Category: folk

Here’s the big WWI story from film, book, opera, Dr. Who and on and on…

Kmaa Kendell’s “1914” is a school lesson showtune of considerable vocal range.

“Truce” by Tom Robinson is the bitter folk accusation that gets more sweetly melodic when the killing resumes.

“Ode to the Christmas Truce of 1914” has Marshall Hattersley belting out folk worries like gentle rain.

“A Silent Night 1914” by Jerry Lynch is the MacConnell ‘1915’ song sung correctly. Haunting Irish music hall.

Even more Celtic, Pvt. Angus Turnbull introduces and narrates “Christmas 1914.” Catherine Rushton brings a women’s sensibility to the folk sung drama that approaches allegory. (Spoiler alert: Angus doesn’t make it.)

Next is Francis Tolliver who also Gaelic was there for “Christmas in the Trenches.” All brothers regardless of accent.

George Marinich sings about a single soldier as well, his grandfather, in “Christmas 1914.” Slightly upbeat folk pop.

Way united, “1914: the Carol of Christmas” by Military Voices raises and sings like it was angels and devils together.

Slipping in the Deutsch, Sieben’s industrial folk pop “Christmas 1914” makes the temporary peace a cabaret.

Experimental jazz rock from Sean Crimmins makes his “Christmas 1914” about the infernal war/peace machine.

Keegan McInroe bring a Yankee lilt to his folk “Christmas 1914.” Well, shucks.

Almost cowboy, George Ensle’s country folk “Christmas Truce of 1914” marches to the beat. But they don’t rearm.

Almost Bob Dylanesque, The Celtic Social Club gets rockin’ raucous with their “Christmas 1914.” Hey now.

Antipsychotic Cocktail bang that guitar whilst warbling their sorrowful folk “Christmas 1914.” Doom’s next.

Perhaps bluegrass… Annie Clifford’s “Christmas 1914” is a whining choice between shooting or smelling them.

Or–hillbilly country from A.J.H. Gillis & the Delusions of Grandeur. “Christmas in Leuven 1914” muses folksily.

Just country (with a Johnny Cash intro!!) comes Colin Raye’s “It Could Happen Again.” What, momentary goodness?

Country pop from Garth Brooks, “Belleau Wood” is the prettiness of peace, the warble of war. Ugh.

Indie pop then; “Merry Christmas (1914)” by Our History swings and sways almost inappropriately.

Just pop!! The Farm brings the sides “All Together Now” with dance rhythms! Kudos for the video’s elder sync. The Oppressed do this one too, but PUNK!

Metal? The half spoken, half screeched “On Christmas Eve, the Infantry Sang” from Future Perfect bangs a picture.

Death metal rewrites history. “Frozen in Trenches (Christmas Truce)” by 1914 shreds the tonsils to kill. BLUE ALERT

Just odd is Cod Sent Flute’s “Back Before Christmas (1914)” about fighting/dying, but Xmas is in the title only. Gas!

Jimmy Lee Morris’s “Christmas 1914” is a more gentle, approachable unplugged folk. Many covers abound.

A white flag begins the cease fire in “Christmas 1914” by Mike Harding. More echo-ey folk sentiment. Others covered this.

Paul Gillis reduces Irish “Christmas 1916” to desperate hardscrabble worn out joy. Folk tragedy. Learn from it. I guess.

Janne has penned a nine-minute three-part German folk opera in 2015 known as “Christmas 1916.” Fairly rocks. It’s The Great War, natch, but late at night (near Xmas) one soldier lights his cigarette, on t’other side of the trenches another takes the shot, then there’s a dreamy walk down a sunny lane and thoughtful humming. Not exactly Wagner. But that can be a good thing.

Future Clouds and Radar sorely wants us to take a trip back to Auntie Amanda’s troubles in “Christmas Day 1923.” This string-sobbing folk rock ballad rises and rises to a sad crescendo. Sorry for your loss.

Carolyn Arends goes for the three-hanky with the reverential “My First Christmas,” a folk song about a great grandparent, born in ’23, saved in ’44, passed recently. Each time was like her first time with the angels and the baby king. Take it from me, it works.

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?