There’s nothing like seeing a live show. Whether it’s rock n’ roll or opera, nothing compares to the live experience. For me, it’s where I can hear and feel the music. In today’s digitized world, I agree with the thinking that we don’t hear the full range of sound when we listen to music on a computer or a iPod. You can read more on this in a recent article from the New York Times (Thanks Rybs, upright bass player extraordinaire, for the Facebook post).

In the current age of digital downloads, touring is one of the few ways artists generate income. Yet even these returns are apparently diminishing. I think it’s important to get out there and support the musicians we love. Even if it means purchasing tickets through the evil corporate empire that is LiveNation and Ticketmaster, who get RIDICULOUS fees for…what exactly? I’m not sure. Apparently they aren’t certain either, because for the month of June LiveNation is selling tickets with no service fees. This may be a further sign of the declining industry or just the fact that people are no longer willing fork over $100 to see a big act.

OK, enough with the ranting. Below are a few SWIKs to watch for this summer. Check your local listings for more information. Be sure to look for local artists too. Obviously NYC is full of up-and-coming independent artists, but every city has a music scene. Go find it and support your local musicians.

La Roux, June 7 at Terminal 5
I wrote about La Roux earlier this year (see post). I love their 80s synth-pop Depeche Mode-esque sound. Since they’re mainly electronic, there won’t be much in the way of instruments at this show. After seeing what Imogen Heap can do on stage with electronic music, I have high expectations for anyone in this genre. They’re on tour. Although it’s too late for this NYC show, they may be coming to your town.

Janelle Monae

Imelda May, June 8 & 9 at Iridium Jazz Club
I still haven’t sorted out if I can get tickets to this show or if they were only available via a bizarre Facebook lottery. Imelda May (who you’ve read about in SWIK Music several times) is slated to perform with Jeff Back in a Les Paul tribute at Iridium. She performed with him on the Grammys this year so I anticipate a great show. Iridium is across the street from my office, so I can just go over and harass them until they let me in.

Norah Jones, June 9 at Prospect Park
I expect the park will be swamped with the bourgie families of Park Slope picnicing at opening night of Celebrate Brooklyn, but I’ll squeeze in somewhere to hear Norah Jones. Her recent album The Fall is fantastic. Her vocals remain as pristine as ever, but the music and tone is very Tom Waits inspired. I would be quite happy if she skipped all the mega hits from her first album. Her last three records, on which she mainly sang her own songs rather than someone else’s, are far superior. Jones has grown up performing, so I’m confident she’ll put on a great show.

Omara Portuondo with Orquesta Buena Vista Social Club, June 24 at Prospect Park
If you have not seen the documentary and listened to this amazing album of Cuban musicians, then do it now. The Buena Vista Social Club was a music and dance venue in Havana, Cuba popular in the 1940‘s. In the late 1990‘s Cuban musician Juan de Marcos Gonzalez and American blues guitarist Ry Coder went back to Cuba to find these musicians and record with them. There was an album and then eventually some live shows that were turned into a documentary of the same name. German director Wim Wenders won an Oscar and several other awards for the documentary. Portuondo is the only female singer on the album and featured on the documentary. Her career has spanned more than half a century. If she visits your neck of the woods, don’t miss this opportunity to hear her live.

Beth Orton June 30 at Rockerfeller Park
I saw Beth Orton a few years ago at an outdoor show and she’s back again. Although she hasn’t done an album since 2006’s Comfort of Strangers, this mellow folk-electronic singer-songwriter puts on a wonderfully intimate show. If she’s not playing live in your town, pick up her albums and relax with a cool glass of white wine as you surround yourself in her wonderful vocals.

Joan Jett July 8 at Vernon Downs Casino
No, I’m not going to trek several hours upstate to see Joan Jett. She’s on tour, but so far nothing is scheduled for NYC this summer. I’m sure she’ll get around to playing here eventually so I’m not too concerned. She’s all over the US though, Chicago, Atlanta, as well as a ton of state fairs in the mid-west. She’s opening for Green Day on several UK and European dates. If she comes anywhere near your town, go see her. You won’t regret it. Read more about more about Joan on my recent SWIK post.

Lovewhip July 17 at The Venue in Freeport, ME
I became a huge fan of Empress Erin and Lovewhip after seeing them in New Haven, CT last year (see post). They are a great Boston-based electronic funk dance band. I’m hoping to get to Freeport, which is not far from where I stay on Sebago Lake in the summer. If you live anywhere in New England, check their website for shows. It’s great booty-shakin’ music, perfect for summer. If you can’t see them live, pick up their latest album Love Electric, for some solid running tunes.

Cyndi Lauper July 21 Town Hall
I covered this SWIK Music Icon in one of my early posts last year. She’s on tour supporting her new album Memphis Blues. The album comes out at the end of June. I’ve already pre-ordered it. She’s done a great job with other genres in the past, so I’m sure this one won’t disappoint. That said, don’t expect a rehash of “Girls Just Wanna Have Fun” on this tour.

M.I.A. July 24 at Governors Island
You may remember M.I.A. from her very pregnant Grammy performance last year upstaging the bad boys of hip-hop in her poka-dotted mesh jumpsuit. I wish that I had gone to see M.I.A. several years ago when she was new and playing free shows in Central Park. Now she’s a megastar with her own record label and an obnoxious attitude to boot. Love her or hate her, she’s one of the few female voices in hip-hop today and currently the only Sri Lankan one. She’s touring with a few bands from her label. I’m sure it will be a great show. Unfortunately, I will likely be in Maine this weekend for the all important Camp Kaszynski (“not the summer camp you remember”) organized by my fabulous cousin, Sabre. So I will be M.I.A. at the M.I.A. show, but I hope someone will fill me in on her performance.

Kim Gordon

Lilith 2010 July 31 at PNC Bank Arts Center in Holmdel, NJ
As I mentioned in the 1989 post, Sarah McLachlan has brought back the Lilith Fair this year. She’s supporting her new album, Laws of Illusion, which will be available on June 15th. Don’t be silly and write this off as some sort of hippie-lesbian chick festival. While there will be a lot of folk-inspired singer-songwriters, expect some surprises like Cat Power. The line-up changes from city to city so check your local listing. Carly Simon is slated for several stops. I’ve seen McLachlan before and she’s amazing. Unfortunately, with Sonic Youth playing around the corner from my apartment on the same night, um, guess where I’ll be on the 31st? No, not at the PNC Arts Center in Holmdel, New Jersey.

Sharon Jones & The Dap Kings, August 7 at Prospect Park
Yes, I WILL finally go to see this funky soul sister (see related SWIK post). I still can’t believe that I never went to see them at Southpaw down the street from my apartment. She used to play there all the time. This summer she’s in Prospect Park, also around the corner from my apartment, so really I have NO EXCUSE. Plus I’ll be on sabbatical form work so I can get there early and get a good spot on the grass. Jones & The Dap Kings are on tour supporting their amazing new album I Learned the Hard Way.

Ingrid Michaelson August 21 at the L.L. Bean Concert series in Freeport, ME
Last summer I saw Madeline Peyroux here (see post). These shows take place next to the original L.L. Bean store, which is open 24 hours a day, 364 days a year (they close on Christmas day). There’s no better way to combine shopping for high quality fleece pullovers, down sleeping bags, and of course hunting rifles, with a relaxing live concert. I covered Michaelson in the SWIKs I Missed post. She’s a great singer-songwriter and will be perfect under the stars with a folding chair and some wine.

I’m not certain that I’ll get to all these shows, but I do plan to make an effort. I’ve included a list below of additional SWIK concerts you may want to check out. I’ve also listed a few of the boys coming to town because they’ve been known to put on some decent live shows as well. Overall, I’m looking forward to a great summer. If you happen to be in NYC or near Sebago Lake in Maine, send me a note and maybe we can meet up at a show. Or just let me know who you’re planning to see this summer. I’m sure I’ve missed some SWIKs here.

June
3 - Lil’ Kim at The Fillmore: I missed this hip-hop legend, but check to see if she’s coming to a city near you. I imagine she puts on quite a show.
23 – Goldfrapp at the Hammerstein Ballroom: Amazing British electronic/synthpop duo supporting the new album Head First, which will get it’s own post if I make it to the show.
25, 26 – Maxwell & Jill Scott at Madison Square Garden: Yes, Maxwell is a man. What a man he is. No one else could have covered Kate Bush’s “This Woman’s Work” and done it justice. He’s on the SWIK list since he’s playing with Jill Scott on this tour. Expect a night of sexy sultry R&B.
30 – Carole King at Madison Square Garden: This SWIK Icon is recreating her 1969 debut show at the Troubadour in L.A with James Taylor. Unfortunately, while I’m interested in seeing King, I don’t think that I can sit through an entire James Taylor concert. (Sorry Phyliss. Hope you enjoy the show, girl)

July
4 – Rosanne Cash at Governors Island: Read the related SWIK post. She’s amazing, her new album The List is beautiful. She’s doing some touring, so see if she’s coming to a city near you.
6, 7 & 9 – Lady Gaga at Madison Square Garden: These shows are all sold out of course. I hear she puts on a great show. If you have tickets, I’m kinda jealous.
16 – Joan Amratrading at Nokia Theater: I saw her several summers ago at a free show with one of my early music-pushers, Zachary. She’s amazing. If you don’t know this legendary singer-songwriter, check out her new album This Charming Life.
20 – The Go-Go’s at The Fillmore: Unfortunately, it looks like I will miss this supposed farewell NYC show as I’ll be in Maine this week with Sadie & Nowell. I would love to see the Go-Go’s, because I’m sure now that they’ve all been through rehab they put on a solid show. But I’m inclined to believe that this won’t be the last show they ever do in NYC.
21- Berlin at B.B. King’s Blues Club: Classic 80‘s music, see my very first SWIK post for more info.

