)

Bon Jovi...with Sugarland's Jennifer Nettles sitting in...was solid in their 3-song mini-set.

Okay, I will admit to misting up during the soaring performance of "Bridge Over Troubled Water" by Andrea Bocelli and Mary J. Blige (and yes I will be ponying up for the Haiti-benefiting download available at itunes.com/target.)

And the jubilant performance by the Dave Matthews Band (and a WHOLE LOT of friends) was a joyous tribute to their fallen brother and bandmate, LeRoi Moore.

Maxwell and Roberta Flack were fine (though Roberta seemed a bit unsteady at times) and Jeff Beck's tribute to Les Paul was very tasty.

The performances were fair to great, the speeches were kept to a minimum, and the show kept moving...all in all the Grammys were fine this year and I was cool with that.

Coming Back to You

American Idol has reached the round of 36…a four-week elimination derby, the contestants separated in groups of 12 for three weeks with the fourth week being a wildcard round, with 3 finalists graduating into the final 12 each week. The first dozen didn’t exactly acquit themselves with honor (the next American Idol might be in that group…but at first blush it doesn’t seem likely) and we’re not going to dwell on it.

Instead we’re going to dwell on one of the better CDs to come from a former AI contestant, the long-awaited (by me anyway) collection by the enormously talented Melinda Doolittle (the third place finisher two editions ago.)

Coming Back to You isn’t perfect…the first few tracks have arrangements that seem to be trying to overwhelm Doolittle’s voice (though ends up she holds her own with aplomb)…but it’s pretty damn fine once it gets going…if for no other reason as to show that the “retro soul” thing isn’t solely the province of young British singers these days :-)

The opening “Fundamental Things” is a bit fussy but things pick up a bit with “It’s Your Love”, a rather generic love song given more life than it probably deserves by Melinda’s impassioned voice (the same is true for “Declaration of Love” and the mid-tempo title track which , again, is too fussy with needless horns…Doolittle is a real singer and the producer should have trusted that more rather than piling on unnecessary embellishment like she was some marginally talented pop tart who needed some cover for her lack of vocal chops.)

But things do get interesting. First on a sublime vocal on “The Best of Everything”, the first of 3 Sammy Kahn songs on the album, where Melinda’s soulful voice dominates the arrangement to grand effect. Another Kahn song, “I’ll Never Stop Loving You” is the albums big ballad swimming in strings and muted horns that ably support…rather than try to overwhelm…Doolittle’s luminous vocals.

“Wonderful” is another relatively generic song but, again, the vocal elevates it to a cool, engaging level as it does on the inspirational “I Will Be” and the soaring gospel of “We Will Find a Way”.

And then the righteous Ms. Doolittle tears into a thick slice of blues with her potent reading of Robert Johnson’s feisty and bawdy “Dust My Broom” and makes she makes you want to testify as does so. And later she lets us know that this wasn’t a fluke by dipping into Johnson’s venerated songbook for a funky take on “Walkin’ Blues”.

There is such passion in “If I’m Not in Love” that it sizzles through the speakers…and Melinda conveys that passion without the need to over-sing…as on the rest of the disc, she gives herself over to the song and lets her amazing voice do its thing with style and with a refreshing lack of melodrama (which makes the big note at the end of this track all the more thrilling.)

And at the end it’s just Melinda (sweet and nuanced) and a keyboard (still a bit too high in the mix but only a bit distracting) on the 3^rd Sammy Kahn tune, the lovely “Wonder Why”…a charming and effective wrap up.

Coming Back to You is one of the better efforts from an American Idol alum…and it’s an engaging collection in its own right…it’s all good :-)

The 100 Greatest Singers of All Time

Our pals at Rolling Stone are at it again with a list that is sure to provoke much discussion among music fans. This time they've polled a bunch of artists, producers, critics, and other music industry insiders and come up with their list of "The 100 Greatest Singers of All Time".

