The human dilemma has always been our innate sense of perfection combined with a vivid awareness of our distance from it: our knowledge of the fall from grace, to put it in the vernacular of this album’s topic. There are those for whom an analysis of the proximity to perfection only emphasizes the curse of our distance from it, and those for whom it emphasizes the blessing of our having a sense of perfection in the first place. I am in the latter category. I tend to notice what’s missing. I undertake a critical analysis of Christmas From the Heart also because it represents, according to all reports (including the liner notes from the singer himself), the closest we have yet gotten to who David Archuleta is as an artist and indeed as a person. If ever there was a moment to take him seriously, this is it.
Ships in the Night
The difficulty in trying to evaluate David’s work at this stage of his career is that he is not yet surrounded by talent that is equal to his own. The production people currently available to him are by no means slouches — Emanuel Kiriakou is a very successful (if not entirely distinguished) producer, for example — but neither are they of David’s caliber. This tends to result in either David sublimating his talents to the requirements of the producer (or the material), or in a disparity between performance and production.
There is obviously much to be happy about in Christmas From the Heart. David’s vocal work is remarkable in many ways, and the arrangements are certainly sumptuous and even inspired in touches. Kurt Bestor’s “Ave Maria” and “Pat-a-Pan” are clear standouts, and it’s great to hear David take on classic material and even a few charming lesser-known pieces. Most engaging, luminous even, is David’s overall approach to the material.
These are cherished songs for him, and in a stroke of genius that was undoubtedly instinctual, he treats them like love songs. I am reminded of the way people spoke and wrote about Anandamayi, the 20th century Indian mystic and spiritual teacher, a woman of intense beauty and great wisdom who devoted her life and energy to God. She is described as being in a constant love relationship with Him, and brought to the world a resplendent tenderness that touched everyone she encountered. I think David is in that same relationship. He treats the more religious songs like love songs because indeed they are love songs. Songs of the beloved One.
I only wish that a better understanding of what David was up to had been conveyed in the production that surrounds him. Even aside from the spiritual aspects, from a purely musical perspective David was obviously going for a great deal of intimacy and simplicity with his vocals. Why then, in the name of heaven, does virtually all the production work accomplish precisely the opposite effect? The enormously elaborate arrangements sound as if they were meant for the Metropolitan Opera House, while David is singing with a gentle tenderness like it’s him and the baby Jesus alone in a manger. Despite its many pleasures, the central problem with Christmas From the Heart (and it’s a big problem, at least for me) is that the approach of the artist and that of the production are at significant odds with one another. And the results compromise David not insubstantially.
Much of the album suffers from a heavy handedness that has the unfortunate effect of burying David’s incredibly nuanced vocals to all but those who really listen beyond the extravagant production. “Silent Night,” which contains some unique and really lovely arranging work by Richard Parkinson and Sam Cardon, is suffused with more orchestral gravitas than a James Cameron movie. “What Child Is This,” also arranged by Parkinson and Cardon, begins quite promisingly (if not at quite the degree of simplicity it might), and David does some of his best work here… the vocals are stirring, riveting… but then, with the orchestration at the second verse, it’s as if we’ve been thrust into a glider soaring over the Serengeti watching stampeding antelope while Meryl Streep delivers a eulogy.
I’m not suggesting that David’s voice can’t handle such extravagance, but when you’ve got the sophistication of an Archuleta vocal, especially one where the obvious intent is a close and personal communion of the spirit, it is a contemptible crime to drown it in layers of grandiosity.
And not even real grandiosity, mind you, but in most cases synthesized grandiosity (only Kurt Bestor’s few tracks contain a live orchestra recording, of the Prague Philharmonic). It is ironic that synthesizers replace a cost-prohibitive orchestra when the approach of the artist might have been better served by small group accompaniment, both affordable and real.
Follow the Voice
Let us consider for a moment two of the performances in the Archuleta canon that have galvanized audiences far beyond his core constituents: “Imagine” and “Contigo en la Distancia.” The common denominator of these two, apart from the fact that both were live rather than studio takes, is the accompaniment of what is essentially a single instrument (violins emerge toward the middle of “Imagine,” but with enormous restraint). David Archuleta’s voice has so much subtlety of expression that its impact is most intense when accompanied by smart, elegant arrangements, not a wall of sound better suited to the 360 voices of the Mormon Tabernacle Choir. Lest anyone think I am suggesting the extreme minimalism of, say, the lone guitar on “Contigo en la Distancia,” I don’t necessarily mean that at all. There are ways to incorporate meaningful orchestral accompaniment without having it feel like a sweeping movie soundtrack, a style that is just all wrong for this vocalist singing these songs in the way he chose to interpret them.
To all producers here and now and forever more who work with David Archuleta: Follow The Voice. Follow The Voice, follow The Voice, follow The Voice. Shall I say it again? Follow The Voice. David has, for the most part, unerring instincts regarding how his instrument best interprets material. My one and only equivocation in this has always been his tendency to leave a certain scope of dynamics outside the studio room door, relegated to the stage alone. This self-limitation has never been more in evidence than on Christmas From the Heart. Had he brought some of his stage-style energy to the vocals, the mismatch with the monumental arrangements might not have been so pronounced, but that would have been a case of the horse following the cart. I do think, however, that even on a production more complementary to David’s own quieter inclinations, that a few strategic moments would benefit thrillingly from his onstage power (my kingdom for a producer who can get that into the recording booth).
It’s hard to know how this profound disconnect might have come about. Perhaps David’s own producers failed to listen to him — not to what he says, but to how he sings. Had they listened — really listened — I can’t imagine they would have gilded the lily so strenuously. Perhaps they were showboating, or just lacking the necessary taste to pull off a level of sophistication that would have been more in keeping with David’s own work. It is even possible, I suppose, that it was David himself, whose well-known ambivalence about his skills and the sound of his own voice might have led to a desire to pile on the layers of orchestration… But when asked in a recent interview about the Utah contingent of producers on the album, he had this to say:
There were a lot of people in Utah who were passionate about the project and wanted to make sure the music told the story the best it could and had as much emotion.
Hmm. As we all know, David has a sense of respect and diplomacy that can render him speaking in a kind of code, such that in order to discern any real opinion one must undertake a fairly deep reading between the lines (a risky proposition, to be sure). To me, this comment conveys quite convincingly that the “emotion” supplied through the arrangements was in fact instigated by the producers, not by David. I won’t go so far as to suggest that I’m hearing, “It’s their fault!” here, but in a vocal arrangement the emotion is supplied not by the accompaniment but by the singer. The story is told in the voice, and the orchestration should be in service to the vocal, not the other way around. And while we are reading between the lines, we might consider the implications of this particular comment, in response to a question about the instrumentation that may be deployed for the tour:
I really feel like real instruments and the live feeling add so much to the music, and to those arrangements, especially.
I’m gonna go out on a limb, here, and interpret this as a thumbs-down from David on synthesized orchestras.
An Ornament
My personal grief is based around the disappointment of a missed opportunity. The material that comprises Christmas From the Heart was the ideal chance to allow David’s voice to shine with unequivocal splendor. Instead, the producers somehow got the idea that a canned version of an orchestra the size of Texas was needed for splendor. David is clearly the only one in the entire enterprise who realizes that bigger is not always better; everyone else needs to study the phrase, “just because you can, doesn’t mean you should.” From a certain angle, it was a near miss. Had the delicate tenderness, the glowing intimacy, the evanescence of David’s beautiful vocal work been followed more closely, with more accuracy, more reverence, we may have had an album of true distinction; of real and lasting consequence. Alas.
But let me not leave the ardent fan with the impression that I think there is little here to enjoy. I wouldn’t be at all surprised if “Pat-a-Pan” got radio play; the more secular numbers in general are lovely, and if one can listen past the production on the more spiritual songs, there are sublime rewards. Christmas From the Heart will undoubtedly live quite nicely in the holiday music collection, to be cherished among family traditions the way a treasured ornament brings a sentimental joy. But it might have been the star at the top of the tree.
— Rascal
So many ideas to absorb in this delightful article! 🙂
It is a lovely insight to point out that David treats these songs as love songs -- as Rascal puts it, “Songs of the beloved One.” David has a strong connection with spirit, I think we can all agree. These songs allow the full expression of that connection. His voice is intimate and tender and reverent, and speaks directly heart to heart. My cry is “Less is more.” Rascal’s is “Follow the Voice!” Let the Voice be heard, unburdened by lavish synthesized strings, and the world will follow.
Also, I just need to say, the front page picture is luminous. Some have complained that this tour promotion photo is pensive. I find it to be absolute perfection. I challenge anyone to find a human being with more transcendent beauty than this young man. And this picture captures a piece of that perfection.
Wow, there you go again rascal. I’ve been MIA for a while, and when I finally get a chance to check in, there you have it! You nailed what I felt on my first full listen through, but could no more form the discrepancy into words than sing like David does. There’s the tenderness of David’s voicing of the deep personal spiritual qualities he feels in these songs. And then there’s the exquisitely gorgeous (IMHO) symphony behind him. It really is breathtakingly beautiful. But it was like having one radio station on while another bleeds through the airwaves. And yes, the other one (the one behind David) sounds a lot like a movie soundtrack. I have no idea how the tracks all came together (and, granted, have no business even commenting!!) but I’m guessing the music was all laid down and brought to David to provide the vocal? Kind of like the maraschino on top of the sunday? If that is the case, I couldn’t agree more. The horse should have been *in front* of the cart! And still, even with those aspects at odds, it is a significant addition to my holiday treasure chest already—right up there with my mom’s divinity. (And she made the BEST divinity!)
A few observations:
1. I believe the producers usually create the track before the vocalist sings to it. As such, how could they follow David’s vocal? You have it backwards. Your arguments would insinuate David not connecting to the arrangement rather than the producers not responding to his vocals. Why would criticize them when the track came first, not the vocal?
2. I believe you are also in error about the strings on the tracks, I am quite certain the ones you are mentioning are all live. If there is any use of synthesized instruments, it would likely be on the tracks done by Eman in CA, not the ones done by the Utah producers.
A most interesting reading rascal. I am certain after reading the comments by jesus2.0, that this has opened a meaningful discussion today.
My feeling is that this won’t be stashed away as the family David Christmas cd for long, because my sixth sense tells me that he will have another one in the near Christmases to come.
As he evolves, so does the musical quality of his work evolve and David won’t be long away from having his Christmas music as the star on the top of every tree…
SB
I am reminded of the way people spoke and wrote about Anandamayi, the 20th century Indian mystic and spiritual teacher, a woman of intense beauty and great wisdom who devoted her life and energy to God. She is described as being in a constant love relationship with Him, and brought to the world a resplendent tenderness that touched everyone she encountered. I think David is in that same relationship. He treats the more religious songs like love songs because indeed they are love songs. Songs of the beloved One.
Ooh, Rascal! You just inspired me with this image. Great and quite apt description.
I’m in disagreement with you about the orchestral arrangements however. It’s precisely the contrast between David’s gentle vocals and the grand, even ornate, instrumentals that give me goosebumps.
I mean, the way that big ol’ orchestra just leaps right into “What Child is This,” accompanied only by David’s soft, melancholic humming…Whew! There are no words to describe how that just shook my soul to the core!
But I respect your opinion as always. 🙂
Just before I go and think that I must go th Ann Arbor…can anyone tell us whether or not there will be Christmas concerts like this popping up on and off over the next while?
“Your Ann Arbor Symphony Orchestra welcomes
Special Guest
DAVID ARCHULETA
to Hill Auditorium on the University of Michgan Campus
on Friday, November 27, 2009 at 8:00 PM”
SB
The ever gracious MasterClass Lady Rosanne Semunovic, has her review:
http://masterclasslady.com/2009/10/17/a-masterclass-review-of-david-archuletas-christmas-from-the-heart/
Now I have had my three cents worth…
SB
jesus2.0 #3 —
I don’t mean “follow” in only a technical sense. It is conceptual. How much of the final mixes were made available to David on any particular track when he recorded is impossible to know, but it is beside the point.
As to the source of the accompaniment, read the liner notes.
Highervibe, #2 --
I agree that the orchestrations are in many cases “gorgeous.” To their credit they avoided, for the most part, outright schmaltz. It’s not that the orchestrations are bad, it’s that they are inappropriate.
Hi Rascal!
I always appreciate your honesty and bluntness. When I first heard CFTH, I loved the arrangements because I had never heard anything like them accompanying David before. If anybody deserved orchestral grandness to give a majestic background to one’s voice, it would be David. I was so excited imagining him performing in Carnegie Hall or some other place, getting the respect and treatment he deserved.
And then I remembered Imagine and CELD, and my reaction to those: something quite different. While some tracks, like Ave Maria and Silent Night, bring me close to that special, spiritual place and give me a sense of perfection, others are less successful. I think it has something to do with being at “communion” with David’s voice, and other things not getting in the way. I love the end of The First Noel, because it’s almost just me and The Voice, and I’m there straining to hear every detail. I also love those final “Amens” in Ave Maria, and I think there’s an example of what Rascal is talking about, how an orchestra can reverently be in the background.