August
1 – St. Vincent at Summer Stage: This quirky singer-songwriter, real name Annie Erin Clark, is worth a listen. If I’m i n town, I may try to check out her show.
5 – Robyn and Kelis at Webster Hall: What can I say? Ok, I’ll say it. I love cheesy pop music. I hope that my BFF Sasha will be in NYC this week. If so, we’ll find a sitter for her kids so we can check out this show with all the teens and twenty-somethings.
6 – Corinne Bailey Rae at Governors Island: I dig her mellow neo-soul sound. I’m warming up to her latest album, although I still prefer her first. She’ll get a post at some point whether I make it to this show or not.
12 – Rihanna and Kei$ha at Madison Square Garden: Pop music you can’t escape, but why would you want to? While I really dig Rihanna’s latest song “Rude Boy” and I do get a kick out of Kei$a, I’m not sure that I could sit though an entire show. Like their recent hits, they’re all over the US this summer.

A few of the boys on tour
U2 (the never-ending tour)
Peter Gabriel (His US tour is done, but if you’re in Europe this fall…)
Kings of Leon (classic rock at its current best)
The Black Eyed Peas (I like to dance so I dig them and imagine they put on a fun live show)

New York City
Summer Stage
June 14 Baaba Maal
June 27 Gil Scott Heron
Aug 16 Public Enemy
Aug 22 The Specials
Prospect Park
July 9 Ozomatli
July 20 Rufus Wainwright
August 3 The Dead Weather

Although in her early 30‘s, Heap is truly a child of the internet. She uses social media to connect with her fans and create an interactive show. It begins with the set list. Fans vote for the songs they want to hear at the show (UK readers you can vote now for the next leg of her tour). From what I understand she even pinpoints the set list for each city, but she doesn’t stop there. For her song “Earth,” a beautiful multi-layered vocal piece, rather than bring a choir or additional singers, she invites a fan sing with her on stage.  Not just anyone though. Fans send audition videos on YouTube and she selects someone to sing with her in each city on her tour. Jessie Nelson, who joined her last week in NYC, was amazing.  Later in her set, Heap composed a song on stage. She asked the audience for input (i.e. what key? how fast?) then she sat at the piano and went back and forth across the stage adding a few other electronic elements to create something entirely new, live. She mixes the song and eventually posts it on her site. She charges $1 to download and the money goes to a local charity that fans had proposed before the tour.  (For this NYC show it was the Lower East Side Ecology Center.) The photo for the download is even selected via the photo sharing site Flickr from photos fans take at the show that night.

Sorry, the music player is still not working. Click here to listen to a mix of Imogen Heap’s set list from the NYC show.

It may all seem a bit gimmicky, but it was extremely well done and only accented her talent. Heap writes, performs and produces all of her music. She won a Grammy this year for Best Engineered Album, Non Classical. It may sound geeky, but there are few female recording engineers so the fact the she creates the entire album from start to finish is impressive. Live, she is more of a conductor on stage, playing her own instruments and directing band members. For the audience, she’s a bit like a friendly music teacher, explaining how she’s creating a sound or coaching us through rounds for a sing-along to “Just for Now.” She also records sounds while performing then adds them to a loop for an even fuller effect. Yes, it’s all very electronic but this woman can rock out as well. Whether she’s pulling out the ‘keytar’ and strapping it around her body or adding some drums to another track. While her music generally is on the more ethereal side, the woman can get heavy when she wants to and she did on several tunes.

I was also impressed that she came out on stage and introduced her two opening bands, Geese and Ben Christophers, explaining a bit about who they are and why she likes them. They all then joined her set, becoming part of her band. But Heap sealed the deal for me when she said that she didn’t do encores. She told the audience she wasn’t coming back and that she would play straight through. I have to agree with her. What’s the point of running off the stage when everyone knows you’ll be back to do those final hits? She played for nearly two hours. She gave it her all and the audience knew it. My faithful concert companion, Michelle, and I certainly knew it. Standing for two hours in heels or even flip-flops becomes uncomfortable at a certain point. Despite a relatively large venue, the show was intimate. Heap closed with her hit “Hide and Seek” from her album Speak for Yourself and walked off the stage while the audience harmonized with her.

Unfortunately, Heap covered only one song from her former band Frou Frou, which was where I first heard her. The song “Let Go” is on the soundtrack to Garden State. A great indie film, starring Zach Braff and Natalie Portman, which had an even better soundtrack. I recently pulled out Frou Frou’s album Details and can’t stop listening to it.

Heap is on tour for the rest of the summer. If you have the opportunity to see her live, don’t miss it. Until then, pick up her latest album Ellipse. You should probably get Speak for Yourself too. While her sound is 80’s electronic, she creates something new and unique. I also believe that she is genuine. Something rare in the music industry these days. Heap understands the power of connecting with her fans and being herself. Some have said that she is bringing music back to its roots, meaning the relationship between musician and fan. She’s a regular on Twitter, but not with posts about what she’s eaten for breakfast. She involves fans in her music-making process, collecting input from them. She selected the collaborators for the artwork on Ellipse from photos submitted by fans via Flickr. The examples go on and on. Others have said that Heap’s spending far too much time on marketing. I disagree. She’s connecting. Yes, it takes effort. If you believe in what you’re doing and your music, why wouldn’t you take the time? It only makes sense then to further that connection and bring it to the live performance, inviting fans to perform and creating music with the audience. Live is the true test. After all the Tweets and videoblogs are posted, the strongest bond between a fan and a musician forms at a live show. Heap delivers. She connects. And we can be grateful that musicians like her are still out there. As I plan my summer concert schedule, I only hope that it holds many more inspiring connections.

I vaguely recall hearing “I Love Rock N’ Roll” on the radio and shortly thereafter heading to the mall to buy the album. What can I say about listening to Joan Jett for the first time? I can’t remember actually, because I listened to the album over and over again. It’s one of those albums that’s in my blood from start to finish. I know it by heart. Apparently my mother does too and claims to like her (see holiday post). Jett’s music was loud, her voice rough. She played guitar and her songs were filled with pain and anger. It also sounded like a lot of fun. Songs like “Nag” could easily be about parents. Other songs spoke to my broken 6th grade heart. Shouting “Bits and Pieces” and “Love Is Pain” helped me recover from the end of my very first relationship. Let’s face it, holding hands while roller skating was serious stuff and required an appropriate break-up soundtrack. Thank you, Joan.

Click here to listen to some Joan Jett while you read.

Jett’s second album, Bad Reputation, which was actually recorded before I Love Rock N’ Roll but released afterwards, had more angst ridden songs. “Bad Reputation” made me start to think that maybe I wanted one. At least, I thought, if I had a bad reputation or any reputation, I certainly shouldn’t care about it. Jett’s other hit from this album was the provocative “Do You Wanna Touch Me” which brings powerful attitude to a song originally written and recorded by a man. Granted, at the time a bit confusing and seemingly forbidden for a young Catholic school girl, but a great song none-the-less.

On her third album released in 1983, simply titled Album, the song “Fake Friends” resonated amid the daily trials and tribulations brought on by mean pre-teen school girls. One day someone is your best friend, the next she’s not speaking to you. Guys just beat the crap out of each other at that age, which seems much more reasonable. Jett’s music made this difficult time bearable, which is what rock n’ roll was supposed to do. It’s an outlet for anti-establishment sentiments and overall rebellion. Jett covered a lot of classic rock tunes on these albums. She took songs mainly written and recorded by men then made them her own. She was critical to my musical upbringing.

Fast forward to last month. No more fake friends and comfortable with my admirably bad reputation, I ventured out to see The Runaways with Michelle. The movie, based on a novel by lead singer Cherie Currie and produced by Jett, is about one of the very first all female rock bands. Jett and the rest of The Runaways were all under 18 at the time. The movie focuses on Jett and Currie, the band’s rise to fame oversees, and their eventual descent into drugs. Yet the film is inspiring, knowing Jett’s eventual place in rock n’ roll history. Reviews of the film were mixed. While not Oscar-worthy, I liked it. Dakota Fanning as Currie and Kristen Stewart as Jett are excellent. It didn’t last long in the theaters, so be certain to add it to your Netflix list.

Click here to listen to The Runaways.

After The Runaways, Jett went on to put together her band, The Blackhearts. Twenty-three (yes, 23) record labels rejected her first album. So she formed her own label, Blackheart Records, with manager Tony Laguana and put out her own music. The rest is, as they say, history. Jett went on to have several hits and continues to tour today at the ripe old age of fifty-something.

While I never managed to play guitar, thankfully Jett inspired many other young women to do so. In the 1990’s, along with bands like The Slits and The Runaways, Jett influenced a generation of young women who picked up instruments and began the riot grrrl movement. Riot grrls deserve their own post and I will get to that one eventually. I missed most of the movement as I was far too steeped in goth music durning the late 80‘s and early 90‘s to be a riot grrrl. Suffice to say, it was essentially an ‘underground feminist punk’ movement. Bands like Bikini Kill, Sleater-Kinney, and Bratmobile sang in-your-face songs about sexuality, domestic abuse, rape, and female empowerment. It was a movement in the sense that it went beyond the music. There were zines (self published magazines) and art as well as political activism. Mainstream media often made them out to be ridiculous or over-sexualized and rarely took their politics or music seriously. Much the same way that the Runaways were treated two decades earlier, as a novelty rather than a band of talented rock musicians who happened to be women.