This list is, of course, skewed towards singers who came to prominence during the rock and roll era (which I guess qualifies as "all-time" now) and it leaves off a lot of really GREAT singers (at first blush I can think of Billie Holiday, Emmylou Harris, Frank Sinatra, Nat "King" Cole, k.d. lang, Ella Fitzgerald, Tony Bennett, Cassandra Wilson, Chrissie Hynde, Seal, and Margo Timmins.)

The Top 10 Singers of All-Time (according to Rolling Stone) are:

1) Aretha Franklin
2) Ray Charles
3) Elvis Presley
4) Sam Cooke
5) John Lennon
6) Marvin Gaye
7) Bob Dylan
8) Otis Redding
9) Stevie Wonder
10) James Brown

Apparently all of the 10 greatest singers of "all time" got their start in the late fifties or the early sixties and only 1 of the 10 best is a woman...imagine that :-)

The rest of the list is here.

Discuss.

Below is the classic "A Change is Gonna Come" written by the wondrous Sam Cooke (#4) and sung by the incomparable Aretha Franklin (#1)

A Change is Gonna Come

Seal (above with his wife Project Runway's Heidi Klum) with his fine version of Sam Cooke's classic "A Change is Gonna Come", a track from his CD Soul, a collection of covers of great R&B tunes.

Duffy's Rockferry / Adele's 19

Retro soul seems to be in good hands thanks to the young women of the United Kingdom. Like the great Dusty Springfield back in the day and the troubled but undeniably talented Amy Winehouse in more recent times, soulful divas are carrying the torch with a reverence for what has come before combined with a solid grounding in current times.

(Aimee Anne) Duffy’s Rockferry is a heartfelt and enormously engaging soul record, the young Welsh singer has a strong voice and she indulges in no unnecessary grandstanding, she just sings with passion and conviction (and how utterly refreshing is that?) She not only invokes the spirit of honored predecessors like Springfield and Petula Clark but she also brings the classic Motown sound to the 21^st century (one can easily hear a young Gladys Knight or Martha Reeves slipping easily into the sweet mid-tempo grooves of tunes like “Warwick Avenue” (make with the clickety-click for the video) or “Serious”, with its great Supremes-like backing vocals, or the infectiously propulsive groove of a stomper “Mercy”.)

Duffy also has a smoldering, bluesy side that comes to the party on tracks like the spare (just her voice and a guitar to very fine effect) “Syrup and Honey” or the majestic “Hanging on Too Long”.

There’s not a false note to be found on Rockferry, which ends with the stirring, affirming “Distant Dreamer” with its rock-steady beat cushioned by a mighty wall of Spectoresque sound.

Adele (Laurie Blue Adkins)’s 19 starts with a dreaming song of its own, the lilting “Daydreamer”. Adele’s rich, supple voice is colored to lovely effect with her British accent. She is a soul singer but her influences seem to go beyond that to incorporate Nina Simone, Bjork (the staccato rhythms and vocals of “My Same” brings her to mind), and even the Beatles (there’s a trippy interlude on “Cold Shoulder” that could have fit nicely on “The White Album”...see video below.)

From the sassy, acerbic “Best for Last” and “Right as Rain” to the soaring “Chasing Pavements” (click the link for the video)…from the stripped down bluesy “Crazy for You” and “Melt My Heart to Stone” (both of which I can easily imagine Etta James singing…though she would be hard pressed to do them better than they are done here) to the lovely cover of Bob Dylan’s “Make You Feel My Love” to the subdued glory of the self-affirming closer “Hometown Glory”…Adele proves herself to be a musical force to be reckoned with.

Both Duffy and Adele are soulful breaths of fresh air and their music is much appreciated from this corner.

Through These Walls

Hilary McRae’s fun and funky debut crackles with tasty old school R&B goodness. With her big, expressively soulful voice ably aided and abetted by thick, sassy rhythms, tastefully supportive guitars and keyboards, lovely backup vocals, and sweet, cool horns, McRae’s music is at once a throwback to the heyday of 70’s soul and a sterling example of enormously engaging 21^st century pop.

