Yeah, I mentioned Jill earlier this month, but I just found this video of her version of Robert Earl Keen's funny Christmas song. A lot of folks insist Keen's version is better, but I prefer Jill's because it's, well, less country, not to mention that it benefits from Jill's winsome style of delivery as well. No offense to Keen; I like his version fine. He got a parody children's book out of the song, while Jill got this video, which she apparently didn't know was still out there, according to her blog. This video, by the way, is almost a forerunner of the "literal video" craze, to my eyes anyway.
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However you may have felt about the 1996 holiday movie featuring Arnold Schwarzenegger and Sinbad (?), the producers made a fairly good stab at providing listenable incidental music, although it skews a bit toward lounge music and away from rock 'n roll. Still, there are some bonafide classics like Chuck Berry's "Run Rudolph Run," Charles Brown's "Merry Christmas Baby," Clarence Carter's "Back Door Santa," Bobby Helms' "Jingle Bell Rock," along with pop standards like Nat King Cole's "The Christmas Song" and Johnny Mathis' "The Most Wonderful Time of the Year." To round out the show, they brought in the Brian Setzer Orchestra and guest vocalists Darlene Love and Lou Rawls. Lou croons Setzer's own "So They Say It's Christmas," while Darlene rocks "Sleigh Ride" in a different arrangement than on the Phil Spector album and shows an affinity for jazz-pop on Sammy Hagar's "Deep in the Heart of Xmas." Setzer kicks off the album singing "Jingle Bells" and the rest of the album features non-holiday music from the soundtrack's composer, David Newman. It's not a bad album overall, but if you already have the classic tunes here it's up to you whether to buy it for the Setzer Orchestra's performances.
Before Danny Elfman became a soundtrack music maven, he was involved with Oingo Boingo, a new wave outfit that sounded like Devo crossed with the Glenn Miller Orchestra. This 1993 outing, written and produced as the soul of Tim Burton's stop-animation extravaganza, puts a nice twist on the holiday -- and isn't bad as Halloween music, either. Danny and fellow cast members Catherine O'Hara and Paul Reubens (SCTV and Pee Wee, respectively) do a knockout job on "Kidnap the Sandy Claws" and "Oogie Boogie's Song" with Ken Page and Ed Ivory is a bluesy romp. However, soundtracks do suffer from songs that don't travel well away from the movie or play, and this one's no exception. But the two songs above are almost worth the whole album. UPDATE: For 2007, in conjunction with the re-release of the film in IMAX 3D, there's a "Special Edition" of this album with a second disc of bonus cuts featuring versions of the soundtrack's songs from Marilyn Manson, Panic at the Disco, Fiona Apple, Fall Out Boy and She Wants Revenge, plus some of Danny Elfman's demos of those songs.
I've had this little number since its 1993 release and completely forgot about it until I saw a mention of it on the Power Pop blog the other day. The poet and author is also a power popper, and this sweet little bopper is from his first solo album, The Greatest Living Englishman, produced by Andy Partridge, who knows a thing or two about Christmas singles himself. Points for mentioning "saturnalia" in a song otherwise about a too-conventional holiday just outside the city.
The early rock-era star whose big hit was "Quarter to Three" still pops up from time to time, last being heard on a solo album produced by Bruce Springsteen with "This Little Girl." Over at his website you can pull down these two songs, the latter being a "Quarter to Three"-styled takeoff from the original carol that appeared in a TV show and the former, "Call Me," is a soulful ballad from an album released in 1995, Take Me Home to New Orleans, but it sounds like it was from back in the day. Both tunes sound like they could be off the Huey "Piano" Smith and the Clowns Christmas album.
You might think this is something from the 50s, but Fats actually recorded this in 1993. It's pretty much what you would expect, mainly Christmas standards like "White Christmas," "Rudolph the Red-Nosed Reindeer," "Silent Night," "Please Come Home For Christmas," "Blue Christmas" and more done in Fats' inimitable style. The giveaway to the modern era is the instrumentation, in which digital instruments occasionally substitute for their real counterparts. There are two Fats originals, "I Told Santa Claus," which is good, and the title song, which is mediocre, a kind of downtempo Sunday school lesson. Oldies fans should get a special kick out of this one. UPDATE: This disc has also been issued under different covers and titles, including Fats Domino's Christmas Gumbo.