Click here for some riot grrrls and new music mentioned below.

Love of Diagram's Antonia Sellback

Last month, I was delighted to find that they are still out there. Once again, Michelle joined me for the show. We went to a semi-underground club in Brooklyn to see a stellar bill of female-fronted bands. The club was in a warehouse with no sign on the door, cheap beer, and lots of cigarette smoke. The line-up included Love of Diagrams from Australia, a solid post-punk band with a stand out female drummer, Wetdog from London, and Partyline, featuring Allison Wolfe of Bratmobile, one of the original riot grrrl bands. It was an inspiring night of rock music. I need to thank the man, yet another music-pusher, who invited me to the show.

While rock n’ roll is not for everyone, it provides a great outlet for strong emotions. We all get frustrated with life. Screaming to a crowd of strangers that you don’t give a damn about your bad reputation helps release the tension. Banging on drums, wailing on a guitar or bass are also valuable creative outlets. So ladies, don’t let your daughters grow up to be pop stars. But do, DO get them some guitar lessons or send them to rock n’ roll band camp. They will thank you. Who knows? Maybe in 20 years, four or five instead of just two of them will make a top 100 guitarists list.

“I’ve lost the use of my heart, but I’m still alive, still looking for the light…
I’m a soldier of love, every day and every night, I’m a soldier of love, all the days of my life.”

Before going further, it’s important to note that Sade (pronounced shah-DAY) is the name of the entire band of which Nigerian born Brit, Helen Folasade (Sade) Adu is the lead singer. In the early 1980‘s Adu sang with a seven piece latin soul band, Pride. Record labels took an interest in the song “Smooth Operator,” co-written by Adu. When she finally signed on with Epic records as a solo artist, she took three band members with her, Stuart Colin Matthewman (guitar/sax), Paul Spencer Denman (bass), and Andrew Hale (keyboards). Together they are Sade and have released only six studio albums in 25 years. Yet, Sade has sold more than 50 million albums and Adu is considered by some to be the most successful female artist in British history. In 2002 she became a member of the Order of the British Empire. In other words, she is a knight. She is Dame Sade Adu.

When I first saw the video for “Smooth Operator,” I was drawn in by the smooth sultry voice. After seeing Sade on Friday Night Videos, a few years later I saw her in the movie Absolute Beginners, which starred David Bowie and Patsy Kensit. Adu played a night club singer and sang “Killer Blow.” I was hooked. There is no voice like Adu’s. She cannot be compared to anyone. Like the iconic voices that came before her, Aretha Franklin, Billie Holiday, or Sarah Vaughn, others may sound like her, but she sounds only like Sade.

Her music combines elements of R&B, soul, jazz, and funk. Every album sticks to a consistent sound that is easily identifiable as Sade, yet each album captures something entirely unique. While the music is always solid, it’s Adu’s lyrics and vocals that attract me to these albums. At times listening to Sade, one almost thinks that this could be elevator ‘muzak’ if it took a wrong turn. Yet, it never does. The sound is soothing, but layered and thoughtful with an aloof sexiness. I have a friend who thinks that Sade’s music is too depressing and sad, but I disagree. While they may be melancholy and have an ethereal soul quality, Sade albums don’t depress me. They have a refined, sultry, and almost secretive sound. The music overtakes you like a quiet storm rather than a raging thunderstorm. Her lyrics are honest, sometimes raw and painful, but also hopeful and soothing.

I could go through each of Sade’s albums and reminisce about a particular man or relationship from that period of my life. But I won’t. I’m moving on. I’m a soldier of love. I will, however, mention a few stand out songs from each album. I recommend picking up all six albums. If that seems like too much Sade, the Best Of includes songs from every album up to Love Deluxe. It’s an excellent collection, but you’ll still need to pick up Lovers Rock and the new album, Soldier of Love. I also suggest checking out Sade’s videos, links are included here. Before she became a singer-song writer, Adu was a fashion designer. She creates all of her own clothes and the videos have their own style and taste, perfectly suited to the music.

Sade’s first album, Diamond Life, is a fairly straight ahead jazz vocal album. “Smooth Operator” is the most well-known track and pulls you in with a bit of a samba in the background. “Your Love Is King” has a warm catchy groove and a sexy saxophone. It makes you want to slowly sway your hips. Lyrics like “you’re making me dance, inside” and “it’s making my soul sing,” capture that sly smile of someone in love. Another favorite on this album is “I Will Be Your Friend.” It’s a simple and honest song about being there for a friend, to pick up the pieces, until the end of time. Diamond Life was a departure from my musical tastes at the time. It felt like adult music compared to the Go-Go’s and all the 80’s new wave pop I listened to. Her music also struck something deeper emotionally. I had the cassette and played it over and over again. I also had a video with all the songs from Diamond Life and an interview with Adu.

1985‘s Promise moved from the straight ahead jazz sounds into a more ethereal realm. This is one of those albums that feels like a part of me. I spent a lot of time listening to it and can probably recite the lyrics to every track. “Is It A Crime” is a six minute song about love and fear. The song begins softly, but the crescendo in the middle of the song makes you feel like a wave is about to crash down upon you. Adu’s voice is powerful. I find it impossible to not get pulled in. “The Sweetest Taboo” is catchier and one of the more upbeat songs on the album. With songs like “You’re Not the Man” and “Never As Good As The First Time” there are no missteps on this album. Even the song “Maureen,” although it’s about a good friend of Adu’s, who died of breast cancer, the music brings sweet nostalgia rather than brooding sadness.

Stronger Than Pride released in 1988 has a Latin feel to it. The title track “Love Is Stronger Than Pride” is an anthem for those of us silly enough to wear our hearts on our sleeves. “Paradise” and “Nothing Can Come Between Us” are catchy love songs. Yet not necessarily about romantic love. These songs, respectively, could easily be about the love for a child and the bond between band members. This album came out when I was in college. I stole her look and went around dressed in all black clothes, hair pulled back, red lipstick, and gold hoop earrings. An attempt to be sophisticated and mysterious, like Sade’s music.

After this album, Sade began to take longer breaks between recordings. Love Deluxe arrived in 1992 and leaned more towards R&B. For me, “No Ordinary Love” is one of the most extraordinary songs ever written. The deep bass line lulls you into the slow groove. The lyrics are simple, and almost excruciatingly painful, but Adu’s voice is somehow smooth and comforting. Hasn’t everyone had a love that was not ordinary? Didn’t you give all of your love and have it taken away? If so, this song is vital to recovery. While most of this album is heartbreaking, it’s possible that this is the best of the six albums. It also includes beautiful love songs like “Kiss of Life” and “Cherish the Day,” both about the restorative power of love.

Lovers Rock arrived in early 2000, shortly after I arrived in NYC. The term ‘lovers rock’ also refers to a style of romantic reggae music. It’s interesting to note that Adu has a daughter with a Jamaican musician, whom she dated in the mid-90’s. Once again, Sade did not stray far from their sound on this album. Yet the album has more underlying rhythm and dubs, making it an all around funkier album. While the album is in no way a reggae album, the influences are there in songs like “Flow” and the title track. This album will always remind me of my close circle of friends from this era of my life. We had all moved to NYC from different places to struggle through graduate school. While the songs meant different things to each of us, the sentiment from the title track about having something to cling to in a storm, be it friends or a lover, resonated for all of us. The song “By Your Side” is also about being there for someone, no matter how difficult things get, with a comforting note that “in no time, you’ll be fine.” They were a tough few years, all bearable because of these incredible friends. (Y’all know who you are, so I don’t need to name names here.)

Now, ten years later, Sade has a new album. Recorded at Peter Gabriel’s Real World studio in London as well as at a studio in Spain, Soldier of Love seems a natural progression from the last. There are still a few reggae beats, but the title track “Soldier of Love” is more aggressive and what I would call hip-hop-ish or the slowed down version called trip-hop. Overall the songs are more eclectic, ranging from the piano on “Morning Bird” and acoustic guitar of “The Safest Place” to hymnal-like vocals on “Long Hard Road.” Once again, not a single misstep. It’s an amazing album from start to finish. I will listen to it again and again. My only criticism of this album, and the last one, is the reliance on drum machines for many of the songs.

With these limited releases over the past 20 years, Adu has clearly prioritized her personal life over her career. As she says on her web site, it’s also a matter of integrity and authenticity. “I only make records when I feel I have something to say. I’m not interested in releasing music just for the sake of selling something. Sade is not a brand.  I’m incredibly proud of it.”

I find this refreshing in today’s media and money driven music world. While I love plenty of industry driven pop music, it’s exciting that an artist like Adu can still remain relevant and sell albums. The albums are clearly Adu’s brainchildren. All the band members go off and do their own thing until she calls everyone back together to record and tour.

On her website, Adu talks about her love for live performance. “If you just do TV or video then you become a tool of the record industry. All you’re doing is selling a product. It’s when I get on stage with the band and we play that I know that people love the music. I can feel it. Sometimes I yearn to be on the road. The feeling overwhelms me.” 

I saw her in concert on the last tour and she puts on an amazing show. Yes, I also own a live concert CD and DVD. The live recordings have an even fuller sound than the studio albums. Don’t miss her on tour for this new album.

As I reflect on all these albums and Sade’s musical progression, each one seems to build on the last, yet brings an entirely new sound. I never tire of Sade. The albums remain as good today as when I first heard them. While her main topic is love, her lyrics and the music never veer off into schmaltzy or sappy. If Sade is a solider of love, I definitely want to be part of her sultry and mysterious army. I think anyone can be part of this army, walking through the desert with a funky groove. It’s not just about weathering the storms of love, it’s the battlefield of life. So whether it’s surviving the ups and downs of relationships or the challenges of creating a life that allows you to pursue a passion, we are all soldiers of love.