Still, I completely love the album and am using this as recruiting material lol.
Also, here’s a cute picture from FOD of David and Charice. Ang cute nila, dibah?
http://fansofdavid.com/wp-content/uploads/2009/01/david-and-charice.jpg
(2nd link if that doesn’t work: http://i72.photobucket.com/albums/i189/ronaldsf/david-and-charice.jpg )
Edward on the Amazon page for CFTH had the following comment:
In these traditional carols, David seems to follow a pattern of singing the simple melody at the beginning and then lets loose in the middle until the end. This album shows he can sing soul, ballad, pop.
I think that this is a trademark of The Archuleta: follow the script the first time, and then standbackandseewhatIcando the second time. We’ve seen it since the first album and throughout the tour.
Hello Everyone! Long time no talk. So busy, I just wanted to respond to Rascals article. While I do agree that with Davids voice, less is more. Frankly, I would be happy with a whole CD a capella, but I have to say I love the music on this album. I understand a couple of points you made, but I found that you picked it apart so much, that it felt like you didnt find any joy in it. I have listened to this CD several times & many of the songs over & over again. Left alone, David can bring a song to life with nothing more than the air in his lungs, the love in his heart & his thoughtful mind. I do hope that his next album is less produced than the first one, although I loved his 1st album. I, however, choose not to disect this Christmas CD, but to listen to it whenever possible & enjoy the obvious exceptional talent, love & reverence David shows in these glorious songs & let it warm my heart. This is a gift I intend to not waste, but be incredibly greatful for. Thank You!
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Rascal: I am reminded of the way people spoke and wrote about Anandamayi, the 20th century Indian mystic and spiritual teacher, a woman of intense beauty and great wisdom who devoted her life and energy to God. She is described as being in a constant love relationship with Him, and brought to the world a resplendent tenderness that touched everyone she encountered. I think David is in that same relationship. He treats the more religious songs like love songs because indeed they are love songs. Songs of the beloved One.
In this comparison, you captured the essence of David. It doesn’t matter what David is singing (or doing, for that matter), there is this sense of spiritual connection in him that he passes on to us. And as we can see from the comments in the last thread, it doesn’t matter what faith you practice, it’s a connection of the soul.
I rather agree about some of the passages being too heavy-handed. I wanted to say, Shhhh, a couple of times to the orchestra when I was first listening. I just wanted to hear David’s voice and David’s voice alone. But it doesn’t make all that much difference to my listening pleasure (ecstasy?) And I think for an 18-year-old this is an absolutely amazing accomplishment. As time goes by, David will have more say in how things are produced. As you say, David has, for the most part, unerring instincts regarding how his instrument best interprets material. Amen to that.
Skyblue, please post more often! Love your take on the album and appreciate your sentiments. I, too, wish not to dissect the pieces but to savor the whole.
“Left alone, David can bring a song to life with nothing more than the air in his lungs, the love in his heart & his thoughtful mind.” Beautiful!!
Hey Zoe! Thank you so much. I will try, but I think I need to hire an assistant to keep up with everything David,lol. I try to keep up with a few of the sights, but things have been a bit crazy lately. I can hardly wait to go to one of the Christmas concerts. I’m going for VIP this time. Woot. I hope you have a great day today. Hope you get to go to a concert too!
Very interesting article Rascal -- I also felt that sometimes I was straining to hear his voice over all the instruments, and my favorite recording of David singing OHN is still the live one from last year, with just the piano backing him up.
Please excuse my manners, Rascal.
While I do understand your criticisms regarding the heavyhanded orchestration in parts, since I know how much you love acoustic productions, I find the instrumentals to be lush and powerfully emotive when accompanied by David’s strong and spiritual vocals.
I’m loving the different impressions of this CD. One thing we know is that we all have different musical taste, and it has been interesting to me over time to see the videos posted by individuals, a favorite song they would like to hear David sing, or a group that sings a version of a song that seems to really touch the person who posted it.
In regards to this CD, well, we all love David, and his VOICE. And yet it is not surprising to see all the different takes on the instrumentation, David’s vocal instinct (oh, heck, we all DO agree on that), and the versions of these songs. Some of us grew up with these songs as part of our faith, some of us did not. If we all had the same opinion of everything (even everything David) it would be pretty bland in David’s world.
But David’s fans are a diverse bunch, and I love to read an opinion and run off to listen again to a particular passage that one of you has swooned over that maybe I didn’t catch. And that goes for the places that maybe don’t fit with an individual’s sensibilities. I love to learn more about the music itself, while I’m listening to it a million times and then reading a passage from a comment. Looking at all sides makes me appreciate the music all the more. It doesn’t lessen my enjoyment.
Zoe,
No apologies necessary. Everyone is entitled to their opinions and this is the place to express them. Your manners are fine.
Fans are also entitled to want to avoid criticism altogether. To simply enjoy and cherish. At TDC, however, we do like to analyze and even criticize as much as we like to admire and appreciate. I have a background as a theater and television director, and as a creative director for advertising. My job has always been to observe what works and what doesn’t from a general audience point-of-view and to try and improve it. That’s my nature, that’s why I do the work that I do. I am a natural critic when it comes to arts, entertainment, and media.
Fans are less likely to see the flaws in David’s work for two reasons: One, they are simply not as objective as the general public, they have a predisposition to love whatever David does; second — and most important for the particular set of issues in evidence here — is that fans will tend to focus on David’s voice more than others, even to the point of tuning out any “interference.” Fans sit rapt at cell casts, for cryin’ out loud.
I tried as much as possible to straddle the line between my inclinations as a critic and my status as a fan in this review. I owe an enormous debt of gratitude to my insightful and patient admin colleagues here at TDC for helping me at whatever success I may have achieved in that regard.
Rascal -- LOL! Oh my -- you’ve got me there. I stand guilty of being mesmerized by crappy cell casts. My imagination works overtime to filter out the buzz and crackle to get just a glimpse of the voice, live!
Rascal, I can pick out the flaws in the work of someone I agreatly admire, ie David A. But I choose, like David, to look at the glass as half full, not half empty. I dont automatically love everything someone has done just because I’m a fan. But I’m not going to take all of my time & critique every little vowel that wasnt in sync with the music or that he didnt take a breath at the right time. I’m going to just enjoy the clearest, beautiful, heartfelt, gorgeous voice I’ve ever heard & the beautiful music that is accompying that VOICE. I remember how wowed the whole world was when David first sang Imagine on AI. Dean K told David we both know it wasnt technically your best & David said he wasnt going for that, that he just wanted to convey the meaning of the song. Thats what he wanted to do with this CD & judging what I’ve heard from countless others & what I heard & felt myself, he did. I understand given you’re background you might go after the tech aspects of it, but I dont want to do that, I just want to enjoy it. I cant get enough of this CD. It makes me happy & appreciate the songs even more. Thank You!
Rascal, I do have to confess, I have listened to many a cellcasts,lol & I will continue to do it. Its funny, but even though you cant always here his voice very well, it still gives you a feel for what the concert was like that night.
ronaldsf . October 18, 2009 at 10:48 am .
You tease:( FOD links give error 404 forbidden. Can you try to post it so we can see the .jpg?
Thanks!
Abrra 11 days and holding for CFTH
Coming out of lurkdom for a brief comment. I love the use of the term love songs for how David treats these songs. For many of them, his touch is so soft and gentle, as if he is dealing with something very precious. It is what I was thinking but struggling to identify.
I am going to give another listen with your review in mind but I have been stuck on some the favorites of the album. I do not however feel that WCIT is overdone in any manner,with the orchestration. In fact I think it is perfect on every level. I remarked on Soul David that I feel it was intentional. David’s vocals are simple, loving, gorgeous as he paints the scene in the major. Reverent, with just the right amount of orchestration. Then as he leads toward the cresendo, of This this is Christ the Lord, the orchestra picks up more. Then
he pulls back and the orchestra is full blown, in my mind providing the larger/historic/sweeping impact of this simple event. Then back to the simplicity again of David’s voice back in the manager. To me it is the yin and the yang. The singular flute (sounds like a flute)adds an amazing sound different, haunting sound that contracts with David. Even to the ending, on the minor chord, which goes up. It almost seems to end with a question. It is in my mind brillant and taking the listener on a journey. I cannot say enough about how much I love it.
Well by now, you folks know I cannot spell worth a whit….manger…and contrasts with David.
Hey Raelovingangels, I Love WCIT too! I think it is a masterpiece & I cant get enough of it. Actually, thank you for saying what you did, because now I need to go listen to it again, so thank you,lol.
Well it is actually Haste, haste where he cresendos and the orchestra takes off, but you get the drift. Did I say I adore it by the way?
rae -- 🙂
rae: David’s vocals are simple, loving, gorgeous
I think this is true for every part of this CD. 🙂
It is interesting to read the takeaway from the CD from various points of view. The orchestration levels are certainly a matter of taste, and even that can change over time. While I hear nothing but the sublime in each and every track, my feeling that the interlude in WCIT, just as a for instance, is a bit excessive is only because it takes me *out* of the feeling that David has so profoundly opened me to in the first part of the song, rather than more deeply into it. It has an effect like a switching point in the train tracks, which cause the train to go off in a different direction. A bit less there would have provided “the yin and yang”—as rae described it above—perfectly well. For me, it changed the channel. Of course, that’s just my personal response. I would listen to classical music more, but I find I’m always fiddling with the volume so much—turning the volume up here, then down there—I can’t relax with it. All those crashing crescendos are disturbing to me! And expressing these responses is not criticism of the extraordinary work of art that David has delivered, it’s merely an observation of my own personal response. I’m happy to have a place to express these type of thoughts here, and hopeful it does not negatively impact another’s listening pleasure. (Or ecstatic reverie, as the case may be!)
highervibe -- “my feeling that the interlude in WCIT, just as a for instance, is a bit excessive is only because it takes me *out* of the feeling that David has so profoundly opened me to in the first part of the song”
Well stated. I had the same experience, not on every song, but certainly on OHN for example. I was completely lost in the beauty of the song, and then the surging strings rudely interrupted that, dang it!
Really enjoying all the different perspectives. I am dumb as dirt when it comes to the technical side of music, I just know what I like and what I don’t. On first listen, I thought it was beautiful and moving and that every song had moments of pure heaven…my feelings haven’t changed.
And I also love What Child Is This. I think the arrangement is beautiful and love the guitar, ohhhh. That said, I can’t say that I wouldn’t have liked it as well or more with less orchestra.
There are moments in the CD when I am straining to hear David’s voice and wish the instrumentation were a bit quieter, but overall I think it was very well done and I truly appreciate the hard work and effort that went into it. This Christmas album will be enjoyed and loved by my family for years to come.
I think David’s main objective was to elicit and convey meaning and I think he did this beautifully. As for the voice, the purity and honesty of it’s source shines through.
emmie -- oh yes, David did his part beautifully and in several card decks full of spades!!
Rascal you are awesome! I love pat-a-pan
Rascal, “Fans are less likely to see the flaws in David’s work for two reasons: One, they are simply not as objective as the general public, they have a predisposition to love whatever David does; second — and most important for the particular set of issues in evidence here — is that fans will tend to focus on David’s voice more than others, even to the point of tuning out any “interference.””
Or third, they simply choose to accept the “gift” in the spirit in which it was intended, flaws and all.
Thank you David.
Hi Guys,
I’m new to commenting here but, I’ve read lots of the articles and comments here. I just thought I’d chime in on this one. I hope you don’t mind.
“emmiegirl . October 18, 2009 at 3:47 pm .
I am dumb as dirt when it comes to the technical side of music, I just know what I like and what I don’t.
^^ Same here. I’m not a music connoisseur, not a music critic, so I can in no way give the kind of review I’ve read on this site, which by the way I love, and admire. Your take on all things musical amazes me, the revelation of the technical aspects of David’s songs in extremely interesting, as are the variety of opinions and views here.
Sometimes I feel lucky to not have that kind of knowledge, I am able to just sit back and listen for the pure pleasure of it. On this album, I will say that there are a few times here and there where I also felt I had to strain to hear David’s voice, and we all know he has the power in his voice to be heard. But, I think at his concerts it may be a different story. With minimal back up, hopefully his voice will ring strong and clear.
Oh, and in case I didn’t make it clear, I really, really love the album as a whole, including Melodies of Christmas. I think David did some incredible work on this CD. It find it expressive, emotive, and completely captivating.
I think it’s important to remember that listening to David on a CD is but a small portion of the David “experience”. What makes David so unique is that, although he is a singer, it is not the quality of his singing and/or arrangement that is at the core of one’s appreciation of him. David must be “felt” and “seen” to be fully enjoyed. His singing is the primary medium he uses to reach us, but it is not the only way he does it.
When David starts performing these songs “live”, the CD will become moot. That voice, his stage charisma, and his wonderful aura will replace any CD “background” being discussed at this early stage of the Christmas CD experience.