It is, as Miss Martha Stewart might say, a good thing

The energetic “Every Day (When Will You Be Mine)” and the propulsive “Consider Me Gone” opens the disc with a powerful one-two punch that sets the bar high. The rest of the disc proves to be up to the task.

From the mid-tempo swing of “Why Can’t Now” to the bittersweet balladry of “Love Song for You”…from the self-affirming, horn-driven swagger of “Hostage” to the pop sheen of the keyboard-led “Like You Never Loved Me”, the disc continues to percolate with aplomb.

By the time McRae and the horn section…along with the backing singers…locks into an almost irresistible groove on “Better Off Alone”, I couldn’t help but feel that a star was ready (if there’s any justice in the pop world) to claim her spot high up on the charts.

And then…and then…she throws a cool curve with the jazzy phrasing of “Let’s Stop” and then follows that up with the shimmering “Only Light” and the wistful “Waiting”.

As the disc ends with jamming with the R&B stomper “Somethin’s Come Over Me” and the powerful ballad “Where Will We Be, I found myself smiling contentedly and making plans to keep this disc in heavy rotation for the foreseeable future.

Through These Walls is an enormously enjoyable collection with nary a misfire amongst its 12 tracks; Hilary McRae is certainly a keeper. Yeah, it’s definitely a good thing :-)

* * * * *

Below is the cool video for "Every Day (When Will You Be Mine)"

The Orchard

There are always adjectives ready to try to capture the essence of anything…and there are adjectives aplenty to describe his sumptuous (see?) CD from the utterly remarkable Lizz Wright: luminous, sultry, soulful, beguiling, enchanting, utterly engaging. The Orchard is all of these things and yet the words don’t do Ms. Wright and the new addition to her splendid body of work proper justice.

But words are all I have here and thus they will have to suffice.

This wonderful collection is compromised of eight fine original tunes (all co-written by Wright) and four deftly chosen, surprising covers.

The originals include the cool, sprightly and irresistibly percussive “My Heart” and “This Is”, the quiet but stately “Speak Your Heart”, and the wistful, bittersweet “When I Fall”.

The covers include a bluesy stroll through Ike Turner’s “I Idolize You”, the righteous R&B of Sweet Honey in the Rock’s “Hey Mann”, a dreamy waltz with Patsy Cline’s “Strange”, and a compelling version of Led Zeppelin’s “Thank You”.

Wright is an incredibly expressive singer who brings honest passion to her music without ever feeling the need to give in to excessive vocal gymnastics (she got the chops to wail with the best of them but if it doesn’t stand in service to the song she has no space for it…and that’s so thrillingly refreshing that you wish this was a better world where she was a bigger star than she currently is.)

The music…given wing by acoustic guitars, bass, and keyboards…is able and powerful support to the wondrous vocals under the sure-handed direction of producer Craig Street.

The Orchard is a bountiful harvest of jazz, blues, pop, and R&B that gets more tasty…more delightful and fulfilling…with each listening.

The 50th Annual Grammy Awards

The National Academy of Recording Arts and Sciences realized that when it comes to the Grammy awards…especially the 50^th anniversary awards…it’s the music that counts. There are only so many laundry lists of record executives and shout outs to God that the audience wants to sit through so, again, they kept the number of awards they handed out on the prime time broadcast to a minimum and concentrated on presenting an eclectic array of performances. For the most part it worked to make for an entertaining show.

As far as the awards went the Academy went against the prevailing wisdom that Amy Winehouse’s train wreck of a personal life would preclude them from honoring her by giving her 5 Grammys…including plum prizes for Best New Artist, Song of the Year, and Record of the Year (the latter two for the ironic but undeniably funky “Rehab”.) Winehouse (above with her Mom), originally denied a visa to come to the ceremonies, performed in a small venue in London before an enthusiastic audience. Her performances of “You Know I’m No Good” and “Rehab” were a bit ragged but potent nevertheless. She seems genuinely shocked by her Record of the Year win, which announced just after her performance.