“I am love’s soldier
I wait for the sound
I know that love will come
Turn it all around”

Hear Music
For some reason I can’t get the code to add a Grooveshark widget this week in order to post the music player. If you want to hear the SWIK Sade Mix, unfortunately, you’ll have to go to the Grooveshark site.

First, a brief history and basic information to provide some context: The Republic of Haiti is the second oldest republic in the Western Hemisphere, following only the United States. Haiti was the first post colonial independent black nation in the world, and (from what I’ve read) the only one to gain that independence through an initial slave rebellion. French is the official language, but Haitian Creole and other Caribbean languages are also spoken in Haiti. Creole, or kreyol, is derived from French and mixes African languages with Portuguese and Spanish.

Christopher Columbus arrived on what became the island of Hispaniola in 1492. The Spanish settled half of the island, which became the Dominican Republic. Later the French arrived and settled on the other half of the island, eventually called Haiti. Shortly thereafter, the Taino and Arawakan people who lived on the island were entirely wiped out by European settlers and their new diseases. The land proved fertile for growing tobacco, cotton, and cocoa. With few native people left to enslave, the French imported labor from Africa. Simultaneously while the French brought Roman Catholicism to Haiti, religious traditions also arrived with people from Africa, including West African Vodun. Vodou, as it is called in Haiti (Voodoo in the U.S.), has much in common with Catholicism. Vodou is not the dark, scary cult that many movies have made it out to be, but that is a topic for another post. Vodou certainly brings some amazing musical traditions.

The music of Haiti is diverse and fascinating. Naturally with the ties to former French colonies in West Africa, you can hear the similarities in their musical traditions. Rara is music closely associated with Vodou processions and rituals, often involving call and response. Kompa, or compas, music is modern meringue and similar to the Latin music of the same name. Mizik rasin or “roots music” mixes American rock n roll with Vodou and reggae. From what I’ve read mizik raisin evolved as a reaction to the oppressive Duvalier regime in the 1970’s. Of course there are also Haitian rappers as well as classical performers.

Toto Bisssainthe

Marie Clotilde “Toto” Bissainthe was a Haitian singer-songwriter who combined traditional music with contemporary arrangements. Although she was born in Haiti in 1934, Bissainthe spent most of her life in France. An actress as well as a singer, she was a founding member of Griots, the first African theater company in Paris. One of her most famous roles was in the film L’homme sur le quais (The Man by the Shore) about the brutal rule of Francois “Papa Doc” Duvalier. While leading one of the most repressive and brutal regimes of the modern era, Papa Doc mixed violence with the mysteries of the Vodou religion to terrorize the nation. The movie provides a dark look at the sadness and sorrow of the era through the eyes of a young girl.

Bissainthe has a deep and raspy voice; reminiscent of French singer Edith Piaf and at times Nina Simone. Her music, in the rara and Vodou traditions, is mainly bass and percussion with some piano. Her ballads are haunting and beautiful, but she also mixes relentless grooves that capture the Caribbean sound. Pick up her wonderful Retrospective, although you may feel more like you’re in a smokey café in Paris’s Marias district rather than in Haiti. Papa Loko is a wonderful example.

Emeline Michel

I checked out Michel’s most recent album Reine de Coeur (Queen of the Heart) and have no idea what took me so long to listen to her music. She is well known around the world and has been writing music and performing for more than 20 years. She sounds like a velvety jazz singer with a bossa nova sound that weaves in upbeat African rhythms. This genre gets several names including the generic “World Music” or “World Jazz” and “Afropop.” These titles all seem uninspiring and inaccurate, one of the many reasons I get so frustrated with musical genre labeling (see related SWIK post). Michel’s music is beautiful. Reine de Couer was recorded in Haiti and Burkina Faso (West Africa) as well as in the U.S. (New York) and Canada (Montreal). You can hear sounds from all these locations intertwined on this magical album. Some songs make you want to get up and dance or at least motivate to mop the floor a little faster. But she also has some stunning mellow songs that almost brought me to tears. She covers “Twa Fey,” a traditional song of Vodou chant and drumming that is intended to bring a communal consciousness. “Twa Fey” or the three leaves, is about exile, survival, and remembrance. Sentiments the people of Haiti are in great need of right now.

Twa fey, twa rasin,
O Jete bliye, ramase sonje
Mwen gen basin mwen
Twa fey tombe ladan’n
Jete bliye, ramase sonje

Three leaves, three roots,
Oh To throw down (is to) forget, to gather up (is to) remember,
I have my basin,
Three leaves fall in,
Throw down (and) forget, gather up (and) remember

How You Can Help Haiti
It is estimated that nearly 200,000 people have died as a result of the earthquake in Haiti and a million people have been displaced. When disasters of this magnitude strike, it is often difficult to know what to do. For many of us donating money is the quickest and easiest way to help. Yet this can be complicated. How do you know where your cash is headed and if it’s been put to good use? For some useful guidelines on donating check out Charity Navigator and their list of organizations doing work specifically for Haiti.

One reminder: there is less overhead (read administrative fees) when you donate via txt message on your phone or over the internet. In addition, you can be more effective giving to just one or two organizations, rather than several. Every donation requires essentially the same administrative costs, so the more you give to one place the less is spent to process the donation. I generally focus all of my giving on YouthAssets, a non-profit of which I am a board member. As a new organization, I feel strongly that I should focus my energies and financial giving there. That said, when a crisis hits, I do want to help in a specific area. YouthAssets does not do work in Haiti so I chose to donate to Yele Haiti, an organization founded by musician Wyclef Jean in 2005. (Text Haiti to 501501 to donate $10.) They have several grassroots programs in education, sports, the arts and the environment. Since Yele has been in Haiti for almost five years now, and Jean has been going back to do charitable work for more than 10 years, I anticipate that the organization will be there long after the immediate disaster relief is needed. Yele Haiti came under fire recently for tax returns of a few years ago. From what I’ve read, the allegations were debunked by tax experts who said that the problems were from some sloppy accounting and have since been fixed.

Once I do some additional investigation, in addition to Yele Haiti, I will likely donate to a women’s organization with a base in Haiti such as Dwa Fanm (“women’s rights” in Creole) or a microfinance organization like FINCA, which will give much needed loans to low-income entrepreneurs. But that’s just me. Many organizations can effectively and efficiently do the immediate work needed right now such as the Red Cross, Doctors Without Borders, Americares, Oxfam, or Save The Children. Every little bit helps and don’t forget that there will still be work to do six months, and even years down the road. Be sure to listen to some Haitian music while you’re making your donation.

After a wonderful little “staycation,” as the kids call it, returning to work was brutal. Unfortunately, Monday Jan 4 arrived along with some sobering news about an ex who, apparently, I wasn’t entirely over. According to Facebook his relationship status is now “In A Relationship.” (Ok, I get it. We live in the 21st century. Everyone we’ve ever dated, unless you can’t remember their names, can be connected to you. Is this a good or a bad thing? I have no idea.) In addition to returning to work and seeing the relationship status update, I was terrified about the steps required for some major life changes in 2010. My friends and I have declared 2010 “the year of makin’ it happen,” in contrast to 2009 which was “the year of no regrets.” I’m eager to make things happen this year, but also scared – to the point of paralyzed – about taking the required first steps. As I paced around my (very tiny) apartment (one change will be a new home), Yaz’s classic 80’s dance song, “Situation” kept running through my head. Yet the album I spent most the week listening to was La Roux’s self-titled debut album.

La Roux’s album came out in September. I first heard them on one of Slim’s mixes and later read about them in Bust magazine. Last week, their song “As If By Magic” was the pick me up I needed. It’s the catchiest song on the album. The lyrics, “as if by magic, thoughts of you are gone,” remind me that the feelings for this man will fade. If I just, “keep my head in the clouds and don’t look down.” (Note to self: just move on.) The music is all synthesizers, but co-writer and producer, Ben Langmaid, adds a modern edge. Named for her red hair, vocalist Elly Jackson brings emotion, and even soul, to La Roux’s well crafted pop tunes. Her lyrics are simple, but that’s what we want from pop music (at least that’s what I want). The music makes you get up and bop around the office/living room/kitchen.

La Roux had a hit in the U.K. with “In For The Kill,” which debuted at number 11 on the UK charts and eventually went to number 2. They were included on several 2009 best of lists in the British music press. Their song “Bulletproof” is another good one and went to number 2 in the U.K. The backbeat to “Bulletproof” reminds me of Depeche Mode’s “Just Can’t Get Enough”. While “Quicksand” has a tinge of Prince’s “When Doves Cry.” I had to listen to the album a few times before I really got into it, but now I keep coming to back to these songs. Obviously, I have an affinity for this neo-80’s sound. Of all the bands I’ve covered in SWIK Music, La Roux, more than the others, comes straight out of a playbook written by 80’s synthpop bands (or new wave, pick a genre name) such as Depeche Mode, Erasure, The Eurythmics, The Human League, and Yaz (Yazoo in the U.K.). London Times reviewer, Pete Paphides joked that La Roux’s musical open-mindedness “extends to all four of the bands that Vince Clark was in during the 1980’s.” I thought this was hysterical. But what does this mean? Who was Vince Clark? Ok. A little background on 80’s electronic music since I’ve been writing about so many new bands who sound like they’re from the 80’s.