It’s one thing to see pictures of the Grand Canyon, but nothing compares to being there and breathing in its majesty. Wait ’till those videos of live performances start rolling in.
David must be seen and felt to be believed. This CD is great, but David is greater. I hope it sells like crazy, for David’s sake, but the collection I’m looking forward to is the collection of memories I hope to have from seeing him perform these songs live.
mt -- Welcome! The point that you and bliss make about CD versus concert performances is well-taken. It will be very interesting to see how David works out these Christmas song arrangements in the venues where it is just him and the band. I personally can’t wait!
Are you able to go to any of the Christmas tour dates?
Oh bliss…I so often agree with you and see the real meaning of it all in what you say…
All of us who have been to a concert can accurately say that the live performance gives a wonderful and whole new experience to any song found on the CD and it is something grand to look forward to.
David is absolutely greater in life then any CD can ever present itself. He is working on his breathing through strengthing exercises and from his tweets, I believe that he possibly has realized any breathing difficulties himself.
I sang with a University Choir for a number of years and our British director spent a great deal of time teaching us the skills on how to breathe appropriately so that our breathing became almost inaudible to the listener…
I feel rather badly mysslf that the appropriate breathing technique has not been taught to him to the extent that it needed to be. Where is his voice coach? More surprising to me is that producers and everyone involved should have noticed the breathing when they listened to the recordings and then had them corrected. I also feel badly that he was required to tape these songs during his tour which gave his voice little chance to rest. Sometimes he was tired, sometimes he was on voice rest and that is not a good setup for recording a CD.
rascal…your positions as ” theater and television director, and as a creative director for advertising.” is grand, but are you or have you been a professional singer, songwriter, musical director or vocal coach?
I am the most secure in reading the review by the MasterClass Lady who is deeply educated in her field of music and not for a moment does she take away the magic of David’s new CD.
SB
Love the article, the perspectives eloquently expressed.
Love reading others’ responses to CFTH too.
It came down to two things this morning for me…the technical vs. the magical. My mind vs. my heart.
Rascal has analyzed the technical astutely here and makes a valid point about David’s intentions and the importance of following the Voice.
…(and excuse my unabashed schmaltz to follow)..
As usual…with David…I’m inclined to follow my heart.
Can’t help it…it’s what he evokes in me. It happens.
I surrendered to this long ago, because it felt like the only way to go. Not because I’m an undiscerning, “blind fan”…just because I’ve come to believe, try as we might, this thing, like most genius or great art, is bigger than even the best and most articulate of us can put our finger on…and will go it’s way as it will. And in that way….I am “following the Voice.”
I’ve only listened to CFTH 3 full-out times. This morning was the most magical…early, rainy, Sunday morning, candles lit, cup of tea..silence…then CFTH. I love it. I love it. It moves me. I hear David’s intention, his reverence, his faith.
I recall one particularly spiritual Christmas memory from my childhood, one snowy Christmas Eve after midnight mass..
In that way, for me, David accomplished what he set out to do with his Christmas message..this year.
Even if, yes…I hear with an “aware” fan’s ear.
Amazingly though not surprisingly, this rapture comes from a woman who’s normally bah-humbug until 2 weeks prior to 12/25…”don’t overkill the holiday for me and PLS don’t sing to me before then--I don’t want to be saturated!!”
…but…today…a little Archu-angel said…shh…listen….can you feel it? The VOICE
of Christmas PRESENT (and Forever) visited old sgroogette early this year.
And just now…I turned it on again…and as I was writing I had to stop…Silent Night…it has arrested me each time…sung like the most reverent of prayers…and from “love’s pure light” on….same thing happens to me EVERY time…a rush of chills clear up through the top of my head.
Hush…shhh…can you feel it? mm. yes. WHAT..just happened?!! Magic.
I love this:
“These are cherished songs for him, and in a stroke of genius that was undoubtedly instinctual, he treats them like love songs.” and “David is singing with a gentle tenderness like it’s him and the baby Jesus alone in a manger.” Yes.
Do you all recall little David, 10 or so…YouTube from the Early show, circa Star Search…as he explained to the interviewer “what it was” about music for him…pretty much all he repeated over and over, with all the body gyrations he could muster to emphasize it…”it’s how it makes you feeeel, when you feeeel it…and how it makes everyone feeeeel!!”
I love that interview…proves to me…we are who we are from early on. And, I still see that “how it makes you and others feeeeel” as the thing that drives David most. And in that respect…the Voice…always trumps all.
Ultimately…and with all due respect and agreement for how the Voice needs to be supported, highlighted, never embellished,(there are only so many fellow geniuses in this world…gonna take some time and luck to find the perfect pairings…we’ll see), I think much was done beautifully here.
And …I cannot WAIT..to see the magic that will happen live.
(I hear ya, about capturing THAT in the studio one day…we must move in stages..it’s overwhelming otherwise!)
Meantime…big production, simple guitar, sweeping melodies, acappella, English, French, Spanish, live, recorded…
David Archuleta continues to make me feeeeel it. Spades.
the inevitable correction…sigh.
“scroogette”…even spellcheck wouldn’t have helped me there.
I commented on this article earlier in the day & came back now to read more of the comments. I guess I dont understand the need for people to disect this cd so much. David mentioned in his liner notes that the cd came out the way he wanted & he has seemed really excited & proud of it. Almost all fan comments I’ve seen except for a select few, have raved about this cd. Infact a guy commented on Amazon that he has over 100 Christmas CD’s & that while he didnt care for David much on AI & had little expectations for this CD, he said after the dust settles he had to say that he thinks its the best Christmas cd ever, yes I said it(he said that) ever. So why must people tear it apart piece by piece to critque it within an inch of its life. I understand the technical aspects of music, but with Davids music more than the tech parts, which we all can agree David is a brilliant singer, the emotion, the heart, the reverence, the grace, the true soulful feelings David brings to each song is a gift that we should except with thanks. I love the music on this cd. I love hearing David sing without any music, but I also am greatful for this opportunity to hear him with music that is lush & beautiful. I appreciated MCL review, while she critiqued, she didnt disect it into a million pieces. I can honestly say I adore this CD & am grateful to all of those who participated in it & worked so hard to bring us something I want to listen to even more each time I hear it. Thank You!
Sorry, didnt realize my last post was so long & I’m having a mental block on how to spell grateful today,lol. I think I’ve been spelling it greatful because I think the cd is great(ful),lol. Yeah, thats it.
Every time I hear David’s Ave Maria, I get the sense that he’s accomplished the most extraordinary feat… he’s placed the same level of feeling in that track as Michelangelo was able to embody in his sculpture, the Ecstasy of St. Teresa. Just… **GUH!** (That’s a technical term from my high-level music studies. lol !)
blisskasdan . October 18, 2009 at 5:30 pm .
Bliss
I agree about the “live” David experience onCD. I will surely be doing a Christmas Tour CD of his concerts. All the live tours have been very good CD treasures.
Abrra
Rascal, I think you straddled the fence quite nicely. Your love and understanding of David shows in your description of his voice, his instincts and his relationship with the spiritual. And your background in theater and the creative arts shows in your description of the orchestral arrangements -- both what you liked and what you didn’t.
And I know how hard you worked to strike that balance, how many times you changed words, deleted whole paragraphs and started over with them. I think it was an extremely respectful critique.
To me, writing a critique for David would be like trying to help your own husband/child/brother -- you love them and don’t want anything to hurt them, but you also want to be honest with them. Perhaps some think it’s not our job to give David feedback or advice, but who better than those who love him the most other than his family. Better us than those who are going for a website-hit-generating “mock critique” and who care nothing about the CD but inciting the Archies to create buzz for themselves.
I completely understand when some don’t want to have David critiqued at all. That is perfectly understandable. There is magic in just listening and loving that VOICE, and letting the sounds fill you with joy, regardless of any technical aspects of the music.
For others, there is joy in understanding every nuance, listening and critiquing is part of their nature. And that is okay, too. I like to read the critiques, take from it what I will (as in anything), and leave the rest while I listen to the music in my own way.
David speaks to each of us from where we are and where we come from. I don’t think he expects us all to be the same, to have the same needs or likes, even in regards to his music.
Quick! David’s on the radio!!
http://1061evansville.com/portals/eva/wdksfm2/regentplayer.html
Okay…I heard him, I swear I did! He was announcing the start of a song. Then the Jonas Brothers came on and announced another song?
Where’d that adorable ninja go??
highervibe -- #44 -- love your technical terms lol! Ave Maria is a masterpiece, no doubt about it. “Guh” for me too! 🙂
Guess he’s just doing a bit of deejay stuff. Sounds like he’s probably reading from cue cards.
I’m getting a headache from listening to all this Disney noise.
David, my patience is wearing thin. Forgive me if I don’t stick around. But can’t wait to see you in Atlantic City in two weeks and hopefully on the Christmas CD tour!
Abrra- I’m so glad to hear that you’ll be doing a CD of the live Xmas concerts. I’m still listening to my two that you sent me every day, one in each car. The summer one has so many special moments. I just can’t wait to see the format and set list for the Xmas tour. DJB and I will be hitting Foxwoods and LI and heaven knows I might even give Beaver Creek some serious thought. Just listening to this new CD daily has jumpstarted me into the Christmas spirit and I’m not quite sure what to do with myself. It’s confusing.
davidfanLIZ, thanks for the welcome. 🙂
And no, sadly, I won’t be able to make it to one of the Christmas concerts. I live on the gulf coast in MS. There isn’t a single concert near me, and travelling is just not in the plans for now.
I haven’t had the pleasure of seeing and hearing David live yet, but it is certainly something I am looking forward to in the future.
River . October 18, 2009 at 8:42 pm .
I will see you and DJB in Manchester and Providence and then Foxwoods:) Maybe a few more? 😉
I am so glad you are enjoying the Summer Tour. I am learning to edit the ends of the clips to make them nicer ( less screaming). I tried hard to include the special moments in his tour. I love sharing his live concerts.
Abrra
Marlie #46
“David speaks to each of us from where we are and where we come from. I don’t think he expects us all to be the same, to have the same needs or likes, even in regards to his music.”
You said a mouthful. He gives us what we need. How we receive the message is very personal. It’s all subjective.
Abrra (sweeps eggshells from the floor for Marlie)
Rascal,
Thanks for your #19 response.
Here are my thoughts…
I struggle to understand why you feel the need to set such impossibly high standards for David and his creative team at this early stage of his career.
This is just the beginning of what will hopefully be a lifelong artistic journey. Is this a perfect production? No. I pretty much concur with every one of Masterclasslady’s criticisms. As a whole, however, I am deeply moved by David’s performance in each and every song, and I continue to find parts to savor as I listen to the music again and again.
Will his live performances be even more satisfying? We all know his track record speaks for itself. Those of us lucky enough to be attending an upcoming concert are undoubtedly in for a sumptuous treat.
And as for the future? In light of what David and his team have been able to accomplish thus far, I have every confidence that future albums (hopefully with the contributions of many, many outstanding collaborators) will win over some of his harshest critics…even you 😉
In the meantime, I hope that you are able to occasionally take off the critic’s hat, sit back, close your eyes (like David, haha) and let THE VOICE transport you to a place of beauty, tranquility and joy.
It is a beautiful place, indeed.
Poor David. All he wants to do is sing and share his love of music with the world. He sings like an angel, has grown into a
first class performer and entertainer in a year and half, and spreads good will and joy to the 4 corners of the world. In short, he is, as Paula said, “a gem for the whole world to see”.
He records a Christmas CD of his favorite Christmas songs as a “gift” to his adoring fans (devotees), and will be touring the country performing these songs in front of thousands of those fortunate enough to see him.
The CD, a masterpiece if there ever was one, is now being dissected within a inch of its life, with every minute flaw, real and imagined, analyzed and examined as if the fate of the civilized world depended on it. The CD should come with an electron microscope so everyone should be able to chime in with
the latest inhale David took when it should have been an exhale. Who cares!?!
Was Sinatra ever subjected to this? How about Judy or Barbra? The kid is 18 years old. Let him breathe, literally and figuratively, and if you see him at a VIP, tell him that you love him and appreciate the Herculean effort he puts into every
song and performance he gives us. I’ll be planning to do just that.
Still a little early, but who knows where David is tonight. Is he still in Nashville? I guess we’ll find out tomorrow.
As for “Christmas From The Heart”, like the majority of David’s fans, I am so in love with The Voice on this CD. David gave his all on this album and it shows in every note, every word, every beautiful breath he takes where he shouldn’t. 😉 I love the arrangements and the orchestration. I think it’s the most perfect Christmas album I have ever heard. If this album turned out to be the last & only album I will ever hear for the rest of my life, and I intend to live to 100, I would be very happy & content. That’s how much I love & appreciate the gift David worked so hard to give us. 😀
I will be going to Cleveland on 12/12 with my Sis from Albuquerque, and I will be going to MGM Grand on 12/17 & the Finale in NY on 12/20 without Sis. I hope the weather cooperates..I’ve never been to NY!!
