Category: Music

Now on Freegal: 2023 Grammy Nominees

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The Grammy nominations are here and you can experience the contenders today on Freegal with your library card! The full list of nominees was posted on grammy.com November 15, with the 65th annual Grammy Awards scheduled to air February 5. This year new categories have been added: Songwriter of the Year, Best Video Game Soundtrack, Best Alternative Music Performance, Best Americana Performance, Best Spoken Word Poetry Album, and a special merit award for Best Song for Social Change.

Here’s a peek at the playlist on our digital music streaming platform, Freegal, with some artists you’ll probably recognize:

Unfortunately not everything is included as Freegal is a limited catalog, but if you (like me) haven’t managed to hear songs from Beyonce’s Renaissance, DJ Khaled’s God Did, or songs from Camila Cabello’s Familia, the 2023 Grammy Nominees playlist is a great place to start. The list includes all musical genres and offers a great snapshot of what’s hot in music today.

Luckily for you, if you’re looking to hear songs not included on this playlist, you can find most of them in our music CD collection, including Lizzo’s Special (About Damn Time is one of the nominees for Record of the Year), ABBA’s Voyage, Mary J. Blige’s Good Morning Gorgeous, Brandi Carlile’s In These Silent Days, and more.

Was your favorite artist or song included in this year’s Grammy’s? Let us know below!

My Favorite Books as Taylor Swift’s New Album

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Recently Taylor Swift’s new album Midnights snagged all top ten spots on the US Billboard charts, a major and unprecedented coup. On a more personal note, I’ve had at least one of the songs from the album stuck in my head on and off since I first listened to the album — and you probably have too, if you’ve listened to it. So I decided to make lemonade from lemons and tell you how my English major brain has associated songs from Midnights with different books. All the books (and very soon the album) are available for checkout from our library, so you can double-check my findings for yourself.

“So real, I’m damned if I do give a damn what people say / No deal, the 1950s shit they want for me / I just wanna stay in that lavender haze”

When I listen to Lavender Haze I hear love that pushes against expectations and conventions for what a relationship should look like, and therefore think immediately of The Love Study by Kris Ripper, which is only the first of a trilogy all about relationships outside of conventional norms, and about customizing your relationship to what works for you.

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“The burgundy on my t-shirt when you splashed your wine onto me / And how the blood rushed into my cheeks, so scarlet, it was / The mark you saw on my collarbone, the rust that grew between telephones / The lips I used to call home, so scarlet, it was maroon”

Maroon to me is about a vivid, passionate love that ended, and is remembered, as vividly as it lived. For sheer emotional power, and the strength of love and memory, this song has to be The King of Infinite Space by Lyndsay Faye. This book is an unforgettable Hamlet retelling with a powerful (and, spoilers, doomed) love at its core.

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“It’s me / Hi! / I’m the problem, it’s me / At teatime / Everybody agrees / I’ll stare directly at the sun but never in the mirror / It must be exhausting always rooting for the anti-hero”

Antihero is the song I (and many others) can’t get out of our heads — it’s catchy, self-aware, self-destructive, and self-deprecating, with paranoid fear of losing relationships and (for me anyway) a hint of glamour. What it made me think of is my favorite romance book of all time, Boyfriend Material by Alexis Hall (the sequel, Husband Material, works as well) because of its self-deprecating humor, self-destructive tendencies, and an unforgettableness not unlike an earworm.

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“Are we falling like / Snow at the beach / Weird but it was beautiful / Flying in a dream / Stars by the pocketful / You wanting me / Tonight / Feels impossible / But it’s comin’ down, no sound, it’s all around”

Snow on the Beach is all dreamlike, surreal vibes, with a star-crossed type romance running through it, which for me echoes the magical realism in One Last Stop by Casey McQuiston. Our lovable leads in that book find themselves in a similarly bizarre situation which they end up embracing.

