Category: folk

World War II raises its head, perhaps ironically, for the mashup of spoken, rebroadcast, and NewAge noodling that is Family Friend’s “Christmas, 1944.” Whut?

No-No Boy handcrafts historical plaints as songs. “Where the Sand Creek Meets the Arkansas River” at first seems to address the genocide of First Nationers, but the lines about a small marker: There is a date marked Christmas Day, 1944 and not even a name, Just Matsuda Baby point us in the direction of Japanese-American internment camps. Heavy duty folk.

Twist and clap! “Christmas 1974” from Silvery is whoa-ohh partying rocking something something fun.

McCarthy Trenching gets almost cowboy with his folksy reminiscent “Christmas 1974,” a snapshot of a young (lonely) bride and her DIY Christmas in a farmhouse somewhere. Spookily quaint. (Missing his mom…?)

Simple lip service to when songs were written, produced, performed–whatever–doesn’t rate my countdown. Unless i’m desperate.

Pop-O-Pies takes “Christmas Time in Frisco – 2009” to task for filth, lawlessness, and rampant violence. Sparkly garage-lite.

The hipster poetry of “On Christmas Day the World Ended (2009)” got my attention. This Bosch painting of Xmas hell is a bad acid trip, or a great screenplay–or both! Celtic folk rock.

Tim Minchin’s what’s-it-all-about-anyway Christmas song “White Wine in the Sun” is folk pop wisdom which truly celebrates the agnostic aspects of a religious holiday. He doesn’t say NOT, he doesn’t say YEP, but he does like the excuse to get together–even with his daughter (whose birth is celebrated when the song was written 2009) who may LATER be nine thousand miles away and called upon to reunite as family. I mean, was JC home for his birthday every year?

“When U C Me” from K-Drama culture rap-ferences Christ and his Xmas with the wish list of ten thousand souls he’s putting on his hit list. City life is tough.

Ten thousand miles apart was the cruelest winter in Heaven, according to Gareth Moulton’s “Cloud Cover (The Boys).” Poetic misery by means of unplugged light rock.

A fascination with the “Fairy Lights” makes _Patrickconnor smile. Folk psychedelia touches upon ten thousand smiles on Christmas Eve, otherwise–huh?

“Christmas Eve” by Nickel Creek is a sad alt-rock breakup song for Xmas. He’s got ten thousand words to say–and hope–but they don’t help.

The Caroleers bring down the countdown with the observation of “Ten Thousand Santa Clauses (But Not One Gift for Me).” Kidsong with a caution: careful what you grasp for.

Hey Kye is eco-shocked to see so many Christmas trees mown down after procuring their own up high like “The Mountain Goats.” Folk guilt-inducement.

Barely Christmas, Mary Chapin Carpenter has an epiphany in the arrivals section of some airport (after being twenty thousand feet up and seeing city lights look like Xmas lights) in her airy folk masterwork “Transcendental Reunion.”

Rando hipster imagery in “Christmas Lights” decorate with must be up to a half a million of the incandescent buggers. J Church will be waiting a thousand years in the desert to make his point (?). Hard beaten folk.

Greater than one million.

Eli Caravajal has a crisis of faith with “Can’t Believe,” a folk sojourn about a breakup. But after millions and millions of sickening Christmas movies, only connects to drug references. A Covid-19 colored anti-romance.

“The Most Wonderful Day of the Year” connects millions of girls and boys to toys via ‘Rudolph the Red-Nosed Reindeer.’

The million dollar houses prolly cost more than one million, as seen in the distance during “Jullåten 2004” by Suburban Kids With Biblical Names. Wild guitar rocking soft pop.

Caroline Chan revs up the agenda for the wee ones with “Millions of Trees.” A deforestation folk bummer. (‘Tho it begins a solution dialogue….)