Good night, and for David,
Dear lord,
Please take care of David.
Watch over him, protect him from all harm.
Cloak him with your love and give him the strength to endure all that is thrown in his path.
Give David the courage and guidance to say no to those who ask for more than he can reasonably give.
Surround David with loving and supportive people who love him unconditionally as we, his devoted Archangels do.
Separate David from those who have agendas other than for his well being.
Give him rest when he feels weary.
Give him stamina to sustain his hectic pace.
Give him assurance when he feels doubt.
Give him joy when he feels sad and never allow David to feel alone or lonely.
GIVE US THE WISDOM TO ALWAYS DO RIGHT BY DAVID.
OPEN OUR EYES AND HELP US IN THE WAY WE SUPPORT DAVID SO THAT IT’S ALWAYS IN HIS BEST INTERESTS.
Cloak him always in your protective arms during this time on his journey.
Keep David and and his voice healthy and strong as he fulfills his Destiny which was written in his Book of Life before he was born.
Though we may be unworthy Lord, we humbly pray. Amen
David, have a good night’s sleep with sweet & happy dreams. Thank you for all you do and for who you are. Keep with you all our love, support & prayers always.
Contigo siempre en la distancia, con amor!
Thanks SF as always. <3
bliss and zoe: Would we tell a newspaper theater critic not to point out any flaws in the play? Looking at all things David with a critical eye is what we do here lol! It is the nature of this blog to celebrate, to analyze, to curate, to make fun of, to criticize and to occasionally spaz over the artistry and inspiration of David Archuleta.
The major event of a CD release demands a serious response. I am delighted that Rascal shared with us his personal musings and reflections. David is an artist who we all love, but sometimes I think we treat him as our child, and if someone expresses ideas for improvement, we jump irrationally to his defense. As a teacher I see this all the time. When a child is struggling in school, the parents often attack the teacher for pointing it out, rather than looking at the reality of the situation.
Rascal loves and admires David in a measure equal to or surpassing everyone here. As one of the admins, he has written a serious critique of a major event in David’s career. I have enjoyed the comments of those who discuss the ideas of the article or share their own reactions, but I am impatient with those who criticize Rascal’s right to eloquently state his case. This is what we do here.
After being bombarded by these song year after year, I have come to realize, I was totally numb to them. They were just songs you heard over and over at Christmas time, be it on radio or sung by church choirs. In my town, even through loud speakers blasting away throughout our downtown area, starting at Thanksgiving.
I have found with Davids Christmas CD, I am HEARING them once again. I want to hear every note,every word,every emotion and savor them.
This is a new awakening in me of the meaning of these songs.
Love songs INDEED. My leaking eyes and grateful voice say, thank you David, I will cherish this gift you have given to me through your beautiful voice.
Rascal…uhhh hit the nail on the head again! LOL! I always love your reviews. You make me see and think of things that I had not before. I do agree, it would have been better if the music had followed him instead of the other way around. I know that some Christmas songs have big instrumentation, that adds to the excitement or contributes to a bigger effect. I really love the album anyway, but thinking about how Contigo En La Distancia or Imagine turned out made me think of how the album “could” have been. I can see both sides of this. David does not need music to help him carry a tune, the music needs him lol. As you said, follow the voice, follow the voice, follow the voice, and it will NEVER lead you the wrong way….
bliss and SF {hugs}
How is it that I cannot stop listening to a Christmas CD weeks before Halloween! CFTH playing on stereo, specifically O Holy Night, husband walks in (he who has a bit of resentment because of my ODD), stops and listens to the rest of the song, says, “he really has such a pretty voice” and leaves. They all eventually succumb to the power of the Archuleta.
Out of boredom today, watched a couple of videos from some very popular teen singers (won’t mention names) on summer tour. Their live performances simply pale in comparison to DJA. Started his first solo tour this past February and he is already a must-see live performer! He keeps me in awe!
The first concert cannot get here fast enough!
Rascal I think one reason he is truly a great artist is the fact others have to critique his work ha ha. Of course I am NOT talking about you, cause you are a true fan. I am talking about the media. Anyone who gets put under the microscope as much as he does shows that they know he is good and expect more from him, because they know he can do even better, whether they admit it or not. Some already see how good he is and some does not.
dakgal #60 -- that is truly David’s gift, is it not? That ability to make a song completely new and fresh. It’s amazing!
Liz, my post was not directed at Rascal exclusively. I have been reading any number of similar analyses elsewhere, and for me, it tends to “miss the point”. There’s a certain “forest for the trees” thing going on here.
A while back, I was troubled by a blog David posted where he was sitting on his hands. He began the blog by saying “Apparently, I talk too much with my hands”. Apparently, David had been “adviced” that talking with his hands, something that he does, in my opinion, to compensate for a lack of confidence in his verbal communication skills, is “a bad thing” and should be minimized, if not eliminated altogether.
I am not talking about criticism of David’s CD. David is an entertainer and should be subject to the same critques as any other singer who puts out a CD for public consumption would be. I have read many critiques of albums during my lifetime. I have never seen a work dissected and dismantled the way David’s work has been. Check out a review of a Carrie Underwood CD. Or Clay Aiken. Or Johnny Mathis. The reviwer either likes it or not, and they give you their reasons. Read a review of a Broadway show. “West Side Story” or “My Fair Lady” didn’t get this treatment.
I realize that analyzing David is “what we do here”. I would just hate to see David’s creativity and artistry inhibited because he feels self conscious because he’s been told that his work is technically flawed (his fault), which is different from someone “not liking it”.(a matter of opinion)
Of course Rascal has a “right” to express his point of view. I’m just not a big fan of “tough love”. It’s a little too oxymoronic for me.
My message to David would be to keep talking with your hands, blow your nose, if you have to, on stage, forget the words sometimes, knock over a bottle of water, and sing your songs the way it best reflects your interpretation of the song.
Cut the kid some slack. Some of these critiques bring me back to Biology Lab and cutting up those smelly frogs.
skyblue #42 -- Curious that you did not find fault with the MCL review, which pointed out a number of issues with David’s own performance, especially his breathing. Maybe I missed it, but there doesn’t seem to be an inordinate amount of picking apart happening here; the only issue, as far as I can tell, has nothing to do with David’s own contribution, just the orchestration.
SF #57 -- “every beautiful breath he takes where he shouldn’t. 😉 ” I was just contemplating those errant breaths (each of which was pointed out by MCL) and thinking how much they contribute to the intimacy of this CD. It’s his life breath, f’pete’s sake. Sweet!
Had to laugh, the CD finished, and U2 started to sing “If God Will Send His Angels” on my iPod. Heh heh, I think he did!
G’nite all… what a lovely day, listening to David’s glorious gift.
I myself leave the “breathy” issues of David’s singing alone (what the VTFTW folks like to call “Gaspy”) considering the one vocal chord he has, which he has used quite brilliantly.
But I’ve also read other fans criticizing Rascal for daring to not have a completely positive review. I think it’s great he can be so honest, knowing full well his own bias as an ODD fan.
I disagree with what came in the critique (which was mostly a critique of the music production, not the Voice), but even if the Voice fell under some form of negative critique, so what?
It certainly doesn’t take away from the masterpiece that is CFTH and that is David Archuleta. 🙂
Hello!!
My two cents here. 🙂
TBH i love read the reviews from many sites,since Davids voice is the one who we fall in love i find logical people is talking about that, his interpretations and even his imperfections. I read yesterday the MCL review and the Rascal review today and i find many values elements.
I gonna say , that overall i love the album, but i need to said i love it even before to heard the final result, why? i just knew that David and Christmas match perfectly, even with all the observations made in all the reviews i read this week, i can said that David connect very well in every song and lirycs he interpret.
In this reviews is true that the orchestra is too much in some passages of the songs, is true too that sometimes is a little distracting to hear the heavy (but beautiful anyway) arrangements, in some songs ( like i said before in another site))i feel like i’m in movie.Is true too the MCL point about his breathe control. But at the final after hear the album many times i succes to be focus in Davids what i remember the most the purity of his voice, the gentle way to say the history, and the sweet prononciation of some lines or words (Riu Chiu -Hanos redimido con se hazer chiquito) (OHN -- Christ is the Lord)(AM -- Gratia Plena)( the final of PAP)(the final of JTTW) that moments in the songs when you really feel the emotion of his interpretatation.
I hope that what i said make sens, and i think we gonna enjoy most(like always) his live performances of this songs in a very most simple format .
Liz -- your comments are duly noted.
Rascal, I guess my manners are not so fine after all.
I know that you are as big a fan of David’s as the rest of us. On many postings I have complimented you for your eloquent writing style, your intelligent and thought-provoking articles. And I am certainly grateful to you for starting this original fansite with Notingdavid.
I also know that as fans we can respectfully agree to disagree on any number of aspects of David’s career.
I am thankful to be a fan who has gotten an incredible amount of joy and pleasure out of each and every song I have ever heard this young man sing. Not to mention how I admire his character, work ethic and generosity of spirit. Guess I just want the whole world to hear what I hear and feel what I feel when it comes to David.
Zoe -- your manners are impeccable! 🙂
Zoe: I also know that as fans we can respectfully agree to disagree on any number of aspects of David’s career.
That is exactly what I hope. I don’t agree with everything Rascal said (nor any other reviewer). I do appreciate his perspective and his ability to articulate it so well. But it certainly doesn’t take away from my own enjoyment (read playing the songs over and over with a full heart). And I respect his right to have an opinion that doesn’t fall in line completely with mine.
My sense of Rascal’s article is that it’s defending David’s voice from distractions, and he is showing an inordinate respect for David’s musicality. “Follow The Voice” indeed!
I wrote an article a couple of months back that basically raised simplifying David’s presentation, getting him on TV and singing to a stripped-back, acoustic accompaniment. I like to think that CELD was the product of my article (tsk tsk). I tend to think this review is in the same spirit and can hopefully clear the way for some more reverent treatment of David’s voice in the future.
Also, need I remind anyone that we are all loving, adoring, ODD-infected fans of The Archuleta? No? Well okay then. 🙂
Still, as for what Rascal says about WCIT, I thought it was pretty neat when the song got into “movie mode” lol. I imagine in my head a movie scene where David is singing as the narrator, then we cut to Mother Mary who is proudly presenting Jesus to Joseph with a look of immense love and peace on her face, as they struggle against the night cold. And I like how the music then ebbs back so we can hear David again.
Still, I love love LOVED your sentence, Rascal, about Meryl Streep LOL! That’s one of the funniest things I’ve ever read!
Abrra #23, not sure why the picture link didn’t work for you. I posted it on my Photobucket and updated my comment above:
David and Charice:
http://i72.photobucket.com/albums/i189/ronaldsf/david-and-charice.jpg
It’s been interesting reading all the many reviews and thoughts and praise/criticisms/suggestions for things that David could do to “improve” or do more correctly both his singing, and the production features of the Christmas cd. I will simply say that I have listened to many of the songs at least 50 times and I still can not get enough of his heartfelt “gift for my fans” as David said this was to be. Thank you David for this beautiful gift. I will take it in the spirit that it was given. It was deliverd to me with love, a tremendous amount of care and work and freely with only the hopes that as he said we “enjoy it”. And I really do, David. Thank you and breath whenever you please, however you please. Just keep singing for me.
I tried listening a few times to the entire album but Pat-A-Pan stopped me dead in my tracks. Haven’t really been able to focus on anything else.
For me at least, I believe it will take repeated listening, slowly savoring each song, to fully grasp what he has accomplished with this album. Each time there will be something different, something that is a surprise, something that somehow, wasn’t there before.
Anyway, here is my tribute to Pat-A-Pan.
rascal -- “Fans are less likely to see the flaws in David’s work for two reasons: One, they are simply not as objective as the general public, they have a predisposition to love whatever David does; second — and mosOt important for the particular set of issues in evidence here — is that fans will tend to focus on David’s voice more than others, even to the point of tuning out any “interference.””
As I read your critique, I was thinking how much I love almost everything David sings. The layers in Barriers, the overproduced accompanyment -- nothing ever bothers me. In fact, I didn’t even notice the screaming at David’s concert I attended until a friend mentioned it after the concert. They were screaming loudly, cause I have it on video. So I guess I must be strickly in the “fan” category cause I definitely tuned that “interference” out. I do love the album -- David’s beautiful voice and the orchestration, children’s choir put me in heaven (at least I felt like I was in heaven). Each listen just intensifies this experience.
I have to say this before I go to work…
If there is ever any kind of award for best fan tribute videos, Angelica SHOULD & WOULD deserve it..
How do you do it? You have the most creative “eye” for which images best portray David, and in this case his song “Pat-A-Pan”. Just breathtaking!!
I want to thank you Angelica! Take a bow! Bravo!!
Now off to work I go! But first, I have to set something straight. David has TWO working vocal chords. He has said his paralysis was cured with therapy and no doubt many prayers. The miracle is that IT WAS CURED. He could have given up when he was told he would never sing again. He didn’t. And yes, the breaths he takes “when he shouldn’t” is, IMO, HIM. I love his breathing. It doesn’t and never has bothered me. As long as he keeps singing, that what I want.