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“What’s a girl gonna do? A diamond’s gotta shine / Best believe I’m still bejeweled when I walk in the room / I can still make the whole place shimmer”

Now, I fully believe you’ll have a better pick for this one, but Bejeweled‘s theme of claiming your power from a repressive relationship made me think of In Deeper Waters by FT Lukens, because among other things this book is about the main character embracing his power and identity and breaking free from fear and repression, and I just love to see it.

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“Sweet like honey, karma is a cat / Purring in my lap ’cause it loves me / Flexing like a goddamn acrobat / Me and karma vibe like that”

Okay, another unconventional pick, but the smugness of Karma, waiting for the other shoe to drop, reminded me of An Elderly Lady Is Up To No Good by Helene Tursten. Our elderly protagonist is similarly convinced of the justice of her actions – to very entertaining effect.

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“Everyone’s up to somethin’ / I find myself runnin’ home to your sweet nothings / Outside, they’re push and shovin’ / You’re in the kitchen hummin’ / All that you ever wanted from me was sweet nothin'”

Sweet Nothing is about finding a haven and home in someone who doesn’t burdern you with the expectations and pressure you receive everywhere else, which for me had to be The Bookseller’s Boyfriend by Heidi Cullinan. Also a cautionary tale about celebrity and social media, the romance in this book is all about an overworked, overwhelmed person finding rest in another’s company.

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“So I told you none of it was accidental / And the first night that you saw me, nothing was gonna stop me / I laid the groundwork and then saw a wide smirk / On your face, you knew the entire time / You knew that I’m a mastermind / And now you’re mine”

Not exactly the same vibe, but Mastermind‘s ending, when the singer realizes that though they thought they were being subtle, they were actually transparent to their partner, reminded me of Love is for Losers by Wibke Brueggemann, in which another scheming narrator discovers the joy of being known and accepted for all your faults.

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Let us know, do you agree with my associations? Which books would you pick?

Requiem for the Enslaved by Carlos Simon Jr.

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“Bringing the gifts that my ancestors gave, I am the hope and dream of a slave.” – Maya Angelou

I’m always on the hunt for unique and diverse additions to our music CD collection, especially for less mainstream genres of music. Recently I had the privelege to order Requiem for the Enslaved for our classical music section. Here’s how the creators describe it:

American composer Carlos Simon presents a multi-genre work, Requiem for the Enslaved. This work is a musical tribute to commemorate the stories of 272 enslaved men, women and children sold in 1838 by Georgetown University. Described as a “rap opera,” Carlos infuses his original compositions with African American spirituals and familiar Catholic liturgical melodies. Requiem for the Enslaved explores the sacred and historical, and honors the lives of those bought and sold.

Carlos Simon says: “Since being hired as an Assistant Professor, I have grown to love the Georgetown University community and culture. In learning of the university’s involvement in slavery, I am deeply grateful for the collective efforts taken to understand and attempt to reconcile its tainted past. Now as a member of the Georgetown University community, I wish to join in the journey of expanding the discussion.”

For similar items like this, try Dreams of a new day : songs by black composers with Will Liverman OR Songs of our native daughters with Rhiannon Giddens.

The Women of Def Jam

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I love ordering music, partly because of how much I learn from it! For example, I was fascinated by The Smithsonian Anthology of Hip-Hop and Rap and its pretty comprehensive look at the growth and development of the genre. In a similar vein, recently I was able to order The Women of Def Jam, which “features the female artists that dominated hip-hop and R&B from the ’90s to the present day” (from publisher).

If, like me, you’ve only got a vague sense of what Def Jam is, here’s the breakdown I found from The Guardian’s “25 Years of Def Jam” piece back in 2011: “From humble beginnings in student digs, the record label Def Jam is credited with bringing New York’s street culture and music to the masses – and even helping to elect a president… Although not the only label to export the music and culture of inner-city America to the world, Def Jam is the most significant, artistically and commercially. Key signings have altered the art form, among them LL Cool J, Public Enemy, Beastie Boys, Jay-Z and Kanye West.” There’s a lot more to Def Jam now than hip-hop and rap, but it retains its reputation as helping to promote the cutting edge of the genre, especially at critical points in recent history.