Last year this Cincinnati band released its second Christmas album, Snow Angels, which we reviewed favorably. Curiosity piqued, and also because we're completists here to the extent possible, we went into the Wayback Machine (OK, it was actually iTunes) to scope out their first effort from 1996. You can hear the continuity between the two discs in terms of the folk-pop-jazz style of the music. The title is pretty much on the nose, as this is quiet and intense, again much like Low, as we said in the Snow Angels piece. Unlike the later album, there's a larger number of familiar carols in the playlist, including two versions of "Silent Night," one a midtempo poppy version, the other slower and done as a "duet" with dual voices, both of which are the same singer. The band did pen a few tunes for this effort. "Thank You My Angel" doesn't have much of a holiday theme, nor does "Amelia's Last," though thematically they serve the album title. "Mary's Waltz" uses Christmas more as a motif for the story of a blind girl who escapes her bedroom to dance. There's also a fair number of instrumentals here, including "The First Noel," "Greensleeves," "O Little Town of Bethlehem," and the originals "Coal Train," "Up North Here Where the Stars..." and "A Little Lower Than the Angels."
Smokie was one of those British pop bands from the early 70s that came along on the tailwind of the glam-rock era, associated with the production and songwriting team of Nicky Chinn and Mike Chapman. The pair had also worked with such bands as Sweet, Mud, Suzi Quatro and Hot Chocolate. Smokie's celebrity was mostly confined to the European sphere, with such hits as "Don't Play Your Rock 'n Roll To Me," "If You Think You Know How to Love Me," and "Living Next Door To Alice." Lead singer Chris Norman also duetted with Quatro on the worldwide hit "Stumblin' In." Unlike most of the Chinnichap acts, Smokie persevered onward into the present day, pausing to record this Christmas CD in 1996. It's your basic 20-years-on rock band that's done everything else adding a Christmas record to the repertoire. They long ago left Chinnichap behind, so what we have here is adult contemporary pop-rock layered under synthesized orchestration applied to 14 songs, of which "It Won't Be Christmas," "When a Child is Born," the title song, and "Christmas Isn't Just For Children," all fairly conventional Christmas sentiments. Considering the band once cut an album in Nashville, the countrified take on "Away In a Manger" isn't unexpected, but it is a different arrangement. They also do David Essex's "A Winter's Tale," Chris DeBurgh's "A Spaceman Came Travelling," and an almost folkish "Mary's Boy Child." The rest are traditional carols like "O Christmas Tree," "O Holy Night," "Silent Night" and pop standards like "Have Yourself a Merry Little Christmas" and "White Christmas." This is OK for Smokie fans and those who like their bands to be from the 1970s, assuming you don't pay import prices for it.
Rhino has always been known for impeccable theme compilations, but it started out specializing in novelty records. One of its most enduring novelties, "(It's Gonna Be a) Punk Rock Christmas" by The Ravers, is the linchpin of this 1995 collection of 18 snot-nosed holiday classics, some of which originated in the original punk rock explosion of the late 70s while others are of later vintage. Besides the title classic by the Ravers, artists like Stiff Little Fingers, the Ramones, the Damned (and their Marx Brothers cop, "There Ain't No Sanity Clause"), Mojo Nixon, The Dickies and more are represented here. Some folks paid good money for the import 45s of at least a few of these items when they were new, but they're likely to be all new to a fair number of listeners. One warning: the album is missing the "Parental Advisory" sticker, and it needs one badly. (At the time this was reposted, the link from the album cover to Amazon showed one copy available for $88, but you can at least use the page to listen to samples.)
This independent band band put this song on its album Knock Yer Block Off, but the eponymously titled 5-song EP from 1992 includes a Christmas bonus: a cover of "Hooray for Santa Claus," the theme from the cult classic film "Santa Claus Conquers the Martians." (Featuring Pia Zadora's first film role.) You just have to admire people with such good taste in bad movies. Both tunes are streamlined 90's punk performed well and worth a space on your holiday mix tapes.