Have a great day!
SF -- I hope you see this before you go!
Guys, look how grown up he looks -- http://farm3.static.flickr.com/2577/4023332833_04d3bc844f.jpg
I think am getting a sense of why the pix in the CFTH cover was chosen.
Angelica, that was so beautiful! I hope David gets to see it. I love your videos and always look forward to the new ones! Thank you.
Zoe, #69 that last paragraph of yours perfectly describes how David makes me feel too. JOYFUL!
Angelica #75 -- What a stunning and beautiful video, as always. Each one is a notch up from the previous one and I don’t know how you do it. But, it is absolutely gorgeous!
As for the CFTH album. I love it. All of it including the epic movie feel orchestration parts. Oh, and the string section in Pat-a-Pan I can’t get enough of.
As for the “breathing” parts in it -- I love when I hear David’s breathing it makes me feel closer to him even if they are supposedly in “improper” places.
I love when David performs and perhaps forgets the words to a song like in “Bubbly” and the audience jumps in to sing it for him and help him out. He has the most adorable smile on his face when that happens and that’s the essence of David I love. I remember an old video WAY BACK WHEN when David was signing autographs on the American Idol tour and in one of his infamous “random singing” moments he sang “NOBODY’S PERFECT”.
Well, nobody is and I don’t like things to be 100% perfect. That’s what makes us more human. I love David’s imperfections when he forgets words and the audience pitches in, when he stops to blow his nose and the audience screams….I feel like it brings out more of the essence of the David I love. David wasn’t going for the technical aspect of it during “IMAGINE”, but for the emotional quality of it so that fans would connect. Well, he has definitely connected with me on this stunning Christmas CD!!
Anyway, my favorite song on the album, epic orchestration and all is “WHAT CHILD IS THIS”, followed by “PAT-A-PAN”, then “AVE MARIA” and “SILENT NIGHT”. Thank you David for giving us this beautiful gift for Christmas. I can’t get enough of this entire album and can’t wait to start seeing videos of these “LIVE” performances.
Silverfox- I love when you wrote,
“David gave his all on this album and it shows in every note, every word, every beautiful breath he takes where he shouldn’t.”
That’s exactly how I felt when I first listened to CFTH, especially Ave Maria. When he sings that note at 5:00, it literally took my breath away! And the amens at the end are heavenly.
I guess it’s like my Aunt says,
Life is not the amount of breaths you take. It’s the moments that take your breath away.
Btw I live in Florida but told my husband that seeing one of David’s Christmas shows would really take my breath away 🙂 Waukegan here we come!
As`per iTunes ranking, the most popular MP3 downloads among the CFTH trax can be found in this order:
01. Have Yourself A Merry Little Christmas
02. O Holy Night
03. I’ll Be Home For Christmas
04. Melodies Of Christmas
05. Ave Maria
06. Silent Night
07. The First Noel
08. Angels We Have Heard On High
09. Joy To The World
10. Pat-A-Pan
11. What Child Is This
12. O Come All Ye Faithful
13. Riu Riu Chiu
Meanwhile in Amazon, the MP3 ranking to-date is as follows:
01. Have Yourself A Merry Little Christmas
02. Crush (The Album)
03. Crush (Single)
4. Melodies Of Christmas
05. Pat-A-Pan
06. Ave Maria
07. Zero Gravity (Main Version)
08. What Child Is This
09. A Little Too Not Over You
10. Riu Riu Chiu
11. O Holy Night
12. I’ll Be Home For Christmas
13. Silent Night
14. Angels We Have Heard On High
15. Joy To The World
16. A Thousand Miles (Main Version)
17. O Come All Ye Faithful
18. Touch My Hand
19 . The First Noel
20. Angels (album)
More songs found in the amazon listing. What surprised me was the number of covers done on Crush. So cool!
Ah, true-to-form-rascal! The only thing more surprising and controversial would be if you had done a glowing review. And while I understand that critiquing and dissecting is what you all do and completely respect your right to do it, I sort of feel like bliss -- can’t we just accept the gift that was given and stop reading between the lines? It wears me out. And we are most likely completely wrong when we attribute thoughts and motivations to David other than what he has explicitly stated.
I do have a few honest questions however:
I’ve spent a good hour trying to see the difference between Bestor’s track production notes and say WCIT or OHN. I see the same thing.
Pat-a-Pan
Strings performed by The City of Prague Philharmonic Orchestra
KB: Piano
John Hancock: Synthesizer, Programming
Guitar, Bass,Percussion etc. -- all credited to live people.
What Child is This
Performed by The City of Prague Philharmonic Orchestra
SC and RP : Synthesizer, Programming
Guitar, Solo Woodwinds, Cello Solo, etc. -- all credited to live people.
What am I missing? Do I have different liner notes?
Granted, synthesized or not, I understand that you feel the orchestral arrangements were too much. I just think the The City of Prague Philharmonic would be very surprised to know they were replaced by canned music the size of Texas. And what is this program ‘reportedly used’ by them? That sounds like a phrase I would read in the Enquirer. I also heard some pretty big glory notes for someone who was going wholly for intimacy and simplicity with his vocals.
I also disagree completely on the purpose of an orchestra, or any accompaniment, to contribute to the feeling of a piece of music, vocal or otherwise. Why would we be so in love with the single guitar if this were not so? I think the orchestra’s role is different, not better or worse, than other arrangements. But I’ve already commented on that.
More importantly, I have to ask, Did he or did he not accomplish his goal? “This album represents my love for the Christmas time, and what it really is all about. The main purpose of this album was to share my testimony with all of you of my love for this special time of year . . . I hope you can all feel that in the music.” Since we know that in the end David cares much more about how he makes people feel than the technical aspects behind his music, even rascal stated that he accomplished his goal. His relationship with the Beloved One was what he was aiming for people to feel and there can be no doubt that this has happened. I don’t care if it goes on the top of the tree or stays a sentimental favorite ornament, it’s the one I will most look forward to unwrapping each season.
Honestly, I’m not sure why some of you come to this site. This has never been the all-praise all-the-time attraction at the David Archuleta fan carnival. You can find constant squeeing and multiple exclamation points adorning the end of every headline elsewhere.
Debate and disagreement about the aspects of an analysis is valued and encouraged, but condemning the very idea of analysis is like condemning the existence of The David Chronicles. Seriously, if you don’t like critical analysis of David’s work, don’t read the freaking article.
I have no musical expertise. I know what I like and if I hit replay, to me it is good. Especially when I do it over and over and over. I usually leave the analysis up to people with the background. No analysis would suggest indifference and disinterest. So whether I agree with it or not, I always want to read the analysis and I come here for it daily.
In my line of work (the antique business) I see a comparison with the music business about the way decisions are made. I look at a piece, and I first think what is the approximate dollar value and demand. It might be completely awful to me, but I know someone will look at it and HAVE to have it. In the same way I hear a rap song and may not like it, but know that it has value because demand is high. There are also pieces that are incredible in their beauty and design. Their intricacies and craftsmanship have withstood the test of time or maybe their simplicity is soothing or comforting. The interesting thing about some of the favorites is they don’t always have to be perfect to be coveted.
Maybe the arrangements of CFTH are too gaudy for some. I feel certain there will be time in David’s young career for everyone to hear their own personal style. Many, including my untrained ear, won’t ever notice any breathing issues. To me the most important thing about art is that it makes me feel something, and in that way, I think CFTH is a timeless masterpiece.
Actually, the breathing issues did not originate here, but by Master Class Lady. You can comment on that at this link:
http://masterclasslady.com/2009/10/17/a-masterclass-review-of-david-archuletas-christmas-from-the-heart/
I sometimes disagree with rascal, and sometimes want to pinch his head off, but personally have no issues with anyone’s posting of a differing opinion. I am pretty sure that others have wanted to pinch my head off a time or two…like now, for instance. I realize my comments can be as irritating or unsettling to others as their’s are to me…it is the nature of the blogging beast.
Our commonality is a true and genuine wish for David to have success and happiness; and sometimes, just sometimes, our harshest critics are among those that love us the most.
I can completely see why some folks would disagree with Rascal’s assessment, but then I think to myself how happy and content and squeey I was with David’s work between Imagine and CELD (in particular the pop album), and then with CELD I just got reminded of how gosh-dang-powerful-and-transcendent a David Archuleta Performance truly can be. I have listened to CELD over and over again, more times than I have heard any song on the 1st album, and I don’t think I’m only one here who has done that.
I am as happy and content and squeey about CFTH as just about anyone here (and if you don’t believe me, then ask some of my friends to vouch for this lol). It’s the only thing I listen to nowadays, and though I have not listened to many Christmas albums I am sure this falls under the “best” and “timeless” categories. Still, I think what the article is going for is “keeping the eye on the prize,” and how to win over to that Archumagic as many people as possible. How can those who are not ODD-infected be made to hear what we hone in on, which is The Voice? In that sense, some of this discussion reminds me of Lunchboxgate -- career/criticism stuff in a land of David love. For myself, it’s possible to speculate about that while also maintaining my appropriate level of squeeage lol. For others, it feels like getting pinched right in the middle of a beautiful live David performance. Not everybody’s the same.
So yeah, if you don’t like to hear or make criticisms of the album, all power to you. And thank you everyone for posting your effusive love for the album as well -- which I ALSO agree with and like to read!
I am quite surprised at the reactions to this review. Not to differences of opinion, no, I expect that, and have stated I have a few of my own.
But some seem to think that reviewing David is a grievous sin.
Do you think David is weak and cannot take a review that isn’t perfect? Do you think this hurts his feelings? I dare say not. He has to be one of the most grounded, strongest young people I’ve ever seen. He stood up on stage week after week in front of millions and took feedback from the judges on AI. And what did he say about it? That he would learn from it. That’s maturity.
David is a performer, subject to review and even criticism, and he knows that. He takes what he thinks is good feedback and leaves the rest.
Don’t underestimate him by assuming that he can’t take the pressure or some thoughtful criticism. That is about as disrespectful of David’s nature, of who he really is, as anything we could do.
Angelica #75, I LOVE your video, it’s so well done! Thank you for posting!
Ahhhhhh…I love it here! 🙂 Amidst all my “life” trials I can come here and listen to great people discuss, dissect, and LOVE a young man that has made such a positive change in my life.
Rascal put much thought into his review. I can honestly appreciate that.
Angelica,
I can’t wait for your next creation! 🙂 BRAVO!
JR #78,
Ooh, I LOVE that picture!! You don’t think they made it the album cover, why?? Is it because this one was too hawt for Christmas? LOL!
And speaking of TDC and analysis, are there any experts of BODY LANGUAGE out there who would want to WEIGH IN on this? I know that I can be long-winded sometimes, but gosh that picture seems to speak VOLUMES! Dangit!!
David is in my town, New York for the next week! Whoo hoo!! He’ll be doing an MTV news shoot on Wednesday. Sorry, can’t help it -- just fangirling for a moment. haha
Ronaldsf and JR #78:
Wow, he does look so much older there. And yes, Ronald, HAWT! 🙂
MARLIE @ #87 -- if by “breathing” you mean the “gaspy” quality, yes it DID NOT originate here.
However I did mention about my wish for David not to “vocally hyphenate” DI-VINE as early as 2008 OHN (Lighting Tree Ceremony). I re-stated the same issue in this thread (#41):
https://www.thedavidchronicles.com/2009/10/an-early-christmas-present/ when MCL’s review came out, as it validated my long time pet peeve.
Rachel Wills in her book “Singing a Series of Notes Without Taking Breaths” pointed this out:
“Singing a series of syllables without breaking up the words and increasing the number of syllables in one breath will help the likelihood of optimum performance while singing.”
Having to break for breath in mid sentence of a song is a sign of incorrect breathing (not gaspiness) and if not corrected could lead to forming bad habits in singing techniques. I don’t think anyone here would wish that on David.
I share with Rascal’s observation about the orchestration and mentioned this in the previous thread: https://www.thedavidchronicles.com/2009/10/christmas-in-october/. It was only a one-liner (#15) though so it didn’t stir anything.
I don’t think that giving out such reactions means thumbing down David’s amazing accomplishment with CFTH. If at all, it is a sign of respect for what we know by heart he can do.
Rascal.
A great read and some interesting points but I honestly don’t agree with a large amount of what you are saying and I think your vision for David musically (from a musicians perspective) can be a little shallow at times. But hey, you know what you want to hear and I cant criticise you for that and you argue your point well. I do agree with what you say with regards to David has not yet worked with a producer who is of equal talent as he is but on the other hand its a vast improvement from the first time around.
Pabuckie, makes me wonder how this album will “roll out,” if you know what I mean? It seems like the media coverage (here, an MTV News story) of the Christmas album will increase as we get closer to Christmas?? Who has some knowledge about the industry here?
