Annie Lennox and the album ‘A Christmas Cornucopia’

In her fifth studio album, Annie Lennox of Aberdeen, Scotland, United Kingdom set her musical gaze on the Christmas season with the holiday album 2010 album A Christmas Cornucopia. Set to music genres including holiday, pop/rock, carols, Christmas and holidays, musicians assisting Lennox on the presentation of this album included Dave Robbins, Mark Stevens, Mike Stevens, Barry Van Zyl and the African Children’s Choir.

(The Annie Lennox album A Christmas Cornucopia was released in November of 2010).

Angels from the Realms of Glory opens A Christmas Cornucopia as a carol reminiscent of many worship services I’ve attended over the years. Upliftingly presented with backing orchestration and chorus, the music for the song was published as written by hymnwriter and poet James Montgomery of Scotland in 1816.

(Scottish born hymnwriter, poet and editor James Montgomery wrote the hymn Angels from the Realms of Glory. The song is the first on the Annie Lennox album A Christmas Cornucopia).

God Rest Ye Merry Gentlemen follows the album opener with tidings of comfort and joy upon the birth of the historical Jesus. The charm for me is the focus on the singing featuring Lennox throughout, the subtle vocal accompaniment for the first stanza, and the orchestration through the full performance. The accentuating drums add a full-bodied beauty for me that combines with subtlety for what I take as flute through the last quarter of the song, ending as flute in isolation.

See Amid the Winter’s Snow manifests more beautiful orchestration as led by Dave Robbins throughout this album. First published in 1858 for English hymn writer Edward Caswall, English organist and composer John Goss composed a hymn for the original piece in 1871. The presentations then and now express joy in the birth of Jesus Christ at the commemoration of his original arrival.

Il est né le divin Enfant is French for He is born, the divine Child. Lennox sings the French Christmas carol in the original language in narrating the story of the 4,000 year wait for the humble birth of Jesus in a manger.

(A Christmas Cornucopia album by Annie Lennox was released in November of 2010).

The First Noel as a piece of music is “a traditional English carol most likely from the 16th or 17th century, but possibly dating from as early as the 13th century”, as quoted here. The chorus vocals in a brief dreamy spell between verses at a pair of points elevates the piano and strings that accompany the Annie Lennox singing for this song. The trumpeting of the joyous event of Jesus‘ birth to close the song presented an unexpectedly uplifting conclusion to this piece.

Lullay Lullay (The Coventry Carol) draws from the Gospel according to Matthew to tell of the Slaughter of the Innocents in Bethlehem as ordered by Herod. The song results in a lullaby that mothers would have sung, and Lennox did sing, to their children as a means of comfort.

The Holly and the Ivy is a traditional folk Christmas carol of British origin. The song harkens back to the association between Christmas and holly, which has origins in the Middle Ages (or Medieval times). The cadence performs a bit quicker than my senses and heart wanted to experience this song.

(This portrait of Christina Rossetti was made by Dante Gabriel Rossetti, her brother. Christina Rossetti‘s poem In the Bleak Midwinter was published under the title A Christmas Carol).

Written as a poem by Christina Rossetti, In the Bleak Midwinter is frequently performed as a Christmas carol as done by Annie Lennox on A Christmas Cornucopia. The song postulates a series of cJoseph (Earthly Father of Jesus Christ)omparisons of religious importance foe how Jesus came to exist, the prophesied two comings of Jesus, Jesus‘ birth and surroundings, and the affection types offered Jesus by angels and Mary, his birth mother.

As Joseph was a Walking (The Cherry Tree Carol) surprised me as both a Christmas carol and a children’s ballad. The lyrical version presented by Lennox includes an angel previewing the birth of Jesus for Joseph, Jesus‘ father on Earth.

O Little Town of Bethlehem plays to different music than I’ve heard it presented previously. The song is presented solemnly and traditionally with an almost understated piano accompaniment. The chorus that joins Lennox at periodic points makes for a beautiful rendition of this song.

Silent Night with lyrics by Joseph Mohr and composition by Franz Xaver Gruber presents the second to last song on A Christmas Cornucopia. Presented with a traditional piano approach that grows to include a children’s choir and strings, the musical arrangement does as much for the song as does the Annie Lennox singing.

(Universal Child is a single released in 2010 to support the Annie Lennox album A Christmas Cornucopia).

Universal Child is the original Annie Lennox composition on A Christmas Cornucopia. As quoted here, the song is an advocacy for all kids to experience “Safety, security, access to medical care, to love, protection, education, a future, a decent place to live – a child must have all these things.”