Winehouse lost the coveted Album of the Year to a surprise winner: Herbie Hancock’s (below) lovely River: The Joni Letters (only the second jazz album to win the prize following the 1965 award to Getz/Gilberto by Stan Getz and Joao Gilberto.) Kanye West lost out on this one for the third time (both Vince Gill and Usher took playful jabs at West’s petulant behavior during previous awards shows.)

The show itself was a celebration of Grammy’s 50 years with lots of Grammy favorites among those presenting awards or introducing performances. Among the very familiar faces were Quincy Jones (27 Grammy wins), Stevie Wonder (25), Cher, Tony Bennett, Natalie Cole, and Ringo Starr.

Alicia Keys opened the show with a duet with the youthful ghost of Frank Sinatra on “Learning the Blues” (Keys would return later for a rousing version of “No One” with some help from John Mayer) followed by Carrie Underwood romping through “Before He Cheats” backed up by a phalanx of percussionists.

Some of the performances that followed were rousing: Herbie Hancock and Lang Lang’s soaring take of Gershwin’s “Rhapsody in Blue”, Beyonce and the immortal Tina Turner shimmying through “Proud Mary”, Aretha Franklin and BeBe Winans leading a gospel medley, young Timothy Mitchum and Carol Woods (from the movie Across the Universe) with an amazing gospel version of the Beatles’ “Let it Be”, Kanye West’s heartfelt “Hey Mama”, Andrea Bocelli and Josh Groban’s majestic “The Prayer”.

Others were fun…the reunited Time teaming up with Rhianna, Foo Fighters blazing through “The Pretender” with an orchestra conducted by Led Zeppelin’s John Paul Jones and a violin solo by this year’s “My Grammy Moment” winner, West and Daft Punk’s otherworldly performance of “Stronger”, John Fogerty teaming up with rock and roll fathers Little Richard and Jerry Lee Lewis, Feist’s understated version of “1234”.

(A couple were….um…a bit more problematic: will.i.am’s rap was lame and the duet on “That Old Black Magic” between veteran Keely Smith…still in fine voice…and Kid Rock…not exactly Louis Prima… was a bit awkward. And there was a bit too much Cirque du Soleil for my taste.)

All in all, Grammy didn’t embarrass itself during its golden anniversary show and that was all good.

The 2007 Twenty

Neverending Rainbow's 3rd annual rundown of our 20 favorite reasons to have owned a CD player. These are the best CDs of 2007...or more to the point, given the daunting number of recordings released each year...the best CDs that we heard over the course of the year. Your mileage may (and doubtlessly will) vary. In any case, the picks (in alphabetical order by album title):

Back to Black – Amy Winehouse
(At once retro and utterly modern, as fine a soul record as you could ever hope for)

Children Running Through – Patti Griffin
(Passionate, evocative, utterly compelling, an amazing collection of songs and performances)

Finding Forever – Common
(Sly and sassy, romantic and randy, acerbic and hopeful, a seamless album featuring stellar guest turns by Lily Allen and Kanye West and held together by Common’s smooth, peerless flow)

Ga Ga Ga Ga Ga – Spoon
(Urbane pop-rock…delightfully melodic with tight playing and solid vocals…that soars and shimmers from beginning to end)

High Steppin’ – The Pimps of Joytime
(A really fine…really funky, really soulful, really rockin’, really jammin’, enormously entertaining…CD.

In Rainbows – Radiohead
(Challenging and accessible in the same moment, an utterly remarkable rock and roll record)

Live in Dublin – Bruce Springsteen with the Sessions Band
(A grand, accomplished, enormously entertaining 2-disc live set combining traditional songs with reworked Springsteen tunes)

Magic – Bruce Springsteen
(The Boss and the E Street Band on a set of rock solid, earnest, cranky, and soaring rock and roll ruminations)

Neon Bible – Arcade Fire
(Ominously haunting and undeniably rousing at the same time, the full bodied baroque rock and roll of this CD effortlessly gets under your skin and into your head and stays in both places and man is that a cool thing)