Here are my questions:
1. Will there be a single off of CFTH? (Folks at IDF have noticed that Joy to the World is $1.29 on iTunes, but 99 cents for everything else. Perhaps that is a single?)
2. Will radio stations be able to play whatever tracks they like?
3. How do holiday albums get promoted usually, and when?
4. I hope David gets some TV appearances in December singing some of these songs!! I haven’t watched TV much in years. Are there a lot of holiday specials on TV that have pop artists that Jive/Azoff can plug him into?
Ronaldsf #99 -- I guess we shall see. I too hope David will make a tv appearance. And, by the way that picture — whoa — talk about HAWT!
No one here is saying that David’s work is beyond being critiqued. For me, it just seems a tad overdone when the songs are taken apart piece by piece and can no londer be recognized as the original song. If you’re served a delicious meal, don’t you just savor the flavors and aromas as a whole. I dont know anyone that opts to focus on the individual ingredients, spices, and sauces used to make up the finished product.
If anyone wants to dissect David’s CD, hey, it’s a free country. If someone wants to express another point of view, it’s the same country.
The Administrators of this site are constantly stating that they welcome all points of view. Some of those views will be different from theirs. That’s what makes a site interesting and attractive. Rascal, for example, is obviously a very bright, articulate individual. He is not, however, the ONLY bright, articulate person that posts here, and like all of us, is subject to disagreement. If David, at 18, can have his work critiqued, surely a grown man like Rascal can be held to the same standards. My guess is he can take it.
Bliss: If you’re served a delicious meal, don’t you just savor the flavors and aromas as a whole. I dont know anyone that opts to focus on the individual ingredients, spices, and sauces used to make up the finished product.
I do. Haven’t you ever been to a restaurant with a bunch of people and someone says, “What is the spice I taste in this? I love it.” Or someone asks the waiter what is in the sauce? And by the way there is a whole channel (probably more than one) on cable devoted to dissecting what goes into good food. And contests for the Iron Chef -- where a group of food critics (and some style editor or two) taste meals cooked by masters, ask what’s in it, how was it prepared, and then vote on the best of the two.
Have you ever been to a concert and whispered to the person next to you, “Oh, those strings!” or woo hoo’ed over a guitar solo at a rock concert? Those are all forms of dissection. Or how about the many times people have said here that the drums were too loud at one of David’s concerts?
Some people just like to do that. Others, like you, may not want to know what is in the dish, the performance, they just want to enjoy it. I don’t care about that -- I think that’s fine. But please don’t make it some kind of sin for us to LIKE dissecting.
Chenson #98¨I do agree with what you say with regards to David has not yet worked with a producer who is of equal talent as he is but on the other hand its a vast improvement from the first time around¨
I agree, David just start his career and is normal for a new artist don’t have total control of many aspects. hopelly next album they gonna let him take more creative control of his own album and him a little more confidence in his work and new confidents to teaching him the new limits that his talents can gift to him.
blisskasdan #101 ¨The Administrators of this site are constantly stating that they welcome all points of view. Some of those views will be different from theirs. That’s what makes a site interesting and attractive. Rascal, for example, is obviously a very bright, articulate individual. He is not, however, the ONLY bright, articulate person that posts here, and like all of us, is subject to disagreement. If David, at 18, can have his work critiqued, surely a grown man like Rascal can be held to the same standards. My guess is he can take it.¨
jackryan4da #97
¨I don’t think that giving out such reactions means thumbing down David’s amazing accomplishment with CFTH. If at all, it is a sign of respect for what we know by heart he can do.¨
I agree with you two, each review take a differents aproach, and is really interesting to read and even better have the opportunity to agree or disagree. Please people They are reviews not personal attacks. David is in a very rude business the evaluations of his work are very normal because out there are many who haver very higt expectations of his work, any artist out there it gonna have all sort of critics, since the ones who take up or down the song choice , until the ones who take the all technical issues in consideration. We don’t need to be offended by a review…seriuously . Peace and bye
David tweeted about the good weather in NY. Well he’s right, it’s gorgeous here today, everyone in my office was commenting about it. All last week we had the most horrible weather -- rainy and really cold for October. Well wouldn’t you know it -- the forecast for this week is sunny with temperatures in the mid to high 60’s. Do you think David realizes that he brings sunshine wherever he goes??..LOL
my last post (reposted in IDF)
TBH , i don’t see the big deal with this reviews, to me some fans just take the things like they come, and others are more picky in their analisys, The two reviews (MCL and Rascal) make good points, for some people that points are important , for others are irrelevant and don’t take their attention from Davids voice, but is interesting to read all kind of point views about, at least me i learn a lot from the many reviews a read since last week. I don’t see this two in a negative way and like you said ” Sure theres a few ticks here and there.. but what album doesnt have those” , David is not the only singer to receive all kind of reviews and suggestions and I’m sure he can handle the criticisme very well.
I agree that some songs have a little heavy (but beautiful) orchestra arrangements, and like i said before , the first time i hear the album that was a little distracting, but at the final Davids capacity to sell the song in an emotional label take the First Role in the album. I love it even before , because for me Davids voice and Christmas songs are the perfect match. I want to hear the live versions both with the orchestra arrangements and the simple format i imagine David gonna improvise in some stops, i’m sure in both case they gonna be great!
rascal #85 -- busting a gut laughing at that one. In fact, I think we need a new button: “Proud member of the David Archuleta Fan Carnival”.
ronald -- #89 “SQUEEAGE”!!! …more giggles. Mind if I purloin that musical term?!
marlie #90 -- good point, well taken.
Angelica -- can’t wait to get home tonight to watch your latest vid… gotta run now, work beckons.
Nina #105 -- I too thought the same thing….David brings sunshine wherever he goes! It’s beautiful here today.
Marlie7, you don’t need my permission or blessing to dissect this CD or anything else. Go for it. I am merely stating my opinion and responding to Rascal’s article. Isn’t that “what we do here”?
The real issue here is the double standard on this site regarding who can be disagreed with, and why. In MY opinion, this article, which takes exception to the production of the video, and not David’s performances, is yet another attempt to discredit the Producers (i.e. Jeff Archuleta) of the CD. It’s a third bite at the apple. The first attempt at satire backfired, the second attempt( The Arsenio Hall video was so crude it was censored) so a different tactic, namely, high brow dissection of the CD, was attempted. Frankly, the transparency of this vendetta is more insulting than the content.
Angelica #75 OMG, how do you find those clips that work so perfectly together. That is an amazing video tribute to that song. Thank you for all the hard work that must go into all of your videos.
Bliss: You continue to get lost in your own logic. If it is okay to dissect this CD, why do you continue to pounce on the idea of the dissection of the CD?
Disagree all you want with the content of the article. I haven’t seen you discuss that at all -- not any mention of the orchestration, the VOICE. You haven’t once commented about the content of the article -- not once. You have only commented about the dissection.
And, oh, please, now you have twisted this into something it is not. You have an axe to grind, and seem to need to project it here.
Bliss #109, “In MY opinion, this article, which takes exception to the production of the video, and not David’s performances, is yet another attempt to discredit the Producers (i.e. Jeff Archuleta) of the CD. It’s a third bite at the apple. The first attempt at satire backfired, the second attempt( The Arsenio Hall video was so crude it was censored) so a different tactic, namely, high brow dissection of the CD, was attempted. Frankly, the transparency of this vendetta is more insulting than the content.”
Although this may NOT have been the impetus for this review, it certainly felt like it by the time I finished reading it. JMHO,YMMV ect., ect.
#85 “Honestly, I’m not sure why some of you come to this site.”
Frankly, a lot of people come here because there is more drama on this site than all the other Archuleta sites combined. Perhaps voyeuristic temptation is too much for some of us to resist, even though we know better. There are strong personalities contributing strong opinions, part of the fun. However, the increasing critical analyses do get tedious at times, as they tend to detract from “the artistry and inspiration of David Archuleta.” That said, I am here every day and reading every word.
My response to David’s work on this album is beyond mere words. Like many of you, I am overwhelmed by his “gift” his fans; and my thank you note to David would not—could not—be overtly critical. I am completely puzzled as to how anyone can listen to the album and experience any kind of “personal grief” from what they hear.
During “What Child is This,” I found the orchestral “sweep” not only beautiful but necessary. We are there with David in the stable, an intimate but reverent setting, where David sings with submissive awe. (How does he do that?). The babe is identified as “Christ the King,” and by the end of the second verse David is imploring us, urging us, to praise Him. For believers, the orchestral part that follows is like the “sweet anthems” of angels who are announcing the long awaited birth and expressing what this singular event in history means to the entire human family. It is an outburst of joy before we return to the quiet of the manger scene and to David, whose ponderings and quiet worship are palpable but personal, as are ours. Perfection.
That is my opinion. I respect all of yours.
Chenson —
Thanks for the balanced comment (so rare on this thread, it seems), but I confess I am troubled by your use of the word, “shallow.” Although my musical bona fides may not compare with yours, I was in fact under the instruction of a voice teacher from the Manhattan School of Music for several years, I had musical directors work under me for many theatrical productions I directed, and even a few of my own compositions have been professionally recorded, one of which was released for distribution in the pop-dance music market.
If anything, I think my expectations for how David’s voice is handled from a musical accompaniment perspective is much deeper than has been evidenced in the market so far. I happen to think that the only reason the minimalist approach has been the most successful so far is simply because we haven’t heard anyone do full-up orchestration very well yet for David’s voice.
David’s voice is not a trumpet. He is not a “belter” like Adam whatshisname. David’s voice is more like, say, a french horn. The orchestral accompaniment one drafts for having a trumpet on the lead is different than what would be appropriate for a french horn in the lead. Similarly, orchestral arrangements that are appropriate for a motion picture soundtrack are rarely the same types of orchestrations that are appropriate for a vocal.
Despite the fact that people here seem to think I am deconstructing a whole range of details, it is actually quite the opposite — in pieces, most of the work on this album is perfectly lovely and very professional. I just don’t think it fits together very well as a “ground” or an “environment” for David’s vocal work.
How exactly is that “shallow”?
blisskasdan #109
is yet another attempt to discredit the Producers (i.e. Jeff Archuleta) of the CD
Hi!, i not a fan of Jeff, but to be honest i don’t take this review in that sens, i agree in some points and desagree in others, but at the final without an over fangirly any of the producers and Jive i think they do a good job and the album is beautiful specially because Davids talent.
Maybe you right with your point about Rascal, idk what are his feelings, but in another side i think that if people think like that about Rascal , they don’t gonna find¸any value point in any of his posts and they gonna try to find always where is the ättempt to discredit that person you mention in his post.Conclusion ? all kind of passions are bad and steal credibility to an opinion in favor or against of some situations. respectfully Me 🙂
Ack -- Why I seldom post.
#113 Second paragraph--meant to write “gift” TO his fans”
Hello! I haven’t been here in a long time, so I will in the same way be long-winded to make up for my absence. Here goes:
The first time I heard the snippets of CFTH on Amazon, I was
kind of apprehensive at the overall melancholic tone of David’s voice, that it had a similar vibe in most of the slow songs. I was not yet “feeling” the Christmas spirit, and I rationalized that he must have been controlling his manner of singing so that he does not overdo it, especially since he said so himself that singing on tour requires so much energy as opposed to singing in the recording studio.
Then somewhere in the blogsites, someone mentioned the Barnes and Noble snippets being different, so off I go to find out what it had. Voila! A lot better portions of the tracks were selected, much more of what I would have expected to hear as Christmas music, especially the children’s choir singing at the start of Ave Maria. David wasn’t even in the snippet, and I was already so excited to hear the rest of Ave Maria, knowing it would be such a glorious song being backed by a cherubic-sounding choir.
I can’t stop listening to CFTH after I got MP3s of each album track. It’s the only music I listen to ever since the album came out on October 13th. Even in times when I don’t have access to CFTH on earbuds, I imagine the songs in my head, gorgeous music brought by, foremost of course, the undeniably emotive and heartstopping vocal renditions of David, then followed by the wonderful and highly creative arrangement of the backing instrumentations. There was a lot of work that went behind the arrangements, and they actually brought to the fore the spirit of the songs David wanted to evoke: the reverence, the joy, the praise, the glory of what Christmas is about.
Personally, I am so proud that David got a symphonic orchestra to back him in his first Christmas cd. It is such an accomplishment to be given that privilege. Historically,
when very good singers get to be backed up by a full orchestra, it is a sign that they have garnered great respect and have earned such an honor. It is a dream come true for any singer. And if the producers had to go to Prague to get the rich orchestra sound for the album’s concept, their vision for the music produced in this cd is such a work of love and a source of great pride. Bestor, Camdon, Kiriakou and Parkinson did such great jobs and are deserving to share in the kudos for such a great album.