Matt – Wednesday, December 13, 2023

Herb Alpert & Tijuana Brass and the album ‘Christmas Album’

It was fifty-five years ago that a Tijuana, Mexico touch was presented to what is Christmas music in North America. Christmas Album by Herb Alpert & Tijuana Brass was released in November 1968. What follows is a sampling of the music and my encouragement to purchase the album, especially if you agree with me that this is something worth being heard. The album stylings include easy listening, jazz, pop/rock, holiday, holidays, AM Pop, instrumental pop and jazz-pop.

(Cover art for Christmas Album by Herb Alpert & Tijuana Brass).

Winter Wonderland is presented as the opening song with vocalizations to support the instrumentation, minus specific lyrics for the song. Two primary lyrical bents do exist for the song, which we’ll not address in detail here given the presentation of the song as an instrumental.

(The sheet music cover from 1934 for Winter Wonderland as written by Felix Bernard and lyricist Richard Bernhard Smith).

Vocalization as an interlude to begin Jingle Bells. Presented as an instrumental like Winter Wonderland, the arrangement offers a strong influence for a Herb Alpert & the Tijuana Brass sound that characterizes the album.

(The title page of The One Horse Open Sleigh, the original title for Jingle Bells as written in 1850 by James Pierpont at Simpson Tavern in Medford, Massachusetts).

My Favorite Things continues the vocalization introduction of the preceding songs, taking the Rodgers and Hammerstein creation of Richard Rodgers and Oscar Hammerstein II in a direction that offers both upbeat and slow musicality. The full result provides an interesting take to an unexpected song for this collection.

The Christmas Song, sometimes referred to as Chestnuts Roasting on an Open Fire or simply Merry Christmas to You, was written by Robert Wells and Mel Tormé. With soft singing accompanying softly strummed stringed instruments through much of the song, horns roll in for a brief point about two-thirds of the way through the song.

Written by composer Alfonso Esparza Oteo, Las Mañanitas is a traditional Mexican birthday song. The inclusion on the Herb Alpert & Tijuana Brass Christmas Album, beyond being culturally on-point, feels like it can be a reference to the birth of Jesus Christ.

(Herb Alpert in 1966).

Sleigh Ride was composed by Leroy Anderson for light orchestras. The tempo changes beginning a bit past the 90-second mark and continued through the song present an original and appreciated instrumental take on the song that I find highly appealing.

The Bell That Couldn’t Jingle is an original song written by Burt Bacharach and Larry Kusik. Begun with a chorus singing the song almost as a chant, the almost playful arrangement slightly more than 30-seconds into the song has charm. The singing for The Bell That Couldn’t Jingle returns to a convention present in The Christmas Song.

Written by Sammy Cahn and Jule Styne, Let It Snow, Let It Snow, Let It Snow begins with soft horns from the start. A cautious amount of singing is presented in a lovely song that needed the vocals not at all. Stated another way, the instrumentation carries this song of its own accord.

Jingle Bell Rock was first released by Bobby Helms with writing credits resting with Joe Beal and Jim Boothe. The Christmas Album version by Herb Alpert & Tijuana Brass takes an instrumental approach that inspires clear excitement among the performing musicians; the occasional vocalization that trickles in gives the recording character.

(The cover art for Jingle Bell Rock, which was first released by Bobby Helms in 1957).

Jesu, Joy of Man’s Desiring as composed by Johann Sebastian Bach brings a beautiful rendition to a beautiful song to close the album. The harmonizing vocals accompanying the performance brings a choir feel present with many songs for the album. The horns offer the best part of the song for me.

Contributing artists to this album include Herb Alpert on trumpet, Nick Ceroli on drums and percussion, Bob Edmondson on trombone, Tonni Kalash on trumpet, Lou Pagani on keyboards, John Pisano on guitars and mandolin, Pat Senatore on bass and Julius Wechter on marimba and percussion. Neither adding nor removing my appreciation for the music, Herb Alpert is Jewish rather than Christian.

Matt – Saturday, November 25, 2023

Trans-Siberian Orchestra and the album ‘Christmas Eve and Other Stories’

As the All Music website helps clarify here, “Trans-Siberian Orchestra is…not a permanent musical organization. Rather, it is the trade name for the session orchestras assembled for a number of symphonic rock cross-over albums produced by Paul O’Neill.” O’Neill was from Queens, New York City, New York, offering a series of rock cross-over albums that we begin looking at today. The Christmas Eve and Other Stories album was released on October 15, 1996.

(Presented is the album cover for Christmas Eve and Other Stories. This Trans-Siberian Orchestra album was released on October 15, 1996).

An Angel Came Down opens with a distinct piano open accompanied at times by thundering guitars and drums that offer alternating movements within the composition later interwoven with bells hinting at the song Silent Night as composed by Franz Xaver Gruber of Hochberg, Austria with lyrics by Joseph Mohr of Salzburg, Austria.