While many bands had used keyboards in the 1960‘s and 1970‘s, think Beach Boys and Pink Floyd, only a few musicians had begun to experiment with all electronic music or put the keyboard, rather than the guitar, up front. In the early 1980‘s keyboards and synthesizers decreased in price and offered an increased range of sounds. Early pioneers included Gary Numan (you remember the song “Cars”) and bands like Kraftwerk, O.M.D. (“If You Leave” from the end of Pretty In Pink), and The Human League (“Don’t You Want Me”). The aforementioned, Vince Clark was a founding member of Depeche Mode (“People Are People,” and later “Strangelove” or “Personal Jesus”). Clark only recorded one album with Depeche Mode, Speak & Spell. The band went on to achieve world-wide success, but at the time Clark supposedly didn’t like the direction the band was headed in and left.

This brings us to Yaz and “Situation,” a classic 80’s new wave anthem. After Depeche Mode, Clark formed Yaz with singer-songwriter Alison Moyet. Her deep, bluesy vocals, brought warmth to the synthesized sound. I can’t recall when I first heard “Situation.” I do recall waving my arms and dancing to it at the 18 and over dance club, Main Gate, on Sunday nights in Allentown, PA. (Yes, the very same Allentown that Billy Joel wrote about in his song of the same name.) This week, pulling up “Situation” was what I needed. I’m not sure if it was the chorus, “pick me up and shake the doubt, baby I can’t do without, move out, don’t mess around, move out, you bring me down, move out” or just the catchy beats that make me want to dance. Whatever. It’s a great song. I pulled out the album Upstairs At Eric’s, the first of only two recorded by Yaz. In addition to “Situation,” the album has several great dance tracks like “Don’t Go,” “Goodbye Seventies,” and “Bring Your Love Down (Didn’t I)” as well as some darker tunes like “I Before E Except After C,” which is really layered spoken word. Moyet, a SWIK in her own right, went on to record several solo albums and have numerous hits in the U.K. She has a powerful voice and writes some quirky tunes, almost a female Tom Waits. This means that her music is complex and even a bit challenging to understand, but if you do get into it you can hear the brilliance. She also has a sense of humor as evidenced by her work with British comediennes French & Saunders, the creators of the sitcom Ab Fab. Her last studio album came out in 2007. She recently released a greatest hits that I recommend picking up.

Yaz didn’t get much airplay beyond dance clubs in the U.S., but a few of their songs charted in the U.K. Although highly underrated, the album and the synth sounds of other early 1980’s bands likely influenced what became the heavier industrial sound of the late 1980’s and 1990‘s. Bands like Ministry, KMFDM, and Nine Inch Nails added a heavy, angry punk edge to electronic music.

And what about Vince Clark’s other two bands? That would be The Assembly and Erasure (“A Little Respect” and “Chains of Love”). You’ve heard of Erasure. No?

Maybe it’s nostalgia, but as I’ve said before, I’m thrilled that the 80’s are back and there are so many young bands putting a new twist on the synthpop sound. These were my formative years for music listening. Most of it provides a great pick me up or reminds me to pull out an older album, in this case Yaz, that makes me smile and dance. While I would prefer to dig up more 80’s music and take a longer walk down memory lane, right now it’s time to face the reality of my situation, get motivated to move out, and start on all the other things that I want to make happen in 2010. Of course, I can do that while I crank up “Situation.”

What are you makin’ happen this year?

As 2009 draws to a close and everyone compiles their best of lists, I’m taking the opportunity to cover a few new albums that I never got around to writing about this year. In the R&B category Mary J. Blidge and Alicia Keys released albums at the end of 2009. There were also some excellent greatest hits collections from Janet Jackson and Dolly Parton that I never reviewed. All of these women deserve their own SWIK posts. Unfortunately (or fortunately), there were so many great SWIK releases this year that there’s not enough time or space to cover everyone. In addition to some of my favorites mentioned in SWIK Music such as, Imelda May, The Raveonettes, Melody Gardot, Diane Birch, and Camera Obscura, following are a few new artists, at least new to me, that I discovered this year.

I’ll begin with one of my recent and most exciting discoveries. Earlier this month in one of my favorite magazines, Bust, I read a review of Florence + The Machine. British singer Florence Welch has been categorized as part of the soul-inspired indie rock movement. (Really? Yet another music sub-genre? Read more on the related post.) Welch’s vocals have a bluesy tone, but listening to her debut album, Lungs, which came out in July, I didn’t immediately think of soul music. Her overall sound reminds me of Jefferson Airplane’s Grace Slick. Jefferson Airplane was a pioneer of the psychedelic rock movement of the late 60‘s and early 70‘s. Their songs “Somebody To Love” and “White Rabbit” are classics. Some of Welch’s songs are mellow, but when she really belts it out she channels Slick. The sound is also reminiscent of the percussion crescendos of Siouxsie and The Banshees (see post). Welch’s voice is powerful and emotional while her lyrics are honest and heartfelt. Apparently she tends to write songs when she’s drunk or hungover, which brings a raw honesty to her music.

On the mellower side, I discovered Schuyler Fisk on one of Slim’s mixes (read more about Slim here). Her album The Good Stuff came out in January. Fisk is the daughter of Sissy Spacek and is also an actress. She’s done a couple movies and made several TV appearances, but her talent is truly as a singer songwriter. She had a small hit with “Paperweight,” used in the movie The Last Kiss. While The Good Stuff is mainly full of mellow guitar-based pop tunes, the songs range from folk to country influences. She sounds a bit like a folky Cheryl Crow. My favorite from this album is “Fall Apart Today,” which nearly brought me to tears when I first heard it. But the album has a diverse collection of tunes. Other stand outs are “Who Am I To You” and “Hello.” While the lyrics tend to be reflective and thoughtful, the overall sound is catchy.

Several months ago, I saw Ingrid Michaelson on Live from the Artists Den, a PBS series that features artists performing in unique settings. Examples include Alanis Morissette at the Judeson Memorial Church in NYC and Shawn Colvin at Christie’s (the auction house). (You can view them on the Artists Den website.) Michaelson performed at the Cape Cinema in Cape Code. Although her performance was simple, the music immediately pulled me in. Her album Everybody came out in August and I keep coming back to it when I’m relaxing or writing. She also fits into that indie-pop singer songwriter category that can be traced back to Joni Mitchell and more recently Sarah McLachlan. Michaelson had a hit in 2007 with “The Way I Am.” Her new album is less indie and more pop than her first. It’s full of simple and catchy well-crafted tunes with a bit of quirkiness.

A Fine Frenzy’s Alison Munro sounds similar to Michaelson, but with more of a piano base to her sound. One could say she comes from the Carole King through Tori Amos lineage, although she sounds like neither of them. Like Michaelson, her sound is more folk rock. Yet Munro’s songs are full where Michaelson’s are sparse. Her second album Bomb in a Birdcage came out in August, but I only recently discovered it. The more I listen, the more I enjoy the album.

Neko Case is one of those artists whose name I heard constantly for a few years before I finally picked up an album. She released Middle Cyclone in March and is considered part of the ‘indie pop folk lineage.’ I would tie her more closely to country music rather than folk. Her vocals remind me of Loretta Lynn and Patsy Cline, but her voice has a powerful haunting sound that draws you in. The album has made many best of 2009 lists, which is rightly deserved. She was recently nominated for a couple of Grammys. While Middle Cyclone is growing on me, I prefer her album Blacklisted from 2002.

I first read about Imogen Heap in an interview with Annie Lennox of the Eurythmics. Heap’s album, Ellipse, came out in August. While her voice is softer than Lennox’s, she certainly channels some early Eurythmics. Ellipse reminded me of the very first, and relatively unknown, album by the Eurythmics called In The Garden. Her sound is also reminiscent of another indie 80‘s singer songwriter, Kate Bush (see 1989 post). Her sound is very electronic, but it’s powerful. Amid a more ethereal sound there are catchy yet complex songs. This is Heap’s third studio album. I’ll be picking up the others as well.

A 2009 best of list would not be complete without the Yeah Yeah Yeahs‘ album, It’s Blitz. Released in March, it features the song “Heads Will Roll” which, for an indie rock band from Brooklyn, seemed to be everywhere this year. The album was recently nominated for a Grammy as Best Alternative Music Album. (When did THAT category get added?) Singer Karen O has been compared to Debbie Harry of Blondie and Siouxsie Sioux (see post). They certainly have that post-punk sound with the electronic twist of many 80’s bands. I think its safe to say that they Yeah Yeah Yeahs led the way in the resurgence of 80’s sound that we’re hearing in bands like the Ting Tings or the Raveonettes (see posts). Singer Karen O also worked on the soundtrack to the movie Where The Wild Things Are, which is worth checking out.

Photo: Lee Broomfield

For the moody ethereal 80’s sound, there’s Bat For Lashes, the stage name for British singer-songwriter Natasha Kahn. Her second album, Two Suns, came out in April and makes her the obvious next generation Kate Bush. She plays piano, guitar and harpsichord. Her vocals are strong, yet soft. She can reach dizzying heights as Bush does. The music is generally dark and mellow, but some of her songs have some catchier grooves behind a quiet melody. It brings me back to my goth days, but I really enjoy her updated twist on the sound. She’s had some hits in the U.K. and has had exposure in the U.S. with a network debut on Letterman in June. There are also some dance and club remixes of her songs available, so I expect we’ll hear more from Bat For Lashes.