The Women of Def Jam focuses on a specific part of that legacy which is not as evident in the stories told about Def Jam’s origins: what it owes to women. The album announcement in Variety explains that this album was put together for Women’s History Month, not least because “over half of the Def Jam staff are women, including seven women of color in senior executive positions. Two of the three executive leaders are women. Of ten department heads, eight are women” (Tunji Balogun, CEO). It’s an encouraging sign as in some genres of music, including arguably hip-hop and country music, women have had to fight against cultural conceptions of what their role ought to be to find success.

This album celebrates how far we’ve come in that journey by paying homage to the greats. Even for someone like me for whom hip-hop and R&B are not my top genres, this album is star-studded; both household names and lesser-known gems are represented for a voyage of nostalgia, discovery, or both. Explore this blast from the past today!

Key Changes: Machine Gun Kelly and Mainstream Sellout

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As someone who’s had the song Emo Girl (featuring Willow Smith) stuck in their head on and off for weeks, I think this is a perfect time to explore controversial artist Machine Gun Kelly’s professional journey from hip-hop and rap to pop-punk and mainstream success, culminating in 2022’s appropriately-named album Mainstream Sellout.

He rose to fame with a series of rap and hip-hop mixtapes (generally acclaimed) before releasing studio albums, starting with Lace Up in 2012, General Admission in 2015, and Bloom in 2017. Notable features included rapid-fire flow and pride in an unattractive underdog image. Then in 2020 he made a dramatic shift from rap to pop/punk with the release of Tickets to My Downfall – a shocking, impressive, and fluid album still with rap-inspired elements.

Why did he make the move? Without knowing details, it reminds me of Lady Gaga’s professional journey (which is a blog post in itself) in which she made mostly loud statement pieces until she’d captured public attention and then, fame established, moved to a more stripped-down mainstream sound in albums like Joanne. (Lady Gaga, of course, has now moved back to her outlandish roots with the flashier album Chromatica, but I digress.) Sometimes musicians want to try something different and explore their other interests, but don’t have the freedom to do so until they’ve reached a certain level of success.

Whatever the reason he seems satisfied with his new career track, since he continued with pop/punk in 2022’s album, Mainstream Sellout. The reviews have been mixed, but the album has had big commercial success debuting high on the Billboard 200 charts. Emo Girl ft. Willow is particularly good track (though I may be biased in saying that) — it’s a good example of the overall pop punk revival going on in the 2020s, partly because it’s extremely self-aware of how it’s referencing a scene more than participating in it. Rolling Stone called it “gleefully derivative” and on the whole the feeling is of playing a part and having a ton of fun with it.  Willow Smith’s vocals shine, her gen Z energy a good balance to Kelly’s so-called “buzzsaw bubblegum”.

For myself, I haven’t heard the whole album yet, but I enjoy Machine Gun Kelly better in pop-punk, which is one of my favorite genres. I know I may be in the minority; what are your thoughts on Machine Gun Kelly, Willow, or the pop-punk revival? Let us know in the comments!

The Latest from Pop Punk Princess Avril Lavigne

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Love Sux is Avril Lavigne’s latest album, and if you grew up like I did yelling along with her angsty bops, this is the perfect album for you.