This still-existing band's 1996 album is as punk as punk rock Christmases get: fast, loud and profane (Parental Advisory sticker needed here). Nevertheless, there's plenty of dark humor in the lyrics; tunes like "Thanx For Nothing," "A Gun For Christmas" and "Grandpa's Last X-mas" more than live up to their titles, as do a couple of tunes whose titles I won't include here in deference to the younger folks who might stumble across this site. They give a high-energy shredding to "Dance of the Sugar Plum Fairy" and even cover The Yobs' "C-H-R-I-S-T-M-A-S." The Damned's Rat Scabies guests on drums. Definitely not for the sentimental, not to mention the easily offended. UPDATE: It's been reissued as Oi To the World, with an additional track, an orchestrated overture featuring a medley of the album's songs.
Kate let more than a decade go by after "December Will Be Magic Again" before revisiting the holidays again. This song, a more conventional come-home-for-the-holidays ballad with an almost torch-song delivery by Kate, was a B-side on several U.S. and U.K. singles from the 1993 album The Red Shoes, though the song didn't make the roster of that album -- or any other one of Kate's, or anyone else's for that matter; I've yet to see it on a compilation anywhere. But you can check it out here.
The Christmas record of 1996, and possibly the decade. In a year when numerous music sales records set by The Beatles were smashed by The Beatles, the Rubber Band, a noted Danish Beatles copy band, put together 11 solid remakes of Christmas tunes set to arrangements of Beatles songs. "Please Please Me" becomes "Jingle Bell Rock," "I Saw Her Standing There" becomes "Rockin' Around the Christmas Tree," and their "Santa Claus Is Coming To Town" is not based on Phil Spector's arrangement, but on "Eight Days a Week." Buy this and play "Spot the Arrangement" with your Beatle-fan friends. The performances are top-notch, although the voices don't sound that much like the individual Beatles, so they settle for getting the Liverpool accents and the attitude right. UPDATE: Apparently the boys were good enough to fool the Internet; there are folks around who swear their version of "Last Christmas" actually is the Beatles. END UPDATE. It's hard to find but absolutely worth the effort. The link to Amazon takes you to third-party resellers; CD Universe claims to have new copies. Larry Mancini of Isba Music Entertainment in Quebec informs us the album remains available direct from his firm for $15 US including shipping and handling. Write to Isba Music Entertainment Inc., 2860 Blvd de La Concorde east, Laval, Quebec, Canada H7E 2B4. That info is several years old, however; there's a website for Isba, but it currently features only Francophone singers.
These guys have a vision that can't be contained by mere rock 'n roll, but ironically enough, it took a rock audience to make this old-style swing band famous. Given their rollicking approach to music, I approached this 1998 release full of hope and came away a little disappointed. It's a good enough album, but it's just a little too eclectic to suit me; I was hoping for something like the Bonzo Dog Band and I came away with a bit more Leon Redbone. But give 'em credit, they cover a lot of ground in only 10 songs, seven of which are originals while two of the covers aren't all that familiar. Some of the tunes are period pop-jazz balladry, but "Carolina Christmas" is Western swing, "I'm Coming Home for Christmas" and "Gift of the Magi" are straight off the Grand Old Opry, "Sleigh Ride" is tamer Dixieland, "Indian Giver" is rock, the instrumental "Hot Christmas" is jumpin' jive and "A Johnny Ace Christmas" is flat-out blues. If this kind of a mix is what you're looking for, you've found it. Joe Clifford Faust notes that Sold Out by the Squirrel Nut Zippers, a limited edition, had a hidden track that went like this: "Santa Claus is smokin' reefer /Santa Claus is smokin' T / He's so high in the sky..." "It also features the melody from Beethoven's "Ode To Joy" on a rinky tink electric piano in the instrumental bridge. Quite a hoot," Joe says. Judge for yourself, as that disc is available again.
These guys won't be having any trouble with the Federal Trade Commission with an album title like this one. Here we have a cool dozen classic Christmas carols rendered as surf instrumentals, except for vocals on "Rudolph the Red-Nosed Reindeer" and "We Wish You a Merry Christmas," which lapses into a bit of "Small World" with different verses in different languages. The rest is straight 60's surf guitar soloing over good old-fashioned drums. The band even credits their source for vintage instruments in the liner notes, too. From 1996. UPDATE: Biographical information for this group is hard to come by, but the folks at Fat City Cigar Lounge seem to think they're a bunch of studio musicians from Amsterdam.