Since a few readers have asked, I’m including a few new releases from SWIK classical artists. I was delighted to find out that Anonymous 4 had a new album out this year. I discovered Anonymous 4 in 1992. I heard An English Ladymass while working in the classical department at Tower Records in Boston. They are an a cappella vocal ensemble, covering mainly medieval chant. If you are familiar with Gregorian chant sung by monks, imagine these verses sung by four women. As it turns out, in the 13th century women sang a great deal of this complex music. Anonymous 4 tends towards polyphony, meaning two or more melodic voices. Their latest release Four Centuries of Chant is a sort of greatest hits for these women, who have been singing together since the mid 80’s. It also provides a beautiful overview of the evolution of plainchant. I find their voices and this music particularly soothing and relaxing. So much so that it may lull you to sleep.

Classical music is not my forte, so I did a bit of research and found a few other SWIK classical releases from 2009 that may be of interest. Classical guitarist Sharon Isbin’s Journey to the New World includes an interesting centerpiece called “Joan Baez Suite, Op 144.” I listened to a sample of the suite that included “Where Have All The Flowers Gone” that was stunning. (I haven’t been able to upload it to Grooveshark, so included an older song of hers on the mix.) Baez also joins her on two short pieces. Another album that looks interesting is Angela Hewitt’s The Well Tempered Clavier. (For U.S. readers, currently the CD is only available as an import so you may want to wait for the domestic release, which will be cheaper.) Hewitt has been called one of the most thoughtful performers of Bach since her Canadian compatriot, Glenn Gould, whose Bach partitas and Goldberg Variations are legendary.

So there you have it. Of course, that’s not everything. But this is what I’ve been listening to lately. It doesn’t even begin to touch some of the R&B and hip-hop albums that came out this year, like Angie Stone’s Unexpected and Queen Latifah’s return to rap in Persona. For whatever reason, lately I’ve been drawn to mellow singer songwriters and retro-80’s inspired sounds. I’m looking forward to getting back to some R&B as I’m eagerly awaiting Sade’s new album in February. (I have already pre-ordered it on Amazon so it will arrive on my doorstep the day it comes out. Um, yes, I’m a HUGE Sade fan.) It will also be interesting to hear what Toni Braxton has been up to on her new album. Another release to watch for in 2010 is Nneka’s Concrete Jungle. This will be the first U.S. release for this Nigerian-German hip-hop artist and by all accounts it should prove to be exciting.

Before concluding, I want to mention how grateful I am that you take time to read or listen to SWIK Music. I appreciate the comments here and on Facebook. I want to thank everyone who has suggested artists for SWIK Music. Even if I haven’t covered them yet, it’s been great to build up my catalogue and find new music. I hope that in the past seven months you’ve found a new artist or rediscovered an old favorite. For me, SWIK Music is the beginning of what I anticipate will be a long journey. I’m not yet certain where it will lead, but I’m enjoying the process. Thanks for reading and listening.

Happy New Year! Let me know your favorite SWIK releases from 2009.

Let’s face it, this time of year Christmas music is unavoidable. While a thousand different versions of “Silent Night” can be annoying, there is actually some good holiday music out there. I should know, as I seem to have made this an area of musical expertise. I created my first mix tape of holiday music in 1989 (ironic, considering last week’s post). I realized that many popular and alternative artists recorded holiday tunes. I began to compile them so I wouldn’t have to suffer through yet another year of Barry Manilow and Mannheim Steamroller. For example, one of my favorites is “Christmas Wrapping” by the Waitresses, which manages to turn Christmas into a humorous dating saga.

I originally planned to take this week’s podcast into a more alternative route, which is my musical preference, particularly for holiday tunes. But last week I had a special guest in the Brooklyn studio and things veered off into a different direction. My mother was visiting. Since this is obviously where I developed my affection for Christmas music, I had to ask her to comment on my favorites and share some of her own. As you’ll see (or hear in the podcast), we have very different musical tastes. Yet, we came together around some surprising songs, for example Joan Jett’s version of “Little Drummer Boy.” Following are some highlights from our holiday music podcast session, where there are extended comments and longer conversations.

In 2001, I returned to making holiday mixes and began giving them as gifts to friends. I think that I’ve complied four volumes of A Very Special K Holiday. I was inspired by the series of compilations A Very Special Christmas, which features artists from all genres and benefits the Special Olympics. The first volume of these came out in 1987 and included songs from Sting, U2, Run D.M.C. and Bruce Springsteen as well as The Pointer Sisters, Madonna, and Stevie Nicks. This was probably my favorite of all seven in the series, but the others have some great artists like the Mary J. Blidge, Smashing Pumpkins, Sinead O’Conner, and Norah Jones. My favorite holiday tunes from these compilations include SWIKs from numerous decades and genres. From the 1987 compilation The Eurythmics cover of “Winter Wonderland” and Alison Moyet’s “Coventry Carol” are my favorites.

Some of my other favorite seasonal songs may not have been intended as holiday tunes, yet they capture the spirit or some element of the season. The Throwing Muses’ song “Santa Claus,” from their excellent album Hunk Papa, is a stand out. This album was released in 1989 and it’s a crime that I missed on last week’s post. With lyrics like, “and I’m afraid you remind me of Santa Claus,” it should be a Christmas classic. My mother called this “scary Christmas music.” She was not a fan of the Waitresses either, commenting that they actually sounded like waitresses. Although, she did admit that the song was catchy and if someone played it at a party, she would get up and dance. That said, my mom won’t be singing “Christmas Wrapping” anytime soon.

Kate Bush’s “December Will Be Magic Again” is another 80‘s alternative holiday tune. Keeping to the slower songs, Shelleyan Orphan’s “Ice” is a beautiful, but sad song. And let’s face it, the holidays can be a miserable time for many people, so songs like this can help you get through. I also like “25th December” form Everything But The Girl’s album Amplified Heart. The Cocteau Twins EP Snow from 1992 is surprisingly joyful for this ethereal band. Their version of “Frosty The Snowman,” my mother said, “was different, but it wasn’t horrible.” She said the slower tunes were too sad for Christmas. “There’s too much sadness in the world,” she commented. Therefore, she doesn’t want any sad Christmas music. The saddest thing she wants to listen to over the holidays is Johnny Mathis or Elvis Presley singing “Blue Christmas.”

A few of my other favorites fall into the rock or folk category. While my mom agreed that Joni Mitchell’s “River” is beautiful and the Pretenders “2000 Miles,” “wasn’t bad,” she needed to be eased into these alternative songs. I thought this would be the case for another of my favorites. I’ve been a Joan Jett fan for a long time. Her first album, I Love Rock N’ Roll, included a version “Little Drummer Boy.” It’s great to hear a woman singing this song. As expected, she knocks it out of the park with her raw vocals. Surprisingly, it turns out my mother actually LIKES Joan Jett and has some distinct memories of my Joan Jett years. We agreed this could be a Christmas Classic for the Kaszynski’s, particularly since my brother is a drummer.

There are plenty of pop tunes for the holidays as well. My love of cheesy music makes me a sucker for Mariah Carey’s “All I Want for Christmas is You” from 1994. I can’t help myself, this song is just soooo catchy and makes you want to dance. My mother, on the other hand, thought the song was awful. She said that it was a shame someone with Carey’s voice would record such a horrible song. She commented that I could come home for Christmas, but that we would NOT be hearing any Mariah Carey at her house. Another great pop tune is TLC’s “Sleigh Ride.” It captures their poppy hip-hop sound with a funky backbeat. This, of course, was far too “rappy” for my mom.

I asked her to bring some her favorite SWIK holiday tunes to share with my readers and listeners. She pulled out The Roches album We Three Kings. Three sisters who have been recoding since the 1960′s, The Roches are known for their vocal harmonies. They sing a version of “For Unto Us A Child Is Born” from Handel’s Messiah. My mom, being a choral singer herself, loves this version. She also brought Joan Baez’s album Noel. She has long been a fan of Baez, who is mainly known for her protest songs from the 1960’s. My mom reminisced about seeing her in coffee houses in Boston years ago.

While I recognize the talent, The Roches and Joan Baez Christmas albums are not my preference. We did finally bond over an all time seasonal classic, one of my favorite holiday albums, Ella Wishes You a Swinging Christmas by Ella Fiztgerald. Everyone should have this album, whether you like Christmas music or not. It’s a fantastic jazz record and is Ella at her best. My mom shared a story about seeing her perform back in the 1960’s at cheesy club in Hampton Beach, NH. Apparently, on a date with some guy. We both love this album and agreed Ella’s version of “Jingle Bells” is a joyful classic.

Once we went a little further back in time, we found a lot of music that we both enjoyed. Brenda Lee’s “Rockin’ Around the Christmas Tree” is another catchy holiday classic. We both really like Earth Kitt’s very sexy “Santa Baby.” Many have covered this song, but her version remains the best. Finally, one of the songs that will remain a classic for me is Aretha Franklin’s version of “Winter Wonderland.” It’s warm and powerful. This song brings me back to my childhood. It was on one of my parent’s Christmas records, so it reminds of me of how great the holidays are when you’re a kid. While my mom loves the song as well, she couldn’t remember what we had done with the record and decided that it was most likely packed away in the attic.

Those are few of my holiday favorites. Clearly, I have a bit of a problem with my Christmas music addiction. I’ll be working on “A Very Special K Holiday’ Volume 5 this year. There are some new SWIK seasonal releases for 2009, but I’ve been too busy to listen to any of them. I listed a few below so you can check them out yourself. As the holiday season draws to a close, I wish everyone a very happy new year full of joy and wonder. Let me know your favorite songs of the season. Are they different from your mother’s holiday favorites?