100 Days, 100 Nights – Sharon Jones and the Dap-Kings
(As gritty and old school funky as it wants to be, this CD grooves, growls, and bites with soulful fury as the righteous, gutbucket beauty of Ms. Jones’ voice is ably supported by the sterling musicianship of the Kings)

Raising Sand – Robert Plant and Alison Krauss

(What seemed a strange match on paper became a magical, compelling, and heartfelt collaboration when they came together in song trading stunning leads and sharing remarkable harmonies)

River: The Joni Letters – Herbie Hancock
(A graceful and tasty tribute to Joni Mitchell featuring an excellent band and some nice guest vocal turns)

Teknochek Collision – Slavic Soul Party!
(This 9-member ensemble claims to be the “#1 brass band for Balkan-soul-gypsy-funk” and the music…joyous, worldly, full-bodied and, yes, brassy, soulful, and funky…proves the point with potent, irresistible charm)

The Hottest State – Movie Soundtrack
(Judging by critical response, the movie wasn’t so hot but the soundtrack…with songs by Jesse Harris and sublime performances by, among others, Emmylou Harris, Willie Nelson, Cat Power, Feist, and Norah Jones…is a cool, evocative gem)

The Phenomenal Ruthie Foster – Ruthie Foster
(An evocative, rocking, soulful CD that more than lives up to its grandiose title)

The Reminder – Feist
(A smart, sparkling collection of slightly offbeat pop tunes)

The Spiritual Kind – Terri Hendrix
(Witty, whimsical, insightful, heartfelt, delightful…a grand country record with all of the soul and twang and none of the glossy pop that too often passes for country music these days)

Under the Blacklight – Rilo Kiley
(Jenny Lewis and the guys embrace their funky edge to very fine effect)

Version – Mark Ronson
(The celebrated DJ and producer serves up a groovy party record filled with covers of British hits sung with gusto by, among others, Amy Winehouse, Lily Allen, and Robbie Williams)

We’ll Never Turn Back – Mavis Staples

(Righteously soulful and soulfully righteous, a collection of compelling standards delivered by one of the most incomparable voices in pop, soul, and spiritual music)

2007 : The "Singles"

In these days of music downloading "singles" are kind of an anachronistic concept but that doesn't deter us here at the Rainbow from once again presenting our favorite tracks of the year. We make no claims that these are the "best" tracks that came out during year but they are the ones that that greatly entertained and/or inspired us (why am I using the imperial "we/us" when it's just me here? I dunno...just be a pal and indulge the hubris and let it go :-)

ANYWAY (he do go on sometimes, don't he? Sheesh...) here are Neverending Rainbow's 10 favorite tracks of 2007 (links to video and/or audio on each track...make with the clickety-click on the titles):

1) "Silver Lining" Rilo Kiley
(A rueful tale of love lost told with an irresistible catchy beat and a great Jenny Lewis vocal)

2) "You Know I'm No Good" Amy Winehouse
(Backed by the mighty Dap-Kings, the redoubtable Ms. Winehouse...who seems likely to actually survive '07 despite herself...throws down an soul jam as sweaty and funky as can be..."Rehab" [see below] was also mighty fine but her antics this year turned that song from being cheekily defiant to being creepily self-destructive.)

3) "Are You Alright?" Lucinda Williams
(A haunting, bittersweet plea for reconnection)

4) "Hey Eugene" Pink Martini
(A witty, sultry shout out to a guy who didn't call after a seemingly great time had at a party)

5) "Jigsaw Falling into Place" Radiohead
(A throbbing, utterly engaging rock and roll song)

6) "Heal Yourself" Ruthie Foster
(A wonderfully soulful tune of self-affirmation set to a driving beat)

7) "1234" Feist
(Yeah, the iPod commercial was ubiquitous but the song is still very cool)

8) "The People" Common
(While Kanye and 50 were having their over-hyped pissing contest, Common was quietly presenting the most engaging and inspirational hip hop of the year)

9) "Crazy Ex-Girlfriend" Miranda Lambert
(The Nashville Star 1st season runner-up makes a solid case for being one of the more interesting stars to come from a TV competition with this feisty and funny warning to her ex and his new love.)