More surf music for Christmas, but with a twist; a lot of these tunes are apparently originals, unless I somehow overlooked the Percy Faith Orchestra's version of "Santa Drives a Super Stock Dodge:" "And I heard him exclaim as he headed down Vine/Merry Christmas to all, now hear my Hemi whine!" These guys apparently are trying to channel the Beach Boys and come pretty close on many of these songs. This album is a reissue of A Malibu Kind of Christmas, circa 1992; they changed the title but very little else to tie in with another album of theirs, Malibooz Rule. The group is John Zambetti and Walter Egan, the latter the author of a solo album produced by Lindsay Buckingham and Stevie Nicks, and they have a website. "It's Just Not Christmas" evokes middle-period Brian Wilson after the breakdown but before "Smile," and many others, like "When Santa Comes to Santa Cruz," "And a Happy New Year" and "Santa Man" definitely touch on several Beach Boys hits. Non-originals include "Little Surfin' Drummer Boy," something that's been done before but the Malibooz throw in a little "Papa-Oom-Mow-Mow" vocalizing, and "Carol of the Swells" surfs up the carol about the bells. Then there's "Rudy, the Hodad Surf Dude," based on Rudolph's song, in which a stranded Santa gets a loan of a surfboard to salvage the holiday. And the album ends with "Christmas Wrap," another surf adaption, in this case "A Visit From St. Nicholas," who was, wait for it, surfing. Fourteen tunes was a little too many for a one-joke album, but there's plenty of good stuff here. UPDATE: Malibooz Rule has one more holiday tune, "Santa's Gone Surfin'."
A little South Pacific surf, a little boogie and lots of steel guitar and you have The Blue Hawaiians. And what could be more natural for a band like this one than to do a Christmas album? Lots of things. Nevertheless, this short (10 songs) but energetic album from 1995 has plenty to recommend it. Most of the tunes are instrumentals, except for "Jingle Jangle," "Blue Christmas," the title song and "Mele Kalikimaka," the official Hawaiian Christmas song. The band manages to maintain a tension between their trademark sound and the material, which also includes "Christmas Time is Here," "White Christmas," "Have Yourself a Quiet (Merry) Little Christmas" and a medley of "We Four Kings (The Little Drummer Boy)" in which the little drummer played on the Surfaris' "Wipe Out" in a former life.
House music tends to have one use and one use only -- to rock the house. Dance and drone. As a result, theme house records are kind of redundant. Nevertheless, here we have a 1997 Christmas record from a dozen mixmasters, beatboxes to the fore, thudding and droning their holiday greetings. It's all a bit samey-samey, especially when they throw away the familiar melodies of the Christmas songs they're doing and just hammer on one phrase. Still, it can be fun to zone out to all these old analog synthesizer sweeps and whooshes; having listened to this all the way through, I'm now a little nostalgic for my old Kraftwerk records.
There's not that much to do with Pink Floyd on here beyond the title and cover art homages. Apparently, this 1990 album is a compilation of an EP from 1981 by The Space Negroes, a 1985 single by Magic Mose and His Royal Rockers, a Christmas album by The Jethros, and a couple more tracks by Erik Lindgren. There's very little cohesion among all these disparate tracks from different times and places, although some of the same people are on many different tracks. The Space Negroes kick off the album with back-of-the-hand anti-caroling like "Jingle Hell" and "We Wish You a Lousy Xmas," although they at least get in some social commentary with "Deck the Halls (With Poison Sumac)." Magic Mose bats .500 with his two contributions, the better one the satirical "Have Yourself a Groovy Little Solstice." The band falls flat with "I'm Dreaming of a Noir Xmas," but at least they were shooting for something with this Christmas crime story. Most of the rest of the album is The Jethros with instrumental versions of popular carols, cutting across dozens of genres. "Frosty the Snow Plow" is a kind of industrial-sound version of the song, and there are some hints of Spike Jones, but there are also some bits here and there that are simply undistinguished. Maybe this was supposed to be soundtrack music for a Christmas movie. Lindgren's "Ho Ho Ho" closes the album with 12 minutes of the title. Don't be fooled by the publishing company's name being Foot Foot; there's nothing of The Shaggs on this CD. Amazingly after all these years, this is still available as a disc or download.