~DJ Kyrawoman
December, 2009

Recent SWIK Holiday Releases
This Christmas – Aretha Franklin
Midwinter Graces – Tori Amos
Oh Blue Christmas – A Fine Frenzy
A New Thought for Christmas – Melissa Etheridge
Wintersong – Sarah McLachlan
A Midwinter Night’s Dream – Loreena McKennitt
Christmas Songs – Diana Krall
Suckin’ It for the Holidays – Kathy Griffin (comedy)
Christmas Tree – Lady Gaga

SWIK Mother and Daughter

A few weeks ago the Economist ran a story on 20 years after the fall of the Berlin Wall. The cover had one of the iconic images from that year, a punk sitting a top the crumbling wall. For those of us who grew up during the cold war, the dismantling of the Berlin Wall was probably one of the most significant political events of our lives, at least until September 11, 2001. Looking back, 1989 was quite a year. The event in Germany prompted Eastern European countries like Czechoslovakia and Poland to undergo peaceful transitions out from under Soviet control. Earlier that year student demonstrators took over Tiananmen Square in Beijing in what led to, while not the political opening of China then by all accounts its economic opening. In 1989 the Exxon Valdez spilled 10 million gallons of crude oil on Prince WIlliam Sound, Alaska in what remains the worst environmental disaster to happen at sea. In other news, the U.S. invaded Panama and bailed out the Savings & Loan industry. An earthquake in San Francisco held up the World Series. At Hillsborough stadium in England, 96 people died at a football (soccer) match.

For me, one of the most significant events of 1989 took place on December 6th at Ecole Polytechnique in Montreal. On that day, a 25 year old man killed 14 women and injured many others, before turning a gun on himself in what became known as the Montreal Massacre. He claimed that he was “fighting feminism.” His suicide note supposedly mentioned women who had succeeded in non-traditional female work such as firefighters, police officers, and journalists. On that date I was in college only an hour and a half from Montreal. Many of us spent a lot of time there, so the shock waves from the event rippled to the dorms of University of Vermont. This week, as I look back on 1989 and the female artists who were shaping the next decades of music, I dedicate this post to the women who died senselessly at the hands of a madman on December 6, 1989.

I’ll begin with one of the most significant albums for me in 1989, Kate Bush’s The Sensual World. While it didn’t produce any number one hits, it is a truly remarkable album from start to finish. The most well known song is probably “This Woman’s Work.” On this song, and most of the others on the album, Bush was writing and singing from another perspective. In the title track, “The Sensual World,” it’s a character stepping of the page of a James Joyce novel. In “This Woman’s Work,” she’s singing from a man’s perspective. Years later R&B signer Maxwell would have a hit with his cover of the song. His version is almost as amazing as this original. All the more poignant that a man would be willing to sing it. At the time, Bush’s album, and this song in particular, moved me in a way that allowed me to more fully appreciate being a woman.

In 1989 I was angry at just about everything and it came out in my musical tastes. The other album that spent a lot of time in my stereo that year was Nine Inch Nails’ Pretty Hate Machine, which was dark electronic angst at it’s best. The Sensual World became part of a process of softening and understanding for me. I became a feminist in college, but by the time I left I decided that I was comfortable being feminine as well. Bush’s influence on music today, may be difficult to trace. She has a unique voice and has taken on varying odd topics. Her influence can certainly be heard in artists like Tori Amos, Bjork and Goldfrapp among others. She deserves her own SWIK post and will eventually get one.

Another often overlooked album from 1989 was Sarah McLachlan’s debut, Touch. While I didn’t discover McLachlan until her third album, Fumbling Toward Ecstasy, it’s worth mentioning Touch here. The album launched her as a the predominate singer-songwriter of the 1990‘s and it’s worth a listen. While her music is noteworthy and influential, it was her establishment of Lilith Fair where she had significant industry impact. Until the Lilith Fair, concert promoters refused to feature two female musicians on tour together. At the time it was even difficult to get two major female acts on tour in the same year. While for some the Lilith Fair became a bit of a joke, tagged as some sort of hippie-chick fest, it actually broke down barriers and introduced many new artists. By 1997 it was the top grossing festival of the year and raised millions for women’s charities. McLachlan hasn’t done anything new since 2006, but her earlier albums have stood the test of time and there’s talk of plans to bring back Lilith Fair in 2010.

Moving to the radio, in 1989, the charts were full of Madonna’s Like A Prayer which came out in March 1989. Since I’ve covered Madonna (see post) there’s not much to add. She was certainly at the height of her career here. This album generated six hits. Her influence on music today is undeniable. Again, so much has been said that I don’t feel the need to add more. Of course, I love this album and it remains a standby for dance clubs and workout mixes.

Surprisingly it’s actually Janet Jackson’s Rhythm Nation from 1989 that remains the first and only album to generate SEVEN top 5 singles. Along with catchy love songs like “Love Will Never Do” and “Miss You Much,” the album included socially conscious songs like “Black Cat” and “Knowledge” and “Rhthym Nation.” I think that Jackson remains a highly underrated pop artist, particularly her music from this era. Her album previous to Rhythm Nation, Control, may have been one of the first to influence a musical genre that would be called ‘new jack swing,’ which fused R&B, rap, funk, and disco. Rhythm Nation mastered this, her signature sound. She recently released a greatest hits, so expect an entire post on Ms. Jackson in the near future.

Continuing with top 40 in 1989, Bonnie Raitt’s Nick Of Time produced several hits and won her three Grammy’s in 1990. At the time, I only gave the album a cursory listen. I liked it and pulled it out occasionally. But 20 years later, the lyrics seem more appropriate than ever, getting older and finding love in the nick of time rings true. The songs are smooth and full of warm vocals with her phenomenal bluesy guitar.

Raitt has a great story, deserving of her own SWIK icon post. In early 1980’s she was dropped by her record label, Warner Brothers, who she had been recording with for more than a decade. While previously she had critical success, she had never had a real ‘hit.’ Luckily she was picked up by Capital Records in 1987 and went on to record Nick Of Time. Her complete and utter turnaround when she was about 40 years old is inspiring. Among numerous other albums and collaborations, Raitt developed a signature guitar in 2000. The Bonnie Raitt signature Fender Strat is the only Fender guitar to honor woman. She designed it with women in mind, in an effort to encourage young girls to take up guitar. She continues to put out albums and tour.

Moving to different genre and another seminal recording, in 1989 Queen Latifah released her debut album All Hail the Queen. Hip-hop and rap had not yet entered mainstream top 40 music yet, but All Hail The Queen made it onto the Billboard charts. Of course, only to be completely overwhelmed by 2 Live Crew’s As Nasty As They Wanna Be and the beginning of raunchy misogynist hip-hop that seemed to bring in white audiences (specifically men). In contrast De La Soul’s 3 Feet High and Rising was also released in 1989. It remains one of the greatest hip-hop albums of all time and is full of funky beats and generally positive messages. In 1989, I wasn’t listening to a lot of hip-hop, but Latifah’s album stood out. I discovered it at Strawberries Music (a record store, if you remember those) and would have to credit one of my co-workers, Reba, for introducing it to me. It became a staple on our after hours play list. Latifah’s song “Ladies First” with Monie Love, has become an anthem for women of all races and is one of her signature songs. Latifah went on to do TV, movies, and sing jazz. She recently went back to her roots and released a hip-hop album, but having been away for so long it seems to be missing some of her earlier power. She remains a female hip-hop pioneer, a major industry force and influence.

In an altogether different genre, The Creatures released their album Boomerang in 1989. You can read about this collaboration between Siouxise Sioux and her drummer Budgie in the SWIK post. This is another album that rarely came out of rotation in my stereo. The pulsing drums on “Standing There,” expressed all the anger that seems appropriate when you’re about 20 and as I’ve mentioned I was pretty angry in 1989.

Back on the charts, the B-52’s released Cosmic Thing in 1989. When I first heard them ten years earlier on their eponymous debut album, with “Rock Lobster” and “Dance This Mess Around,” I never would have guessed that they would produce an album with a chart topping hit. While I didn’t like the song “Love Shack”, I was pleased that they finally made it big. The song is undeniably catchy. The harmonies of Cindy Wilson and Kate Pierson add the catchy edge to the B-52’s new wave sound. Funplex, released in 2008, was the band’s first original album in 16 years. While they aren’t churning out the hits these days, they continue to influence new wave and alternative music today. They never disappoint and Cosmic Thing still sounds surprisingly good.

In 1989, Melissa Etheridge released her second album Brave and Crazy which helped to launch her career. I have a preference for her self-titled debut album, but Brave and Crazy was full of soulful rock sounds. She channels women who paved the way for her like Janis Joplin and Grace Slick in songs like “Angels” and “No Souvenirs.” A few years later she would have a mega hit with “Come To My Window” and a video that featured Juliette Lewis, from her album Yes I Am. I think her first two albums are her best. They are raw and feature mainly her guitar and vocals.

Brave and Crazy has a surprising amount of sexual power. The the songs seem to not only get under your skin but also to strike some place deeper. If she can be compared to anyone it would probably be Bruce Springsteen. I saw Etheridge in concert in 1989 and she was fantastic. Now a breast cancer survivor and gay rights activist, she hasn’t stopped. In 2006 she won an Academy Award for her song “ I Need to Wake Up” from Al Gore’s documentary An Inconvenient Truth. In 1989 she was a constant in my stereo, I only recently pulled out this album after a long hiatus. Although it brings back a few painful memories, her music still holds up.

Another singer songwriter that I was really into this year was Shawn Colvin, I’m not sure how I discovered her album Steady On but it remained in and out in my stereo for years. Colvin plays guitar as well, but comes from the lineage of Joni Mitchell and has more a folk sound. Years later she would have hits from her album A Few Small Repairs, but I prefer this first album. Songs like “Shotgun Down the Avalanche” and “Diamond in the Rough” get under your skin with their clarity and soulful guitar. I saw her in concert for about $5 in college and she didn’t disappoint. Her last album came out in 2006 and although I haven’t listened to much of her newer music, Steady On remains a constant in my listening rotation.