10) "Radio Nowhere" Bruce Springsteen
(The Boss rants about the woeful state of pop radio over a tight, propulsive rock groove.)

2007 Grammy Nominations

Maybe this time Kanye West will be able to win the big prize at the 50th annual Grammy Awards (goodness knows that we’ll all hear about it if he doesn’t) as he leads the nomination pack with 8 nods. Amy Winehouse, who’s had an interesting year to say the least, picked up 6 nominations.

West’s Graduation and Winehouse’s Back to Black are competing for Album of the Year honors alongside of the Foo Fighters’ Echoes, Silence, Patience, and Grace, Herbie Hancock’s River: The Joni Letters, and Vince Gill’s eclectic 4-disc collection, These Days.

Winehouse’s defiant (and undeniably funky) “Rehab” (see below) is competing for Record of the Year with Beyonce’s “Irreplaceable”, the Foo Fighters’ “The Pretender”, Rhianna’s “Umbrella”, and Justin Timberlake’s “What Goes Around…Comes Around”.

Winehouse is also up for Best New Artist (even though Back to Black is not her first album) along with Feist (who also has been around for a little bit), Ledisi, Paramore, and Taylor Swift.

The Grammy Awards will be handed out on February 10, 2008.

Home for Christmas

There are some music fans who believe that pop artists have jumped the so-called “shark” if they release one or more of four types of albums: greatest hits, live recordings, covers collections, and holiday records. While this can sometimes be true, I’m willing to cut folks some slack on the matter…especially when it comes to holiday records. There is a burgeoning sub-section of my CD collection that is devoted to holiday records…at least a couple get added every year…and I am unabashed in my fondness for them (and no, there’s no such thing as “too many” versions of “O Holy Night” or “Jingle Bell Rock” :-)

Daryl Hall and John Oates, their hit-making days behind them for the time being, have released albums in all four of the categories mentioned in the previous paragraph. Their holiday offering, Home for Christmas, is a heartfelt, soulful, sparkling gem of the genre that never descends into dullness or treacle.

With a soaring overture leading into a very fine, gently funky version of “The First Noel”, the CD gets off to a grand start indeed.

Some of the songs are the usual suspects… “The Christmas Song” (aka “Chestnuts Roasting on an Open Fire”…written by Mel Torme & Robert Wells but totally owned by Nat “King” Cole), “Jingle Bell Rock”, “It Came Upon a Midnight Clear”, “O Holy Night”…but Hall and Oates bring a vibrancy to the proceedings that makes them all shine once again. Hall’s still potent voice brings a heartfelt and delightful urgency to the tunes and the arrangements are fresh and exceedingly well-played.

Two of the songs are originals: Oates takes the lead vocal on his self-penned “No Child Should Cry on Christmas” (he also does an admirable job on the oft-covered “Christmas Song”) and he acquits himself admirably while Hall delivers a sweet, mid-tempo jewel with the title song which he co-wrote.

The Stax song, “Everyday Should Will Be Like a Holiday”, co-written by the great Booker T. Jones, fits right into Hall’s R&B wheelhouse and he knocks it out of the part. Their version of one of my favorite holiday songs, Robbie Robertson’s lovely “Christmas Must Be Tonight”, is just as fine.

The rollicking, toe-tapping gospel of “Children Go Where I Send Thee” is righteous enough to make even the biggest sinner smile and dance along. And “Mary Had a Baby” makes a smooth, joyful noise of its own.

By the time the closing song, a soul-filled and soaring take on “O Holy Night” , was done I was filled with enough Christmas spirit to bring light to a cold, gray Autumn’s day…can’t ask more than that, can I? :-)

(Below, Hall and Oates performing "Christmas Must Be Tonight" on the Megan Mullally Show.)