Her first album was smash hit Let Go, containing tracks like Sk8er Boi and Complicated which rocketed her to fame. Next was Under My Skin, a darker grunge-inspired album whose most lasting track was My Happy Ending. The Best Damn Thing was album number three, and had several good tracks including Hot, Keep Holding On, and the yearning When You’re Gone, but most notable was Girlfriend, possibly her most popular song to date. Number four was Goodbye Lullaby, which has some of my personal favorite songs on it, including What The Hell and Smile. After that came self-titled album Avril Lavigne which is bursting with catchy tracks like Sippin’ On Sunshine and Here’s To Never Growing Up, alongside the controversial j-pop inspired Hello Kitty and the ballad Let Me Go with then-husband Chad Kroeger. After her battle with lyme disease she released Head Above Water in 2019, a bit of a departure in style as she processed the pain of her experiences; the main song with her signature rebelliousness is Dumb Blonde with Nicki Minaj, while the rest are slower, ballad-style tracks about helplessness and struggle to break free.

Love Sux is a return to form, with energetic rock-style tracks expressing defiance at every stage of relationships. The energy starts strong with Cannonball and doesn’t let up through a duet with Machine Gun Kelly, two dysfunctional love songs, and the eponymous Love Sux. Things might mellow a little by the end, but the whole effect is vintage Avril – which only fuels the Internet’s speculation that she doesn’t age (or ages very well). I’m always impressed at the way her music naturally matures as she does, while keeping her signature style; Let Go‘s “let’s crash the mall” skater vibe was definitely a teenager’s point of view, but Love Sux listens well from an adult perspective, even though it still probably has youth appeal.

If you’ve ever enjoyed Avril Lavigne or just like rock music with punk vibes and pop appeal, you’ll probably enjoy Love Sux.

The Highwomen, feat. Brandi Carlile, Maren Morris, Natalie Hemby, and Amanda Shires

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My journey to rediscover country music continues! A modern country sound that honors the roots of the genre, The Highwomen is a unique gift to today’s country music. If you like or have liked country music but are looking for something fresh – or you prefer Outlaw Country to Bro Country or Boyfriend Country – this might be a good album for you.

Now, if you’re a longtime country fan, you’ve probably already guessed that this group was inspired by the legendary Highwaymen, composed of Outlaw Country Superstars – Johnny Cash, Waylon Jennings, Kris Kristofferson, and Willie Nelson. The idea was Amanda Shires’, who wanted to bring together a female supergroup partly to combat the low representation of women’s voices in country music radio and festivals. She connected then with Brandi Carlile  and Maren Morris, originally intending to leave the fourth spot open for guest collaborators. When the group debuted in 2019, at Loretta Lynn’s 87th birthday concert, Natalie Hemby was officially announced as the fourth member. The album came out later the same year.

What I really liked about this album was the stories that it told, stories that I haven’t heard a lot in my country listening. Now, I like a good “hell hath no fury like a woman scorned” song as much as anybody else (Before He Cheats by Carrie Underwood, anyone?) but it sure seems like a lot of what makes country music (or most music, honestly) popular is the same story – boy meets girl (Hurt Somebody by Dierks Bentley), boy chases girl (She’s a Girl Ain’t She by Rodney Atkins), the bliss of love (Heaven by Kane Brown), boy wrongs girl or vice versa (Jolene by Dolly Parton, I Hope It Rains by Jana Kramer), messy heartache ensues (Burning House by Cam), both move on (Red High Heels by Kellie Pickler, Bartender by Lady A). And if it’s not that story, it’s the Living In The Country is a Real Good Time story (Where I Come From by Montgomery Gentry, Mud on the Tires by Brad Paisley, Meanwhile Back at Mama’s by Tim McGraw, etc. etc.). Both are good, but repetitive after a while.

The Highwomen sing a new slate of relatable messages – in this album we hear the voices of women wronged by history/society (Highwomen), the struggles and joys of being women (Old Soul, Redesigning Women), a daughter facing the death of her father (Cocktail and a Song), various reasons not to be a mother (My Name Can’t Be Mama), an homage to suburban moms (My Only Child) and, my personal favorite, Heaven is a Honkytonk, which is a very Willie-Nelson-esque homage to country music legends who have passed on. And of course, thrown in are a few romantic journeys including post-breakup Don’t Call Me and the both relatable and subversive If She Ever Leaves Me. The latter is particularly a gem, because it portrays love between women in a positive and unexpected way.