To wrap up, Cher and Tina Turner, already legends at this point, also released albums in 1989. Cher had a mega comeback hit with “If I Could Turn Back Time” from her album Heart of Stone. Turner charted with “The Best” from her album Foreign Affair. I think that I saw Turner in concert that year. She was incredible and probably 50 at the time. She released two more studio albums after Foreign Affair and continues to perform. Both of these SWIK Legends deserve their own posts and will get them eventually.

In 1989 everyone was watching David Lynch’s hit Twin Peaks, well everyone except me. I was working and never seemed to be home the night it aired. I loved the music though. Julee Cruise’s 1989 album Floating Into The Night was written largely by Lynch composer Angelo Badalamenti, who wrote Twin Peaks’ opening song, “Laura’s Theme.” Many of Cruise’s songs ended up on the very dark, goth radio show that I did with my friend Christine.

These are just a few albums that stood out for me in 1989. There are plenty of others worth mentioning, but I would need to write a novel to cover all of them. Of course, the boys were certainly putting out some significant music as well, but we’re focused on the ladies here at SWIK. Looking back, I’m struck by the diversity of the music and the talent of these women. I think they have all, in their own way, influenced today’s artists.

To go back to where we started, the Montreal Massacre of 1989. While the shootings were clearly the result of a deranged man, it does make me take a moment to reflect. Violence against women remains rampant in 2009 and one of the most widespread violations of human rights, from the most prevalent forms such as domestic and sexual abuse to so-called honor killings and stonings. According to UNIFEM, globally six out of ten women experience physical or sexual violence in their lifetime. Unfortunately, it also remains ever prevalent in music as well. While looking back on 1989 allows us to celebrate how far we’ve come, it also remind us how far we have to go.

More Info
Learn more about violence against women or get involved at UNIFEM and the Say NO to Violence campaign re-launched last month.

More SWIK Releases from 1989
Indigo Girls – self titled
Enya – Oranocco Flow
Shakespear’s Sister – You’re History
Dusty Springfield – Nothin’s Been Proven
Debbie Gibson – Electric Youth
Jody Watly -Larger Than Life
Kristy MacColl -Kite
Soul II Soul -Club Classics
Neneh Cherry -Raw Like Sushi
Cyndi Lauper -A Night To remember
Stevie Nicks – The other Side of the Mirror
10,00 Maniacs -Blind Mans Zoo
Diana Ross -Workin’ Overtime
Gloria Estefan – Cuts Both Ways
Eurythmics – We Too Are One
Sugarcubes- Here Today, Tomorrow, Next Week
Linda Ronstadt- Cry Like a Rainstorm, Howl Like the Wind
Kylie Minogue- Enjoy Yourself
Technotroic- Pump up the Jam
Ofra Haza – Desert Wind
Red Lorry Yellow Lorry – Blow

What the boys were up to in 1989
The Pixies – Doolittle
The Cure – Distintiration
Elvis Costello – Spike
Fine Young Cannibals – The Raw and The Cooked
XTC – Oranges & Lemons
The Replacements- Don’t Tell A Soul
Lou Reed -New York
Neville Brothers – Yellow Moon
Beastie Boys- Paul’s Boutique
Red Hot Chili Peppers- Mothers Milk
The Cult – Sonic Temple
John Lee Hooker- The Healer
Mother Love Bone -Shine
Ministry – The Mind is A Terrible Thing to Taste
Green Day – 1,000 Hours
Stone Roses – Stone Roses
Peter Gabriel – Passion
Nirvana – Bleach
Prince – Batman
Stevie Ray Vaughn- In Step
Chris Isaak- Heart Shaped World
Don Henley – The End of Innocence
Love & Rockets- Love & Rockets
Jesus & Mary Chain- Automatic
Soundgarden- Louder Than Love
Lenny Kravitz- Let Love Rule

Comedienne and social commentator Sandra Bernhard once wrote, “love is the only shocking act left on the face of the earth.” In contrast to last week’s SWIK post and the sexually explicit music from Peaches and Amanda Blank, which in this day and age is really not all that shocking, Bernhard may have been onto something. Amid the eroticism, the commercialization of sex, and the horrors of the daily news (recession, war, terror, torture, starvation etc.) an act of love may, in fact, be truly shocking. This weekend, I was thinking about love. No, I haven’t met a new man. But autumn is the time that I most want to be in love. It’s my favorite season. I like the colors and the crisp, cool air that tells us winter is coming. I find the season romantic. Maybe it’s because many of my relationships began in the fall? Or it’s that When Harry Met Sally is one of my favorite romantic comedies? Whatever. As fall comes to a close and the weather gets a little colder, the season evokes the kind of love that warms you inside. Comfortable, but still sexy. My sentiments about love and the season are captured in Louis Armstrong and Ella Fitzgerald version of “Autumn in New York.” I’ve been waiting to find more songs like this and have finally found a slew of them in Melody Gardot. She captures what sounds like love, or at least a wonderful love affair, on her latest album, My One and Only Thrill. Perhaps this is the beginning of something shocking?

I’m not sure why it’s taken me so long to include Melody Gardot here. Another of my music-pushers, Nowell, introduced me to her several months ago. Nowell is married to one of my best friends, Sadie, who I went to Montreal with a few weeks ago (See North of the Border post). Not only are they two of my favorite individuals, they are one of my favorite couples. They were married in Tuscany several years ago. What’s not romantic about Italy? I find it amusing, and appropriate, that I discovered this amazing songstress from them.

A quick background on Gardot. Although she’s been singing since she was a child and is a classically trained pianist, it was a severe car accident that led her to songwriting and eventually recording albums. At 19 Gardot was hit by a SUV while riding her bike in Philadelphia. She ended up in the hospital for more than a year. She couldn’t sit at a piano so she learned to play guitar. Music therapy helped her overcome the injuries and to communicate. Gardot continues to suffer short-term memory loss. She uses a cane for stability and wears sunglasses due to extreme light sensitivity. Her recovery and the resulting music are incredible and, for me, only further attest to the power of music.

My One and Only Thrill is Gardot’s second album. Her first, Worrisome Heart, was released in 2008. Gardot’s voice is deep and sultry. She’s been compared to Julie London, Peggy Lee, and even Judy Garland, but I find her husky vocals more akin to Astrud or Bebel Gilberto (see post) or even Chryssie Hynde of the Pretenders (if she sang jazz). Gardot’s songs are warm and slightly haunting. They took me down memory lane and led me to sift through my love affairs. Even though none of them lasted, most were wonderful at the time. Some of these men broke my heart, although I’m not blameless. I may have left some battle scars along the way. No matter. The past is past and somehow with time we all mange to recover.

Gardot’s songs aren’t sad. They may be tinged with pain, but they also capture all the good feelings about a love affair. I realized that I have a fondness for most of my past relationships and, in the end, at least I learned something. Gardot’s music has me smiling about the past and reminds me, in what may be a shocking revelation, that there is still love to find.

Gardot’s song “Your Heart is as Black as Night” brings me back to one of my first love affairs and I can recognize how far I’ve come. At the time it felt like love, but the reality was a dramatic love affair with a very difficult man. In the end, I realized he wasn’t going to change and I finally moved on. The sound here is eerie, yet sexy. Exactly the sentiments that drew me in to that relationship.

The title track from the album, “My One and only Thrill” captures a different feeling. When you’re with someone and the conversation is so amazing that everything around you falls away. A good kiss can do this, but a good conversation seems to be more difficult to find. This song brought me back to a different love affair, someone I dated on and off for about 15 years. Although we didn’t spend much time in the same country, every moment that we were together he made me feel like the most beautiful and amazing woman on earth. Gardot’s music slips right over you in the way that great conversation does and everything else falls away. It was from this man that I learned what it felt like to be someone’s one and only thrill, even if only for a few weeks at time.

Gardot seems to have a song for every kind of love affair. We’ve all had the one that was purely physical, captured here in “Lover Undercover.” While she may be referring to something a bit more illicit, this song reminds of an affair that was spent merely wrapped in someone’s arms. Maybe there wasn’t enough conversation to be become a relationship of any sort? Although we talked about dating, and wondered why we didn’t take the step and actually date, neither of us made the effort and we never asked for anything more.

One of my favorites on the album “Baby I’m A Fool” reminds me of my most recent love affair. The guy I thought for a brief moment was “the” guy. It included wonderful conversation, laughter, as well as all the usual good stuff. Although it didn’t work, it reminded me that love is out there, waiting. At the time that was all I needed.

There are many more men, many more affairs, and many more songs on Gardot’s album that articulate them. She captures those exciting moments when you first fall in love (“If The Stars Were Mine”). Her music is soothing and comfortable like familiarity that comes with loving someone for a long time (“Our Love Is Easy”). I wouldn’t call the album romantic, but I might call it love. The best part of love, the love affair. Occasionally tinged with pain, but mainly soothing and sultry.

So is love the only shocking act left on the face of the earth? Very little shocks me these days, so I would say yes. I can’t help but admire, and maybe even be a little awed, by those who have found love and managed to keep it going for years, through marriage, children, illness, career changes, and all the regular crap that makes life challenging.

For some of us, the shocking thing may be that despite the fact that we haven’t found love, we still look for it, believe in it, wait patiently for it, and eagerly embrace the next love affair. To the doubters and disbelievers, who aren’t shocked by the act of love, I’ll quote Gardot, “I would never tell, if you became a fool, and fell in love.”