O Come All Ye Faithful/O Holy Night follows the album opener with a more pronounced piano with guitar introduction to two songs eventually fused with drums into a clear harder hitting rock sound than typically heard from either song. This song is presented in strictly instrumental form.

(Adolphe Adam of Paris, France set O Holy Night to music with the song’s original composition in 1847).

A Star to Follow begins with pronounced adult male singing and supporting instrumentation at first to God Rest Ye Merry Gentleman. The presented composition moves into pre-teen children singing to the expected joy of the Christmas celebration. A third movement returns a chorus of the men singing the words Merry Christmas with the kids singing harmony. An appealing effect follows with an adult choir adding lyrics for the Ukranian folk chant Carol of the Bells. The song ends with the children singing their willingness to follow into the magical joy the holiday promises.

An acoustic guitar introduces First Snow for a few seconds before giving way to a clear electric guitar melody with accompanying drums. Following A Star to Follow, I felt the evocation of satisfied revelry for adults and children. Hinting at a notion of Christmas with snow does not hurt, either. The song plays as a full instrumental without lyrics.

The Silent Nutcracker plays to a more fully throated acoustical instrumental performance. Hints of Silent Night are again made in strictly instrumental form for a more extended playing in what proves to be another song presented without lyrics.

A Mad Russian’s Christmas opens with piano playing in solitude an authoritative electric guitar riffs accompanying. A series of explicit rock melodies follow in instrumental succession, invoking classic orchestral rises and falls of mood to tunes sure to be recognized by most. Of all the songs on Christmas Even and Other Songs, A Mad Russian’s Christmas perhaps best exemplifies why the word orchestra belongs in the Trans-Siberian Orchestra.

With The Prince of Peace, the reintroduction of singing proves welcome and as emotionally uplifting as the reason for the season sung about. An adult female sings of Jesus Christ‘s birth, explicitly invoking Hark! The Herald Angels Sing just beyond minute and a half into the presentation.

(Hark! The Herald Angels Sing first appeared in the 1739 book Hymns and Sacred Poems).

Christmas Eve/Sarajevo 12/24 begins with a few seconds worth of traditional instrumentation introducing God Rest Ye Merry Gentleman. A fully instrumental presentation continues from here with a different rocking sound, evoking anticipation, discovery and magic coming with the next day. The birth of Jesus with the celebration indicated with A Star to Follow earlier in the album come to bear again. The band Savatage, who played a significant role in bringing this song to life, were formed in Tampa, Florida in 1983.

(Christmas Eve/Sarajevo 12/24 was released as a single by Savatage and Trans-Siberian Orchestra. Trans-Siberian Orchestra a side project of several members of Savatage).

Good King Joy raises the octave level on every song that preceded it on Christmas Eve and Other Stories by announcing the birth of Jesus with a bright introductory verse of Joy to the World. Heavy piano and guitar follow in furtherance of the Jesus‘ birth. Switching to a rhythm and blues theme three minutes into a song that plays more than six minutes with lyrics invoking the nativity story with the Magi in Bethlehem works magic.

(First published in 1719, English minister and hymnist Isaac Watts of Southampton, Hampshire wrote Joy to the World based on a Christian interpretation of Psalm 98 of the Old Testament of the Bible).

Ornament brings us back to a raspy blues singer view of a young lady separated from her family leading up to Christmas. We find that the viewpoint is that of a father desperate to have his daughter call a truce to whatever ails the relationship. A specific ornament between the two stands in as the token of hope, memory and joy to bring the two together again on this pending Christmas day.

The First Noel is presented in an acoustic and quick interlude of instrumentation. The song itself reminds of the birth of Jesus and the first nativity in less than a minute of song.

(Of Cornish origin, the song The First Nowell was published in its present form as early as 1833 in the book Christmas Carols Ancient and Modern by William Sandys, though the song seems to have been around longer).

A sympathetic and acoustic, storytelling vibe brings the song Old City Bar. The bluesy father from Ornament continues the story of the disconnected daughter who couldn’t get home on Christmas Eve. The song is a sad tale that turns unexpectedly happy with cab fare to JFK Airport in New York City to get home to her father.

Promises to Keep opens with distinct piano playing that quickly opens to the singing of children in chorus taking upon themselves the seeking and the keeping of the promises of love represented by Christmas. The wishing upon stars give way to keeping the spirit and goodness through the season, the years, the lifetimes. The sweetness is meaning like a music box invoked through the song.

This Christmas Day brings the optimism and feeling of Christmas in stringing together Ornament, Old City Bar and this song with bright strings of lights, ribbons, and the returning home of the daughter to her home, accompanied by the joy of her father. With the promise of desperation giving way to promises delivered now and forever, the feeling resonates through repetitions of the lyrics of “Merry Christmas, merry merry Christmas!”