If you missed this album when it first came out and love a modern twist on classic genres, get your country on with The Highwomen.

Super Monster by Claud

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Support a non-binary artist and discover some catchy new music on Super Monster by Claud.  How to describe their style? Well, here’s what they say on their website: “claud mintz (they/them) makes the kind of pop that goes well with a late night snack.”

If that doesn’t clear it up for you, here’s my take: this is a pop sound similar to twin icons Tegan and Sara, and the California band Muna, but also with shades of Olivia Rodrigo and Billie Eilish. With simple hooks and honest lyrics, Claud combines soft, musing ballads with more fast-paced, playful tracks for a mix that is overall optimistic, affectionate, vulnerable, and proudly queer. Listeners will be drawn in by bright, quirky album art and intriguing song titles including “Cuff Your Jeans” and “That’s Mr. Bitch to You”.

Incidentally, “That’s Mr. Bitch To You” is probably my favorite track for its light-hearted energy in response to hate (definitely my new personal anthem) – but most tracks are relaxing and enjoyable to listen to. I also recommend “Overnight” and “Falling with the Rain” for more romantic vibes, and “Ana” for a lost-love story.  Most tracks will leave you humming for the rest of the day, and the lack of cynicism will keep you coming back for more.

Silver Lining Suite by Hiromi

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The Silver Lining Suite by Hiromi is a fascinating set of original pieces by a rising Japanese star of piano and jazz composition, which come together in a suite that defies categorization. Here’s how a publisher describes it:

“Hiromi’s latest album pairs her virtuosic and emotive piano with a string quartet assembled by violinist Tatsuo Nishie, concertmaster of the New Japan Philharmonic. Devised for a series of live-streamed concerts at the Blue Note Tokyo during the Covid pandemic, the results blur the lines between classical music and jazz, crafting a vibrant hybrid possessed of the fervent, rock-inspired energy and cinematic beauty that Hiromi has always instilled in her music.”

I found this an engaging album with appealing and melodic instrumentals, executed with energy and thoughtfulness. The quintet was well-balanced, giving enough focus to the piano but not skimping on the strings. Best of all it really is a genre-blender, both dignified and playful, classical and jazzy, but all-around an original.

You can experience this CD as a discovery of a skillful modern jazz and classical composer, or use it as an interesting background to your everyday activities (not recommended for car trips, because road noise makes it a challenge to fully experience the nuances).

Don’t miss this clever and relaxing jazz fusion album!

A Beautiful Time by Willie Nelson

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Confession time: I’m a late convert to Willie Nelson, because I’ve been known to fall into the trap of thinking all country music is created equal. Little did I know, Willie Nelson’s outlaw country is a far cry from the “bro country” or “boyfriend country” music that just doesn’t work for me. (Side note: I HAVE been known to like the feminist/”woman kills her no-good husband” country music.) Luckily, I have seen the error of my ways and am getting familiar with Willie’s large body of work, and in my opinion his newest album, A Beautiful Time, is an excellent and enjoyable addition to his canon.

There’s an even mix of toe-tapping tracks, melancholy ballads, and wise insight here – from the heartfelt loss of “Dreamin’ Again” and the playful “We’re Not Happy (Till You’re Not Happy)” to the both thoughtful and light-hearted “I Don’t Go To Funerals”. The overall message seems to be about aging with grace and being honest about death; songs like “Dusty Bottles” directly suggest that age comes with advantages, blessings, pleasures, and of course pains, all its own; it’s clear Willie sees the passage of time but doesn’t fear it, and he sings about it with heart.

I highly recommend this album as the soundtrack to your summer road trips – and if anyone has specific Willie Nelson songs or albums to recommend, send them my way!

A Beautiful Time is Willie’s 72nd solo album and has been well-reviewed by critics; it’s available from the library as both a CD and through our music streaming service, Freegal.