High Steppin'

The Pimps of Joytime do make a joyful noise on this very fine, very funky CD. The Pimps cook up a heady musical gumbo that throws choice influences like Prince and Curtis Mayfield, the Neville Brothers and the Meters, Sly and the Family Stone and the Red Hot Chili Peppers and War and then they spice it up even more with potent dollops of Afro-Caribbean pop, hip hop, and punchy rock & roll. The result is almost too soulful, too funky, and too delightfully engaging for words….but only “almost” :-)

The Pimps hit the ground running with the jamming, mostly instrumental, title track and then they slide smoothly into the percolating love jam “My Gold” (featuring falsetto vocals that would do Curtis proud and some fine guitar work.)

The band keeps it in a solid groove from the mid-tempo strut of “She-Do” to the solid funk shuffle of “Long Ride” to the old school funk of “Workin’ All the Time” (featuring some great vocals, keyboards, and horns) to the extended jam “Street Sound” (with chanted vocals that remind me of War back in their prime and some nimble guitar and bass playing)…and they keep the musicianship up at that superlative, utterly infectious level throughout the entirety of the disc.

The yearning ballad “Be Good” slows down the tempo to nice effect and then the Latin-flavored “Bonita” kicks things back into sweet danceable groove.

The Pimps are tight and in the pocket all the way…on the haunting “San Francisco Bound” and the joyful reggae of “Tea Time” and the raucous, gospel tinged, guitar and organ driven finish to “Hey Mr. J” and onto to “H2O”, the funkiest eco-friendly song you’re likely to hear :-)

By the closing uplift of the hopeful “We Shall Find a Way” (buoyed by some great guitar and organ work and featuring a grand harmonica solo), I was completely hooked. The Pimps of Joytime are the real deal and High Steppin’ is a real fine…funky, soulful, rockin’, jammin’, enormously entertaining…CD. ‘Nuff said. :-)

Below is a video of the Pimps of Joytime jamming live.

Smokey Robinson and Linda Ronstadt

From the Motown 25 special, Smokey Robinson and Linda Ronstadt duet on "Ooo Baby Baby" and "The Tracks of my Tears".

Trav'lin' Light

The first time I remember hearing Queen Latifah she was rapping with sass and unabashed confidence on All Hail the Queen and I was smitten at once. I was smitten all over again the first time I heard her sing as part of her stellar turn in the underappreciated 1998 movie Living Out Loud. Her first CD of pop and jazz singing, The Dana Owens Album, was a treat and now she’s back with another tasty outing on a collection of classic jazz, pop, and blues tunes.

Trav’lin’ Light kicks off with a fine cover of Phoebe Snow’s “Poetry Man” and then slides smoothly into the rueful “Georgia Rose”, a bluesy ballad featuring some very distinctive, very accomplished harmonica by the ever-amazing Stevie Wonder. The immortal Toots Thielemans adds sweet harmonica harmony to the lilting “Quiet Nights of Quiet Stars.”

Latifah is just as home in the down home blues of “Don’t Cry Baby” as she is with the big band swing of Peggy Lee’s “I Love Being Here with You” and the propulsive jazz of “I’m Gonna Live Till I Die”. She is elegantly sublime on the title tune aided and abetted with some nice piano work by Joe Sample and appropriately saucy on her take on Nina Simone’s frisky “I Want a Little Sugar in My Bowl”.

10cc’s dream pop hit “I’m Not in Love” is effectively transformed into a big soul ballad while Smokey Robinson’s “What Love Has Joined Together” is presented as a grand mid-tempo jam and she steps right into the funky, sassy spirit of the Pointer Sisters’ “How Long (Betcha Got a Chick on the Side)”. “Gone Away”, co-written by Donny Hathaway and Curtis Mayfield, is another sweetly soaring soul ballad that the Queen knocks out of the park.

The disc ends with “I Know Where I’ve Been”, Latifah’s uplifting showstopper from the movie Hairspray .

Trav’lin’ Light is a wonderful little disc that is destined to spend a great deal of time in my CD player. (See video snippets of some of the songs below.)

The Band with the Staple Singers

From The Last Waltz, my favorite version of "The Weight" by The Band and The Staple Singers.

Rest in peace: Roebuck "Pops" Staples, Rick Danko, Richard Manuel.