An Angel Returned frames the album with the opening song of Christmas Eve and Other Stories, An Angel Came Down. In referencing Kyrie (Lord) and at least partially calling upon the “Kyrie, eleison,” or “Lord, have mercy” prayer, this song with new lyrics (An Angel Returned) set to essentially the same music (An Angel Came Down), the Christmas spirit as embodied by faithfulness expressed in song has transformed people through the joy felt in the hope of the savior’s birth on the night of Christmas Eve as told through the songs of this album.

(Pictured here is Paul O’Neill, the founder of Trans-Siberian Orchestra).

O Holy Night was presented as a bonus song beyond the original album, with an instrumental version of the song that varies from the second half of O Come All Ye Faithful/O Holy Night earlier in the album. This presentation feels like it was played on guitar, though a dobro might have been the primary instrument.

God Rest Ye Merry Gentlemen adds an additional bonus of 75-seconds of an exclusively acoustical presentation of the song.

Matt – Saturday, December 24, 2022

Sheryl Crow and the album ‘Home for Christmas’

With the joy of late fall weather offering the tokens of the coming winter for some northern climates, I was moved to look into a holiday album released November 26th, 2008. The album Home for Christmas by Sheryl Crow of Kennett, Missouri.

(This image shows the Sheryl Crow album cover for Home for Christmas. The album was first released on November 26th, 2008).

Go Tell It on the Mountain is an African American spiritual dealing with the nativity of Jesus Christ. The compilation of the song is attributed to John Wesley Work Jr., with the singing in Crow‘s version incorporating singers suggesting the song’s origins to the middle of the 19th century.

The Christmas Song offers a distinctly jazz feeling to the song originally written by Mel Tormé of Chicago, Illinois and Robert Wells. Nat King Cole of Montgomery, Alabama is credited with the first and definitive version of the song, having recorded it multiple times through the years. Over time, the song has carried the subtitle Chestnuts Roasting on an Open Fire and Merry Christmas to You since the original recording in 1946.

(The ‘definitive’ version of The Christmas Song as performed by Nat King Cole was released in 1961).

White Christmas presents with uplifting horns, guitars and drums that brings a light and fun experience. The uplifting tempo is as catchy as any offering on the album. Original writing credits for the song belong to Irving Berlin, born in the Russian Empire of the 19th century.

I’ll Be Home for Christmas offers an unexpectedly older fashion instrumentation that would land favorably long ago. This is a welcome addition to this album in the offering of what becomes so many distinctive musical presentations throughout the album. The original presentation in 1943 by lyricist Kim Gannon of Brooklyn, New York and composer Walter Kent New York City, New York included the singing of Bing Crosby, of Tacoma, Washington, with John Scott Trotter & His Orchestra playing the instruments.

(Bing Crosby sang the first released version of I’ll Be Home for Christmas in 1943).

Merry Christmas Baby brings a clear pop sensibility to a studio recording featuring keyboard play that gives the song a fusion rhythm and blues and jazz flavor. The original writing credits belong to Johnny Moore of Selma, Alabama and Lou Baxter.

The Bells of St. Mary’s includes music written by A. Emmett Adams with lyrics by Douglas Furber, dating back to 1917. The sound is very modern, with a vocal range offered by Sheryl Crow that brings a pleasing effect open to continued listening.

The Blue Christmas as presented here offers a distinctly jazzy and gospel fusion to a song most famously performed by Elvis Presley, originally of Tupelo, Mississippi. Writing credits rest with Billy Hayes and Jay W. Johnson.

(Blue Christmas as performed by Elvis Presley made the song as popular as ever in the United States).

O Holy Night opens with a partial singing of It Came Upon a Midnight Clear, with the latter accounting for nearly 1-minute and 10-seconds of the 3-minute and 39-second performance. Distinct production differences points to what feels like performances intended to have been separate. The singing proves inspired and moving, making for a rewarding experience.

As written by Sheryl Crow, the song There Is a Star That Shines Tonight has perhaps the most authentically true song on the album. Strongly piano based with stringed instrument accompaniment, the quiet sweetness invokes celestial inspiration, missing one’s loved ones and the inspiration of the newborn spiritual king.

Hello My Friend, Hello offers a gentle meditation of friendship and winter’s regeneration. The accompanying instrumentation offers a sweet accompaniment to Crow‘s singing. Bill Botrell is credited with writing this song.

(Sheryl Crow‘s album Home for Christmas was first released on November 26th, 2008).