Rewritten entry. The band Savatage, as noted in the entry devoted to them, created "Christmas Eve Sarajevo 12/24," a progressive rock rendition of "Carol of the Bells." When the band dreamed up the Trans-Siberian Orchestra concept, they re-recorded that song with full orchestral backing. This is the version that has come to be known as the soundtrack to that famous YouTube video of one guy's outdoor Christmas light display. As to the rest of what is TSO's first album, the whole concept is similar to the dreaded Mannheim Steamroller, but with a bit more crunch. It's mainly symphonic hard rock versions of existing Christmas music, so if your tastes run to those British Rock Orchestra albums of classic rock tunes that occasionally pop up, you'll love this. More of the same is available on their Christmas Attic album. TSO now employs two separate ensembles to tour their holiday shows, an indicator of how popular they've become by providing an updated rendition of pomp and circumstance in a holiday setting. For us at Mistletunes, it's all a bit much, as we're fonder of smaller-scale celebrations with the only thing being big is the beat. (Originally we suggested they should cop some of the attitude from Emerson, Lake and Palmer's version of "Nut Rocker," but Wikipedia notes they actually did cover that song with Greg Lake on bass, so props to them on that score.) Can't leave TSO without debunking the widespread Internet rumor that Metallica has something to do with TSO. They do not. Metallica did not perform on any version of "Christmas Eve Sarajevo 12/24." All of those Google links to "Metallica/TSO" are mistaken. Ron Alley wrote to tell us that Metallica actually did do "Carol of the Bells" live with the San Francisco Symphony once, but Google provides no indication that such a performance took place; probably all of the links to a "Metallica" version of "Carol of the Bells" are to TSO's performance.
Rewritten entry. This band was not widely known under this name, its original monicker, but this 1995 number, from their Dead World Dead concept album about Bosnia, started the band's evolution into the entity now familiar to listeners as Trans-Siberian Orchestra. The song is a progressive rock take on "Carol of the Bells," which was re-recorded with an orchestra under the TSO name. The success of TSO, obviously, led to the eventual demise of Savatage. By the way, Metallica has no association with either Savatage or TSO; more about this in the TSO listing.
Those who are fans of Jerry Jeff know his predilection for the word "gonzo," but I'm afraid there's nothing I would consider gonzo about this 1994 Christmas album, which is basically a country-western swing Christmas album, nicely performed but mostly non-rock. This album also commits the common Christmas mistake of letting kids sing one of the songs slightly off key, in this case "Rudolph the Red-Nosed Reindeer." I assume one of the kids, Django Walker, is related to Jerry, but schmaltz is schmaltz. There is some rock involved in the performances of "Here Comes Santa Claus/Up On the Rooftop" and "Jingle Bell Rock," thankfully, but the rest is as un-gonzo as I can imagine given the wealth of items you can find elsewhere on this site that do fit the description.
Ben was a top pedal steel player with longtime ties to Neil Young (RIP 2010, see link), and Neil's credited as co-producer on this 1994 album, along with sometime guitarist, pump organist and lead vocalist on two cuts. This is as close as it comes to a Neil Young Christmas effort, although it's Ben's show all the way. But this is pretty much a straight country album. Half the cuts are instrumentals featuring Keith's pedal steel in the melody position and many of the vocals are from a children's chorus. Neil shares the lead with Johnny Cash and Nicolette Larson on "The Little Drummer Boy" and with Nicolette and the children's choir on "Greensleeves." This really doesn't stand out from the pack of country Christmas albums in any meaningful way, and there's not much that's uptempo or fun about it in the way that Mistletunes looks at things. But fans of the above folks might want this in their collections all the same. This album has been reissued as Christmas At the Ranch, but it's the same disc and cover, with only the title text changed; Amazon offers both versions of the disc for sale.
From the 1997 album of the same name, I single out the title song because it's the only remotely Christmas-oriented tune on the album, a sort of Middle Eastern electric folk rock ballad asking Jesus to give out with some luck at the gaming tables. A little dark perhaps, but so is midnight mass. The band is mostly broken up today but its members still work together, and their albums remain available.
Eitzel, the former light behind American Music Club, snuck this onto his 1998 album, Caught in a Trap and I Can't Walk Out Because I Love You Too Much, Baby. It's a dark little number in which St. Nick leaves his bag of toys in the bar, although the point behind the song remains obscure to me after a few listenings. An acoustic guitar and vocal performance, it probably won't jump out at you on a mix tape.