The only original track in the album, Melodies of Christmas,
at first listen, was just a little difficult to follow, especially at the end when bits of popular Christmas tunes were popping randomly. But that is the beauty of the song. The more you listen to it, the more you are enthralled by the arrangement. It was only after my third listen did I get teary eyed when I finally ‘got it’ at the middle of the song. The
feeling is ecstatic. David’s voice was so energetic and full
of joy, that it reminded me of the finale song in the movie,
Sister Act (1), when after Lauryn Hill sang a slow intro of
‘Joyful, Joyful’, the rest of the singing group (mentored and conducted by Whoopie Goldberg) burst into a danceable beat of contemporary tunes sung to the traditionally choir-sung yrics. The young singers dancing and thoroughly feeling and enjoying the message of the song so enraptured me that everytime I watch that part of the movie, I cannot help but cry tears of joy. Melodies of Christmas evokes the same feelings in me. Truly Joyful, Joyful!
I recall writing on the thread about Power Music that I would love to hear David do an A Capella album, just his voice, nothing else. An acoustic album with just a guitar and a piano backing him would definitely be one to look forward to. But I will make an exception in the case of CFTH. Recalling Joyful, Joyful of Sister Act (1) and David’s performance of the same song when he was younger with a full orchestra and choir, Christmas is a season of the celebration of the Son’s birth, so nothing but the best Talent, the richest sounds man is capable of producing should be given back as a tribute to the Son of God. David has sung live with such lush instrumentation and vocals, amazingly well at a very young age, and we have often wondered how the rest of the song must have sounded like if not for the error of a recording technician. It is with CFTH that we can get an idea of how grandiose it must have felt to witness such an event. I totally approve of the symphonic orchestra in Joy To The World; the angelic children’s choir in Ave Maria; the evocative strings in Pat-A-Pan; the rich orchestra and unexpected horns in O Holy Night; the snare drums in Joy To The World, The First Noel and O Come All Ye Faithful is like an emphatic call to all to hear the good news, then the transition from a grand heralding to a gentle and peaceful humming; the lovely jazzy and bluesy sound of I’ll Be Home For Chistmas and Have Yourself A Merry Little Christmas duet (with Charice); infusions of Jesu, Joy of Man’s Desiring in Angels We Have Heard on High is an ingenious combination of two great songs of praise; the brief Celtic sound at the start of What Child Is this, with a flamenco guitar instrumental and a movie-soundtrack quality that gives it the length enough to tell a soul-stirring story; the 50’s
movie-Hollywoodish, almost romantic, rendition of Silent Night; the Spanish guitar and references to Carol of the Bells in Riu Riu Chiu. All these give CFTH the distinctively lustrous feel to the album, and you keep wanting to listen to it nonstop.
What can I say of David’s vocal performance in this album? He is absolutely glorious in the very long note ‘looove’ in JTTW, haunting in WCIT, tongue-twistingly, syncopatedly and linguistically adept in Pat-A-Pan and Riu Riu Chiu. He can
definitely hold his own against a rich orchestral backdrop in O Holy Night, The First Noel, O Come All Ye Faithful and
Angels We Have Heard on High. I didn’t strain to hear him
sing; his voice is eerily luminous in all the songs. Maybe
it’s the good quality of my earbuds. Or maybe I just instinctively listen with full attention to every note he sings.
However, I will not say he is technically flawless because,
just like the others have noted, he may or may not have been
advised that taking a breath in the middle of a word, like ‘di-vine’ in OHN and a few instances in Ave Maria, is a singer’s mistake. (I share this observation because we were taught this in high school choir by our classically trained choirmaster, and I have been mindful of it whenever I sing.) He does it with ‘ven-tris’and the low ‘ho-ora’. ‘Nunc et’ sounds like ‘nung-ket’. And I’m not sure there should be an ‘in’ after ‘hora’ and before ‘mortis nostrae’. I don’t see it in the Latin lyrics. It is funny how we do dissect his singing, and it is only because it will be compared to those who have given memorable performances of the same song. And it is no mean feat to be compared to Bocelli or Pavarotti, both classically trained and operatic performers. Just as Simon said, I may be nitpicking here, but David shall surely sail on…
Then again, what more can I say of David’s vocal performance in this album? Don’t ask me how he fared as a technical singer, because I don’t think he wants to be thought of as
one, even if a lot of non-fans have the impression that he
is a breathy robotic performer who has undergone rigorous
voice training and therefore expected to perform in the
traditional way. He may have sung Ave Maria short of outstanding technically, but in the heart connection department, I sincerely believe he outdid Pavarotti’s robust rendition. By a thousand miles. All I know is that ever since I heard him sing in AI, I fall under a hypnotic spell when I hear his voice. Then all other do’s and don’ts in the rules of singing are shoved to the sidelines and he is given the exception and full rein to do what he wills with the song. I willingly give in to however he wants to hypnotize me with his music. And I am, inevitably and without fail, always given an addictive and endless taste of heaven.
ascphil #117 Now that is a brilliant response to the article. I have to read it again!
Ascphil! WOW, what a great review!! I especially love these parts:
What can I say of David’s vocal performance in this album? He is absolutely glorious in the very long note ‘looove’ in JTTW, haunting in WCIT, tongue-twistingly, syncopatedly and linguistically adept in Pat-A-Pan and Riu Riu Chiu.
David’s vocal artistry IS a wonder to behold on this album. I love how you capture the range of styles. I also like the style he brings to HYAMLC, with its bright, clear tone, and then you hear in Silent Night his voice soft and pressing, showing yearning and intimacy. And this part:
I totally approve of the symphonic orchestra in Joy To The World; the angelic children’s choir in Ave Maria; the evocative strings in Pat-A-Pan; the rich orchestra and unexpected horns in O Holy Night; the snare drums in Joy To The World, The First Noel and O Come All Ye Faithful is like an emphatic call to all to hear the good news, then the transition from a grand heralding to a gentle and peaceful humming; the lovely jazzy and bluesy sound of I’ll Be Home For Chistmas and Have Yourself A Merry Little Christmas duet (with Charice); infusions of Jesu, Joy of Man’s Desiring in Angels We Have Heard on High is an ingenious combination of two great songs of praise; the brief Celtic sound at the start of What Child Is this, with a flamenco guitar instrumental and a movie-soundtrack quality that gives it the length enough to tell a soul-stirring story; the 50’s movie-Hollywoodish, almost romantic, rendition of Silent Night; the Spanish guitar and references to Carol of the Bells in Riu Riu Chiu.
I love these details that you point out. I think one strength of this album is that the style varies between songs and also within songs. (Although I think the instrumentation in OHN is kind of over-the-top, I do appreciate the forward motion of bringing in the horns and creating a very different feeling for the rest of the song.)
Rascal #114, I love your comparison to David being like french horn and not a trumpet. I hope that clarifies what you mean to some people, in terms of having an orchestra that doesn’t overpower the vocal.
Dear All,
First and foremost, my appreciation for the time and effort that Rascal carved out of an otherwise busy life to share his professional insights and personal perspective on the artistry and inspiration of David Archuleta. For me, his essays provide edification, points to ponder and enhance my general understanding of aspects within or associated with the music industry and appreciation for David’s artistry. Many others here at TDC have done so, as well. Thank you all.
A few of my thoughts:
1. “The human dilemma has always been our innate sense of perfection combined with a vivid awareness of our distance from it: our knowledge of the fall from grace, to put it in the vernacular of this album’s topic…”
Rascal, this introduction is masterful. Poignant.
2. “Christmas From the Heart [is] the closest we have yet gotten to who David Archuleta is as an artist and indeed as a person. If ever there was a moment to take him seriously, this is it.”
I agree, and thus the opportunity to establish gravitas amongst David’s more highly acclaimed peers. Aside from being a gift to David’s fans, this particular effort may be viewed as a clarion call -- however bold -- towards legitimacy, and ultimately to achieve similar status. Time will tell, but this is clearly a positive step forward.
3. “[David] is not yet surrounded by talent that is equal to his own…The production people are by no means slouches -- but neither are they of David’s caliber. This tends to result in either David sublimating his talents to the requirements of the producer (or the material), or in a disparity between performance and production.”
I think the disparity will be bridged with experience. The symbiosis of The Voice with The Production will attain a desired intimacy over time and with experience. CFTH is a reasonably positive progression in this regard. As you so keenly noted, “There is obviously much to be happy about…David’s vocal work is remarkable in many ways, and the arrangements are certainly sumptuous and even inspired in touches.”
4. “…from a purely musical perspective David was obviously going for a great deal of intimacy and simplicity with his vocals. Why then, in the name of heaven, does virtually all the production work accomplish precisely the opposite effect?”
Very thought-provoking question. My initial impression of this dichotomy is to think of it in terms of lovers -- young lovers. Both passionate and wanting to please, but initially awkward in developing, over time, an intimacy that is both synchronous and sublime. I look forward to when, not if, this transcendant moment occurs.
However, “the precisely opposite effect” mentioned by Rascal seems to me to effectively communicate mankind’s spiritual “fall from grace”. David’s intimacy and simplicity with his vocals (humility) symbolizes humanity’s distance from perfection, and the production work symbolizes the power and glory of the Divine.
Ultimately (for me at least), CFTH is not about The Voice or The Production, but about The Story -- the reconciliation of mankind to the Divine. Perhaps this may explain the perceived sublimation of David’s talents to the requirements of the producer or the material (#3) -- it may very well have been by design and not happenstance. In my opinion, all things considered, this collaboration lovingly and effectively tells “the greatest story ever told”.
All I know is that I really like CFTH, especially WCIT…and who am I to tell the Divine to tone it down, please, we’d like to hear what the little shepherd boy has to sing. Just kidding of course.
For any of you (if there are any of you) who might actually be interested in some context and real-world references for why and how one type of arrangement might make a big difference from another (it’s not just about orchestration, or having an orchestra at all), you might investigate some of the scholarship on the career of Frank Sinatra.
Entire chapters have been written on how different arrangers had profound influences on Sinatra’s relationship with his audience and critics, on his career direction, his sales and his popularity. Arrangements for a singer don’t just make a difference — they make a big difference.
In particular, it is widely acknowledged that the “understated” arrangers such as George Siravo, Johnny Mandel, and Quincy Jones were able to take Frank to new levels in his artistic accomplishments and critical appreciation. The genius of Nelson Riddle is generally acknowledged to be the “crowd favorite,” while it is almost universally agreed that arrangers like Gordon Jenkins and Ernie Freeman did Sinatra a disservice by over-saturating their work with too much orchestration.
There is a range of talent in the arranging and production aspects of recorded music just like there is in the vocal performance aspects of it. It is perfectly fine to applaud the work on CFTH just as it is, but it is equally valuable to observe that — in my opinion, at any rate — we have not yet seen arranging and production talent that properly complements and elevates David’s vocal work.
Granfan #113 “Frankly, a lot of people come here because there is more drama on this site than all the other Archuleta sites combined.”
Bwhahahahahaha -- Thanks Granfan, I needed that. 🙂
bigsky: Wow, fantastic response.
I think the disparity will be bridged with experience. The symbiosis of The Voice with The Production will attain a desired intimacy over time and with experience. CFTH is a reasonably positive progression in this regard. As you so keenly noted, “There is obviously much to be happy about…David’s vocal work is remarkable in many ways, and the arrangements are certainly sumptuous and even inspired in touches.”
Me, too. I think that as an 18-year-old, David is amazing in his role as “the boss”, as the band members have so many times stated. And yet, it must be overwhelming for him to be working with the likes of Kurt Bestor and others. I’m sure that over time the balance of when David should lead and others should lead will be balanced out.
Very thought-provoking question. My initial impression of this dichotomy is to think of it in terms of lovers – young lovers. Both passionate and wanting to please, but initially awkward in developing, over time, an intimacy that is both synchronous and sublime. I look forward to when, not if, this transcendant moment occurs.
I just love this metaphor. I look forward to that transcendent moment as well.
All I know is that I really like CFTH, especially WCIT…and who am I to tell the Divine to tone it down, please, we’d like to hear what the little shepherd boy has to sing. Just kidding of course.
This had me chuckling…thanks for the note of humor!
A random thought that I wanted to share:
David’s run, to the background of Jesu, Joy of Man’s Desiring (at the end of AWHHOH) is so soulful, sweet, and creative, and perfectly complements the instruments behind him. The rhythm is complex, too. And those little runs, how he changes the syllable, how he fattens and then thins out his tone, how he increases his volume then holds back, how he rests in harmony with the ending chord and fades away… This is CELD territory folks. What brilliant mind ever thought of complementing Bach in THAT way?
Oh! That would be David’s!! Never mind. LOL!
And don’t get me started on the “Amens” at the end of Ave Maria, or the high point of David’s and Charice’s HYAMLC. It’s great that CFTH affords us glimpses of that Contigo-like “perfection” that we didn’t get to hear in the first album, the kind that only David can bring.
Rascal #121, *raises hand* some of us are! 🙂
I would love to hear a contrast between those 2 categories of arrangers you mentioned. Got any links? 🙂
First I’d like to say that I’m enjoying the album and can’t stop playing it. I believe that all the producers/arrangers are very talented in their own right and that David’s vocals are gorgeous. My primary critique is that, IMHO, the executive producer didn’t select arrangers/producers who best complement David’s vocal ability or know how to take his vocals to the next level.