The final song for the 2008 release of the Home for Christmas album is All Through the Night, a sleepy meditation of a song with seemingly Welsh origins under the name Ar Hyd Y Nos. As noted here, the song “is still sung in Welsh, especially by male voice choirs, [although] it is better known by its English title “All Through The Night.”

Matt – Saturday, November 26, 2022

David Foster and the album ‘The Christmas Album’

A pair of radio stations where I live have been playing Christmas music through the month of December. The station that tends to play more contemporary music has included music from The Christmas Album (1993) by David Foster among its more commonly featured songs. As it is the season for such songs, let us look more closely into the dozen songs that comprise this album.

(The Christmas Album by David Foster with friends was released in 1993).

Carol of the Bells opens the 12-songs of The Christmas Album with an uplifting and melodious rendition of this traditional song. Mixing horns, piano and an orchestral mix meaningful to many, the joy that comes in less than three-minutes of playing time is beloved by many. This song, incidentally, receives the heaviest play of any song from this album with my local station.

(The Christmas Album featuring David Foster and friends was released in 1993).

Blue Christmas features Wynonna Judd singing to the instrumentation offered by David Foster. A rendition of this song also accompanied David Foster’s Christmas Album television special, which accounts for the following image. The rendition of the song selected here comes from the album rather than the television special.

(Wynonna Judd accompanies David Foster by singing Blue Christmas from David Foster’s Christmas Album television special).

Bebe Winans and Cece Winans are featured accompanying David Foster with The First Noel. The contemporary sound with support from a chorus and a broad accompaniment of other musicians offer a warm, welcoming and full sound commensurate with the underlying lyrics and music offered. The song offered is from the album, whereas the image is from the television special.

(From left, David Foster, Bebe Winans and Cece Winans performing The First Noel).

Johnny Mathis joins David Foster in performing It’s the Most Wonderful Time of the Year. The enthusiastic time offers an uplifting spirit to a traditional composition known to many through more commonly played alternative renditions of this song.

(Johnny Mathis accompanies David Foster by singing The Most Wonderful Time of the Year. This image is from David Foster’s Christmas Album television special while the rendition linked above is from The Christmas Album).

Natalie Cole joins David Foster in offering Grown-Up Christmas List. Compositional credit for the song belongs with David Foster and Linda Thompson-Jenner. The fresh perspective in offering a new sentiment for the holidays with quality musicianship is heartwarming with a sense of calm.

(Natalie Cole accompanies David Foster by singing Grown-Up Christmas List from The Christmas Album. This image is from David Foster’s Christmas Album television special).

O Holy Night features Michael Crawford singing alongside David Foster‘s piano and other accompanying instrumentation. Crawford is “[m]ost popular to theater audiences from his title role in Andrew Lloyd Webber‘s version of The Phantom of the Opera,” as mentioned by All Music, the American online music database).

(Vanessa Williams accompanies David Foster by singing Go Tell It on the Mountain / Mary Had a Baby. The version linked below is taken from an album published by Williams).

Vanessa Williams sings a powerful medley of Go Tell It on the Mountain / Mary Had a Baby with a choir and David Foster, as featured on The Christmas Album, in David Foster’s Christmas Album television special, and in albums published separately by Williams. In staking out something truly their own in a musical arrangement offering many things, call me intrigued and moved.

(From left, Peabo Bryson and Roberta Flack performing I’ll Be Home for Christmas. The image shown is from David Foster’s Christmas Album television special).

I’ll Be Home for Christmas features Peabo Bryson and Roberta Flack with musical assistance from David Foster. The mellow feeling of the presentation, taken from The Christmas Album as linked above, offers compositional direction changes at various points in the presentation that offer interesting and warm feelings to my hearing.

(Tom Jones performing Mary’s Boy Child from David Foster’s Christmas Album television special).

Tom Jones sang to Mary’s Boy Child. The linked soundtrack to a ballad with choir harmonies bordering on the up-tempo style of many of the standards of Tom Jones, with a distinct timing difference to the song that comes next on The Christmas Album.

(From left, Céline Dion and David Foster perform The Christmas Song (Chestnuts Roasting on an Open Fire)).

Céline Dion sings The Christmas Song (Chestnuts Roasting on an Open Fire) to David Foster‘s piano, set in a distinctly higher key to much of the catalogue offered by The Christmas Album before this song. The juxtaposition of the Peebo Bryson and Roberta Flack duet followed in sequence by Tom Jones and Céline Dion also feels wisely selected to me.

Tammy Wynette sings and speaks Away in a Manger. The orchestration and production value of the song strikes me as more endearing.

The song White Christmas as captured on the album is credited in performance to David Foster, Natalie Cole, Michael Crawford, Wynonna Judd, Johnny Mathis, Bebe Wians and Cece Wians. I distinctly heard Vanessa Williams, Peebo Bryson, Roberta Flack, Tom Jones, Céline Dion and David Foster singing as well.