After a long silence, Eddie Money returns with a Christmas single and brings Ronnie Spector along to help him sing it. I have a single, which says it's from a new album, Shakin' With the Money Man. Eddie and Ronnie previously did a a duet of "Take Me Home Tonight" back in 1986 and this 1997 offering is similar to that, with a little bit of jingle bells thrown on top of the Springsteen-Southside Johnny sound and Phil Spector wannabe production. Derivative, but fun to listen to.
I was saving up insults like "the 90s answer to David Seville and the Chipmunks" and now I have to toss them aside. This 1997 album's not bad at all, especially if you have no preconceptions about this once-overexposed brother act. We here at Mistletunes certainly can't complain about a lineup of tunes that could have been chosen after a visit to this very website, can we? The boys grab Bruce Springsteen's arrangement for "Merry Christmas Baby" and the little guy in the group sounds a lot like Michael Jackson singing it, which is good or bad depending on your taste. Other astute choices for covers include "Little Saint Nick," "What Christmas Means To Me," "Run Rudolph Run," and they even manage not to butcher Darlene Love's "Christmas (Baby Please Come Home)." There's a few original tunes as well, like "At Christmas" and "Everybody Knows the Claus." Former Hudson Brother Mark, the producer, obviously knows the ins and outs of recording a brother act. The album was reissued as a 20th Century Masters edition on Universal, but that's the same album as this.
This Delaware band issued a rock 'n roll Christmas disc every year covered in the title, taking a 70s mainstream rock approach to tunes from the Christmas canon, both popular and obscure. They also throw in two non-Christmas tunes that are frequently passed off as holiday tunes, "My Favorite Things" (separate vocal and instrumental versions) and "Put a Little Love in Your Heart," no doubt because that song featured in the Bill Murray movie "Scrooged." Mainstream 70s stuff was never my favorite genre, but these guys do a great job. Out of print, though the band does stream some stuff on their MySpace page, linked above. By the way, there's a North Jersey band that works under the name Yes Virginia but doesn't appear to have any Christmas songs, just so you're aware if you're trying to chase these guys down.
Yeah, I used to rail against this 1994 album because of my extreme distaste for this formerly ubiquitous, leather-lunged diva. I decided that was not the mature path to take, about a few minutes before I found a copy of this marked way down in the used-record bin. So let me make up for lost time in being just the tiniest bit fairer to this than I have been. You've read me using the term "diva moments" in other reviews on this site, sometimes in a derogatory fashion, and believe me there are plenty of diva moments here. Essentially Mariah fits in with other R'nB artists in the approach she takes to singing, lots of over-the-top trilling that escalates as the song goes on. So I still don't recommend the ballads on this CD, like "Silent Night," "O Holy Night," "Miss You Most (At Christmas Time)," and especially skip "Jesus Born on This Day," with the obligatory kiddie chorus. But she gets credit for going to the Phil Spector well in covering "Christmas (Baby Please Come Home)" and his version of "Santa Claus Is Coming To Town," and both songs are done well. The closer, "Jesus Oh What a Wonderful Child," is a good gospel rave-up and "All I Want For Christmas Is You" is a solid, and popular, original that has stood the test of time. She returned to the Christmas well in the next decade, and we covered that here at Mistletunes as well.
One of those semi-misleading entries in holiday lore, Dion did not record this back in his heyday with the Belmonts, but in 1993. The approach, though, is not unlike his great hits of the doo-wop era, an interesting choice on his part when you consider his mid-career transformations from group singing star to folkie ("Abraham, Martin and John") bluesman and even Christian popster. On this, he takes the rock band approach, although the overall sound is just a degree more mellow than it should be. Dion picks up a little Spector on the way, covering "Christmas (Baby Please Come Home)," doing that version of "Santa Claus is Coming to Town" and even going spoken word in the middle of his "Silent Night." Not surprising; Spector produced an album for him in the mid-70s. The doo-wop "Jingle Bell Rock" is worth the whole album, and he puts a little Cajun into "Rudolph the Red-Nosed Reindeer." He also pays his respects to Charles Brown with "Please Come Home for Christmas" and an uptempo "Merry Christmas Baby," not to mention his album opener "Rockin' Around the Christmas Tree" having that "Wanderer" feel. There are a lot of classic rock acts doing Christmas albums nowadays, but this album actually is classic rock.
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