I guess I’m agreeing w/Rascal’s statement in #121:
“…in my opinion, at any rate — we have not yet seen arranging and production talent that properly complements and elevates David’s vocal work.”
#114
I may well be wrong with my assumption but the impression I have always got from reading your ideas is restricted. For me, one of Davids biggest assets is his versatility, not just stylistically but in almost every asset of music. I love big orchestra’s, so why not have a lavish orchestra and Davids voice together? I dont disagree with you about ‘following the voice’ but neither do I think one can be discriminated against the other. You can argue about which is better suited to David but ultimately thats down to a personal opinion. As a musician, I try to take all of it. I love hearing David both stripped back and sensual but also big and epic. I may prefer one but I dont discount the other. I do feel there is a nice balance of both on the album. An issue I would have (with the first album) is when a direction is pursued poorly and overall I think orchestra, synthesised or not, does sound very well put together. The arrangements, for the most part, are excellent.
My other reason for feeling this way is a very musicians thing. Music is ultimately imperfect. Its a matter of taste, rather than necessarily right or wrong. So out of respect to other musicians, and I know for a fact that Richard worked tirelessly on his project, I prefer to appreciate rather than dissect. Musicians hate critics, its very personal thing. Thats not to say they cant be criticised, but I prefer to do it on the basis of quality rather than interpretation.
Chenson,
I appreciate your sensitivity, so forgive me if I point out that hard work and quality are not directly related. Salieri worked tirelessly and Mozart tossed things off between encounters with wine and women. Musicians may hate critics, but audiences love talent.
I thought I had made it clear, repeatedly and in numerous ways, that’s it’s not a question of “to orchestrate” or “not to orchestrate” — I have no particular love of the “stripped back” or the acoustic, or any specific style of arrangement for that matter. It’s a question of how it’s done. I can very easily imagine sweeping orchestration that would be stunning with David’s vocal work. For me, this isn’t it.
I wonder if the name of the site “The David Chronicles” should quite possibly be renamed as it is presently misleading, especially to someone new to the site.
“chron·i·cle (krŏn’ĭ-kəl)
n. 1.An extended account in prose or verse of historical events, sometimes including legendary material, presented in chronological order and without authorial interpretation or comment”
Perhaps it could be changed to: The David Reviews
–noun 1. a critical article or report, as in a periodical, on a book, play, recital, or the like; critique; evaluation.
2. the process of going over a subject again in study or recitation in order to fix it in the memory or summarize the facts.
We often have lovely reports of David’s concerts from concert goers which are most interesting and informative (the chronicling of events) but then we critique the life out of every note.
Just a thought because wow, many of the comments are lengthy critiques.
SB
The only thing, with regards to the arrangement, that I really wish was included was a big ol’ choir. The inclusion of a gospel choir on “Melodies of Christmas,” vs. the back-up singers, would have made that song selection stand out a whole lot more.
But other than that, I do agree with Rascal that David does need a superb production to really bring out the quality of his voice.
Still, from my POV, CFTH did good.
Music is such a subjective thing. If David were to release an album without any “elaborate arrangements” there are those who would feel it was lacking. He will never be able to satisfy everyone’s musical tastes.
I love this album and the “Metroplitan Opera House” arrangements. I think that David’s voice is one of the few that can stand up to the challenge of singing with such lush accompaniment. This is my personal musical taste.
As with all the other great artists that have gone before him, I look at this as a step in his evolution as an artist, and I am totally enjoying the journey of watching his talents unfold as he works with different producers, etc.
As with so many things in life, the journey is sometimes more enjoyable than reaching the final destination.
SB: Creative license.
SB, I feel I need to make a statement in defense of ascphil’s and bigsky’s thoughtful reviews. Wouldn’t refraining from analysis and critiquing some musical notes make their comments inappropriate, and especially mine at #124? Or my review a few weeks ago of CELD?
I think that their comments add a great deal to the discussion. I just want to clarify that they are completely welcome here at TDC, equally as welcome as are OMG’s and squees and multiple exclamation points. 🙂 These are all equally valid ways of “chronicling” David, as each of us experiences David through our own impressions and experiences, as different as they may be. And if you would like to post your own take on the album here as well and what it means to you, you are completely welcome to. 🙂
Granfan, # 113, you’ve got that right. This site might get nominated for “Soap Opera of the year” David, an angelic 18 year old boy, who loves to sing and does it like nobody has ever done it, inspires great passion in others, even an old guy like me who is old enough to be his young grandfather (LOL).
I respect the right of everyone to express their point of view in a civil manner, no matter how much I disagree with them. Suppression of free speech is intolerable, whether it is talking about civil rights or David’s choice of scarf.
If people want to dissect David’s CD, it is their absolute right to do so. It is also the right of anyone else to share why they have a problem with doing so. The refusal by those in charge here to allow that in a welcoming environment is what the drama is all about.
It’s true that since we are all ardent fans of David, it would make for a mundane site if we all sat around the campfire singing “Crush” 24 hours a day. We all get it. David’s “da bomb”.
The answer to the musical question “why are we on this site”. It’s because it’s here.
Benton Paul is gonna be the opener for David in ¨all the stops¨ of this tour. 😐 He’s a great guy David said when he introduce him ( maybe his appareance on his vlogs was in purpose after all), not crazy about his music and tbh i was hoping for a cool female opener in some stops 🙁 so….i guess is Benton for all the tour.
HG -- A gospel choir -- what a fabulous thought. Someday perhaps…
tibitibis -- Thanks for the heads up about Benton Paul. I heard him in Salt Lake and liked him a lot. PLUS, the two are buddies and will have fun hanging out. 🙂 Wonder if they will do any numbers together?
davidfanLIZ #136 : I heard him in Salt Lake and liked him a lot.
Your welcome! :). i guess is a different taste for me, i really don’t like his voice at all,so for me is a BIG not the together numbers (please).I know he’s a nice person , but at least , like i said before a Brooke style female singer in some dates it will be nice , just because i think fit better. But Oh well 😐
Marlie7, The reason I say that it is OK to dissect the CD is because it is the right of anyone who is so inclined to do so. I happen not to be so inclined. That’s why I have not commented on the content of this article. I merely expressed my point of view, which is also my inherent right to do.
As to my “ax to grind”,yup, I’ve got one. It galls me that people who happen to have differing opinions from the Administrators on this or other issues are put in a position of having to justify their participation on this site. The policy of “TDC. It’s our way or the highway” is a bad policy. If it continues, I’ll have to call Joan Baez to stage an intervention.
davidfanLIZ . October 19, 2009 at 6:35 pm .
HG – A gospel choir – what a fabulous thought. Someday perhaps…
^^^ I thought David was scheduled to do a show with a choir sometime during this tour? I can’t remember where I read it or where it’s supposed to be. Does anyone know?
mt: I had it in my head he was going to do something with a full orchestra. Don’t ask me where I got the idea -- did I read it somewhere? Did I dream it? I don’t know. I hope someone knows these things LOL.
He will be appearing with the Ann Arbor Symphony Orchestra.
http://bit.ly/T4g4M
Yaa to the gospel choir.
Ok, lay opinion here but I took a listen again from the beginning- because you see I could not leave he heavenly place of track 7-12 (HYAMLC through MOC).
This album spotlights David’s glorious voice so much better than the first album, IMO and I will probably live in track 7-23 until Christmas. AT ANY RATE, the point is, I did find 2-4 a bit overwhelming and overpowering to David’s voice at times and found myself trying to figure out how to quiet that down.
Honesetly, maybe it was just me- but I honesetly did not view Rascal’s opinion as critical, more just musing on what could have been. Different strokes and all that stuff.
oops tracks 7-12 through 12/25 is my motto.
Bliss- first off…go yanks!! 🙂
Oh my heck, I feel compelled to respond to #134/138. In the real world we’d be the couple that is always debating. I don’t know why, but you know you egg me on. 🙂 And you are baiting me…. You know as well as I do that “free speech” is a complicated and hotly debated issue! So I offer you one reasoned starting point for our ongoing “free speech debate” as excerpted from the Stanford Encyclopedia of Philosophy, a site maintained by the Metaphysics Research Lab, Stanford University:
“The topic of free speech is one of the most contentious issues in liberal societies. If the liberty to express oneself is not highly valued, as has often been the case, there is no problem: freedom of expression is simply curtailed in favor of other values. Free speech becomes a volatile issue when it is highly valued because only then do the limitations placed upon it become controversial. The first thing to note in any sensible discussion of freedom of speech is that it will have to be limited. Every society places some limits on the exercise of speech because speech always takes place within a context of competing values. In this sense, Stanley Fish is correct when he says that there is no such thing as free speech. Free speech is simply a useful term to focus our attention on a particular form of human interaction and the phrase is not meant to suggest that speech should never be interfered with. As Fish puts it, “free speech in short, is not an independent value but a political prize” (1994,102). No society has yet existed where speech has not been limited to some extent. As John Stuart Mill argued in On Liberty, a struggle always takes place between the competing demands of liberty and authority, and we cannot have the latter without the former:
All that makes existence valuable to anyone depends on the enforcement of restraints upon the actions of other people. Some rules of conduct, therefore, must be imposed—by law in the first place, and by opinion on many things which are not fit subjects for the operation of law. (1978, 5)
The task, therefore, is not to argue for an unlimited domain of free speech; such a concept cannot be defended. Instead, we need to decide how much value we place on speech in relation to the value we place on other important ideals: “speech, in short, is never a value in and of itself but is always produced within the precincts of some assumed conception of the good” (Fish, 1994, 104). In this essay, we will examine some conceptions of the good that are deemed to be acceptable limitations on speech. We will start with the harm principle and then move on to other more encompassing arguments for limiting speech.”
So then Bliss, we all care about free speech… so let’s apply standards to our little DA-fansite-cybersociety: free speech is a question of values and the assumed conception of good….so what is our conception of “good” in terms of comments and posts and what do we “value most?” 🙂
raelovingangels -#142
I agree with all your post! Yay for a Gospel Choir !
I just said in another forum that to me the dinamic to produce a Pop album and A Christmas( gospel, classics ballads or spanish boleros) albums are very differents. For the second one category is absolutely sure in a 100% , that the fans gonna love more because that kind of production are more focus in the voice, then , in Davids case people gonna choose this productions instead the Pop radio friendly album where they need to create original songs to fit not only to the voice singer but the demand of the moments too. so is fair to say we like more his christmas album, but not make comparations with his pop first work album, i agree with the main post that i hope David gonna find the right producers for his pop albums , because is there where he need help. about the special productions like the last album i’m sure is gonna be more easy and less expensive if Jive let him do another not pop album.
olemr2001: See, I knew someone here would have the info! Thank you -- I wasn’t dreaming. (Although, I thought it was the Cleveland Symphony LOL)
tibitibis: You have such a rational way of looking at things. Interesting questions about the differences between the production of the pop album and the Christmas album.
olemr2001 Thanks for the info. I guess I my overtaxed brain replaced the symphony with the choir. lol
ronald…”SB, I feel I need to make a statement in defense of ascphil’s and bigsky’s thoughtful reviews. Wouldn’t refraining from analysis and critiquing some musical notes make their comments inappropriate, and especially mine at #124? Or my review a few weeks ago of CELD?”
In regards to your comments, “thoughtful” reviews are wonderful, appropriate and worthwhile. I can always go on to The MasterClass Lady’s reviews and find them thoughtful, intelligent, educated and respectful of David and that is how one of his fansites needs to be. Like many others do, I read several other sites and reviews and we are quite familiar with how other writers address David and his work.
Hey and yes, your reviews are thoughtful and always interesting to the reader as well. I never read your reviews and wonder where the stinger is going to be. So, I will shoot directly from the hip and say that I find some reviews inappropriate.
Your CELD review was delightful as I remember but I am still believing that this is most accurately “The David Reviews” where one can prepare for the great reviews and the stingers to happen at any time. “The David Chronicles” is where reviewing and critiquing is much bigger than chronicling.
It is interesting and perhaps entertaining to tune into a soap opera between people and their wits or find a heated debate going on, but not at the expense that David is the one caught in the middle. I have been one of three who remained in a CNN hosted debate for weeks, that captured many thousands of viewers, so sometimes I know just a little even if I make spelling errors…
SB
Joner #131…well said. You stated my exact sentiments. I think the orchestra music is lushly gorgeous as is David’s glorious singing. It is obvious to me that this album is a gift to US, his fans, who love and appreciate him for all that he does. I’ve become weary of the constant analysis of every breath he takes, every note he sings or hums, or twitter he posts. All I want to do is listen to him sing…who cares what others think anyway? I babble about David, singing his praises, all the time to my family and anybody else who will listen. Everybody in my circle of family and friends know how much I adore David Archuleta. They know I am a very passionate person, and I don’t hide the passion. It doesn’t matter to me anymore whether any of them ever ‘get David’ like we do here. He makes me very happy, and that is enough.