Matt – Wednesday, December 14, 2021

A holiday playlist introduction to classic rock

Many may have a preferred playlist for holiday songs around that bring comfort over the holidays. This is an introduction classic rock through a few songs that I’ve come to appreciate over time. Enjoy!

(Chuck Berry opens our listing with his classic Run Rudolph Run).

Beginning the list is this 1958 classic from Chuck Berry to get us started. Run Rudolph Run continues to be popular to this day.

(From left, From left, Richard “Cheech” Marin and Tommy Chong of Cheech & Chong).

Santa Claus and His Old Lady by Cheech & Chong from 1971 falls more into the comedy genre, yet I get a chuckle from this for capturing an attitude. Richard “Cheech” Marin and Tommy Chong were formidable in their day.

(John Lennon, pictured here, offered Happy Xmas (War Is Over) with the Plastic Ono Band).

Happy Xmas (War Is Over) by John Lennon with the Plastic Ono Band is a song hard to miss by folks streaming or catching music from the radio. The first holiday song on our list by a member of The Beatles, 1971 was the year this song entered the culture.

(Bruce Springsteen asking for a roll call of all the good little boys and girls)?

Santa Claus Is Comin’ To Town by Bruce Springsteen and the E Street Band has taken on a bit of a life since it came on the scene in 1975.

(From left, Bing Crosby and David Bowie singing the duet for The Little Drummer Boy (Peace on Earth)).

The Little Drummer Boy (Peace on Earth) by Bing Crosby and David Bowie first played for the masses in 1977. My first remembered exposure came on MTV a few years later. The mixing of two generations of performer like this produced a beautiful song.

(The Kinks offered us a reminder to aim for equity in the song Father Christmas).

1977 also offered the world Father Christmas by The Kinks, which offers a more pragmatic spin on the notion of the holidays in reminding us with social commentary that not all are affluent with an experience of Santa Claus that is consistent.

(The Eagles as they were in 1978 sang of the bond of togetherness over the holidays).

Please Come Home for Christmas by the Eagles came along in 1978 as a solid remake of the 1961 number by blues singer and pianist Charles Brown.

(Paul McCartney and his wife Linda McCartney in 1984).

1979 offers us the song Wonderful Christmastime by former member of The Beatles Paul McCartney. Paul McCartney & Wings get the musical credit for this song, which when put alongside Happy Xmas (War is Over) by John Lennon and the Plastic Ono Band offers a bit of a difference in where the two primary songwriters were in the messaging of their music.

(From left, Bruce Springsteen and Steve Van Zandt enjoying the work of being musicians).

Merry Christmas Baby by Bruce Springsteen & the E Street Band rings in 1980 with a second song by the boss and the band. The song’s popularity grew with the release of a Special Olympics charity album in 1986.

(From left, Sting of The Police, Bono of U2 and Simon Colley of Duran Duran as part of Band Aid).

On the subject of popular holiday songs made possible by charity, Do They Know It’s Christmas by Band Aid. An effort of mainly English and Irish recording artists, the song was meant to offer aid for the famine in Ethiopia when released in 1984.

(John Mellencamp performed I saw Mommy Kissing Santa Claus).

I Saw Mommy Kissing Santa Claus by John Mellencamp was a thematically lighter song released in 1987. The pacing in more upbeat and apolitical than some in this listing, yet musically appealing nonetheless.

(Bob Seger offering a rendition of The Little Drummer Boy).

The Little Drummer Boy by Bob Seger & the Silver Bullet Band offered a second 1987 release, joining the Special Olympics album that included Mellencamp‘s I Saw Mommy Kissing Santa Claus and Springsteen‘s Merry Christmas Baby. Seger‘s song is notable for removing religious names and references.

(Bono of U2 in the video for the song Christmas (Baby, Please Come Home)).

Also in 1987, U2 offered Christmas (Baby, Please Come Home) in a romantic interlude as filled with passion as anything the band released.

(Trans-Siberian Orchestra made a light show and orchestration a large part of their live holiday performances over time).

Trans-Siberian Orchestra came along in the mid-1990s with a concept of classical music made contemporary with a rock and roll sensibility. Much of their catalogue is devoted to the music this post contemplates. Our decision here is to introduce the 1996 song Christmas Eve / Sarajevo by TSO.

(The Reverend Horton Heat would like you to know that Santa Claus is Coming to Town).

Also stylistically on point with this list yet perhaps stretching the genre of classic rock is Santa Claus is Coming to Town by The Reverend Horton Heat. I could help but hear the excitement of young children looking forward to the holidays.

Matt – Monday, December 14, 2020

Rod Stewart and the album ‘Merry Christmas, Baby’

Music that supports the holidays has been a staple for as long as I can remember. New contributions that capture the popular imagination of those interested can be tricky. Today we aim to offer you stylings from this decade with the 2012 album Merry Christmas, Baby by Rod Stewart.

(The album cover for the 2012 album Merry Christmas, Baby by Rod Stewart).

Have Yourself a Merry Little Christmas opens the album with an intimate studio production with dignity. This is a nice song to listen to while snuggling with a loved one, a glass of cheer, and a loved one.

Santa Claus is Coming to Town offers a similar sweetness to the album opener with a nice mixture of supporting band underpinning the distinctive Rod Stewart voice. The big band sound with supporting vocals slightly past the song’s midpoint is a nice touch.

On Winter Wonderland, Michael Bublé and Rod Stewart take turns leading the singing for this song, keeping a distinctly soft jazz feeling flowing to the mood as the fondness for the season as expressed through a festive landscape is invoked.

(Rod Stewart performing the song Merry Christmas, Baby from the album with the same name).

White Christmas slows the tempo for the contemplative, drowsy feeling not unlike one might get while in the bustle of the season after a particularly energetic day.

CeeLo Green and Troy “Trombone Shorty” Andrews join Rod Stewart for the album’s namesake song, Merry Christmas, Baby. The curious and uplifting mix of this trio enjoys a classic if slightly understated treatment with the strongest sense of enthusiasm within the song not coming until roughly two-minutes into the song. Playing Auld Lang Syne from later in this album as a lead into the song Merry Christmas, Baby did my heart good in appreciating this tune.

Let It Snow! Let It Snow! Let It Snow! offers a stronger sense of the best experience I take from the album of an almost introspective feel. Dave Koz joins accompanies in the song with subtle hints to the song Baby It’s Cold Outside mixed in.

(A pressing of the compact disc of for the 2012 album Merry Christmas, Baby by Rod Stewart).

Ella Fitzgerald and Chris Botti accompany on What Are You Doing New Year’s Eve? in a surprising and wonderfully old-fashioned sounding take on the new year classic. I could listen to this song over and over again with my affection increasing.

Blue Christmas offers us the return of Rod Stewart performing in solo with a rendering of the song that hints to the gospel and bluegrass underpinnings present in the Elvis Presley sentiment if not the sound of that earlier take. I am quite fond and proud of the newer, fresher approach to the song by Stewart.

Red-Suited Super Man sees a return of Troy “Trombone Shorty” Andrews with a stronger sense of rhythm and blues felt more strongly here than perhaps anywhere else on the Merry Christmas, Baby album.

(A close-up of Rod Stewart from the album cover of Merry Christmas, Baby).

Rod Stewart takes a risk in approaching the Disney song When You Wish Upon a Star as orchestrated and sung originally here by the character Jiminy Cricket (voiced by Cliff Edwards). I appreciate Stewart‘s treating the production with reverence in offering a more contemporary sensibility. Have a listen.

In joining with Mary J. Blige on We Three Kings, Rod Stewart achieves something unique and unexpected. The vocal mix in coupling these two offers a beautiful, uplifting mixture of a song arguably as thematically spiritual as any I’ve heard Stewart due in his career. I appreciate this interpretation immensely.

Silent Night with the understated instrumentation works beautifully for the second spiritual of the Merry Christmas, Baby album. The singing of children through the second movement of the song works, yet this song works for me less than the collaboration with Mary J. Blige on We Three Kings.

Auld Lang Syne ends the Merry Christmas, Baby album with an affectionate musical toast both uplifting and sweet. The uplifting production with pretty instrumentation and chorus is a warm blanket of appreciation from Stewart that strikes me in a sweet spot of joy to bring about the end to an enjoyable album.

Matt – Saturday, December 5, 2020

Harry Connick Jr. and the album ‘When My Heart Finds Christmas’

The year 1993 holds a nostalgic set of feelings for me. I graduated high school with a certain degree of pride and wonder. I saw Nolan Ryan pitch his last game in my home town, as a member of the Texas Rangers.  I started my college career, which would see me change the focus of my education twice before graduating graduating five years after I finished my high school career. Also, the album When My Heart Finds Christmas by Harry Connick Jr.  of New Orleans, Louisiana made its debut.

(Album cover for When My Heart Finds Christmas by Harry Connick Jr.).

The album’s first song of Christmas music starts with Sleigh Ride, an orchestral standard composed by Leroy Anderson in 1948. The song, while making no explicit reference to Santa Claus or the holiday of Christmas, appears on many a Christmas album, including this one.

When My Heart Finds Christmas, the second song of the album and first written by Harry Connick Jr. to appear on the album of the same name, offers an allusion to love, affirmation and the good cheer of family, innocence and the effort to share the joy that such feeling engenders. The instrumentation, chorus, and uplifting spirit of this song are really magical.

(Vocalist and piano player Harry Connick Jr., left, with bassist Ben Wolfe in 1989).

With (It Must’ve Been Ol’) Santa Claus, the original song penned by Harry Connick Jr. offers an upbeat timing and playful look into the heart of a young boy on the precipice of thinking Mom and Dad might be standing in for the jolly man himself. With the happy belief in Santa Claus preserved, coupled with a joyful “happy ho ho ho to you,” the experience is pure gold.

The fourth song from When My Heart Finds Christmas is The Blessed Dawn Of Christmas Day, penned along with a number of other songs on the album. The slower, more orchestral song bends more towards the spiritual aspects of considering the birth of Jesus Christ a blessing.

(From Left, alto saxophonist Brad Leali, alto saxophonist Will Campbell and baritone saxophonist Dave Schumacher. Each played on the album When My Heart Finds Christmas).

In moving to holiday standard Let It Snow! Let It Snow! Let It Snow!, listeners get a jazzy impression which rejoices in a surprise impression in the first 20-seconds that sits well with me to this day. The original lyrics and arrangement date back to a song written by lyricist Sammy Cahn and composer Jule Styne in July 1945. In the southern hemisphere, where this song gets played in the summer months of the northern hemisphere, the song is less associated with the holidays.

The Little Drummer Boy arrives next with the distinctive sound of marching drums with orchestral backing. The song tells the sweet revelry of both a poor boy and Jesus Christ at his birth of offering the gift of music, which is the one true talent and happiness he has to bring as an expression of love and reverence. The wind instruments in support of this song are remarkable and appreciated.

(Guitarist Russell Malone played on the album When My Heart Finds Christmas).

Showing off a traditional piano arrangement beginning with Ave Maria, a song my father’s mother loved even before her passing and this song’s release, the additional production adds nuance and subtlety. Originally offered by Franz Schubert and Sir Walter Scott, the song with Latin lyrics for the prayer Hail Mary bring a prayerful feeling.

Parade of the Wooden Soldiers returns a more playful mood brought to us from German operetta and light classical composer Leon Jessel, dating back to 1897. The whimsical, playful quality reminisces back to an early childhood of fantasy and happiness that brings a smile to my face.

What Child Is This? offers a traditional holiday hymn originally written by William Chatterton Dix, with lyrics taken from a poem written by the same man. A classic orchestral take strong with strings and singing, of course, by Harry Connick Jr. render a sweet extolling of the new birth of the baby Jesus.

Christmas Dreaming builds with Connick Jr. and chorus singing based on the song brought to us through composers Irving Gordon and Lester Lee. The tempo increases following What Child Is This?, and previews a more spiritually contemplative new track written by the namesake of the album When My Heart Finds Christmas. which raises the feeling with something that uplifts the feelings in the listener.

I Pray On Christmas offers a soulful, stronger gospel sound in introducing a brand new carol offered by Harry Connick Jr.. The song has appeared at least a half dozen times on albums by other performers since. This song is perhaps the last traditionally spiritual song on the album, though those moved by O Holy Night, which takes note of a moment without necessarily invoking a traditionally religious feeling, may have a different take.

(Tenor saxophonist Jerry Weldon, left, and tenor saxophonist Ned Goold played on the album When My Heart Finds Christmas).

Rudolph the Red-Nosed Reindeer clearly gets into a more upbeat feeling, invoking the Johnny Marks song that was first a hit for Gene Autry. The song includes singing with children and Connick Jr., in addition to trumpet and other horns in accompaniment.

O Holy Night was first composed by Adolphe Adam in 1847 with an assist from the French poem Midnight, Christians written by poet Placide Cappeau. The lyrics reflect the notion that the birth of Jesus is a means for the spiritual redemption of humanity. Harry Connick Jr.‘s composition offers a reverential feeling for the song with a feeling that feels like an attempt to imbue fervor into the offering. The attempt aims high.

The song What Are You Doing New Year’s Eve? offers a tribute to 1947, the year of the first rendering of the song as well as the year of my mother’s birth. Frank Henry Loesser wrote the song for independent release rather than for a particular musical. The drum and saxophone play in Connick‘s offering, along with the strings, render a subdued, sleepy feeling to complete a warm blanket of peace to the jazzy feeling of the song.

The full experience of the album offers spiritual, secular, and holiday feeling. There is something for many in this album, and the offering lands somewhere distinctly more musical and more deeply whole than what I often hear through the distribution methods available today. Indeed, this is one holiday is one that I recommend you consider adding to your playlist this season.

Matt – Monday, December 9, 2019