Christmas carols, they say, can be traced to the angels who sang for the shepherds on the plains near Bethlehem on that first Christmas night.
But today's popular Christmas music - whether it's Vince Gill crooning "Do You Hear What I Hear" or Boyz II Men dishing up brand new holiday songs or Harry Connick Jr. sliding through "Sleigh Ride" - owes its life to a man named Bing and a song called "White Christmas.""As far as modern Christmas music is concerned, Santa Claus arrived in 1942," say Dave Marsh and Steve Propes in "Merry Christmas, Baby: Holiday Music from Bing to Sting," a new book tracing the history of pop music for the holidays (Little Brown, $14.95).
In 1942 a song written by Irving Berlin for a movie called "Holiday Inn" became a huge hit for Bing Crosby - in part because of requests made by GIs to Armed Forces Radio around the world. The war was on, and thoughts of home were never far away.
" `White Christmas' changed Christmas music forever," say Marsh and Propes, "both by revealing the huge potential market for Christmas songs and by establishing the themes of home and nostalgia that would run through Christmas music evermore."
It wasn't long until more classics came along: Gene Autry with "Rudolph the Red-Nosed Reindeer" and Nat King Cole with "The Christmas Song." The '50s brought a plethora of novelty songs: "Frosty The Snowman," "I Saw Mommy Kissing Santa Claus," "Jingle Bell Rock," "All I Want For Christmas (Is My Two Front Teeth)." Pop Christmas music had become well-established.
For several decades, the record industry was largely centered around the Christmas season, ringing up a third or more of all sales at that time of year. Not all new albums were Christmas-oriented, but a good share were.
Popular recording artists found they could rack up big sales with a collection of Christmas songs. Anthologies were also popular. Rock 'n' roll artists, soul singers, jazz bands all got into the spirit of the season.
Things faltered a bit in the '70s and early '80s, when the Christmas season became less of a marketing tool; records were produced and distributed year-round. Christmas sales were less important and so, too, were Christmas albums.
But in recent years, Christmas music has come back in a big way. "The early '90s have revealed what may be a return to the pre-1960s trend of major artists recording substantial Christmas releases," note Marsh and Propes. "At the same time, record companies' reissues of backlist Christmas recordings exploded, as baby boomers looked for holiday tunes to play on their new CD players."
What all this means is that there is plenty of holiday music for any taste. Bing Crosby's "White Christmas" may remain the all-time best seller, but this year you can also find versions of the song done by Vince Gill, BeBe and CeCe Winans, Kathie Lee Gifford and artists produced by David Foster - just to name a few.
Here's a look at some (by no means all) of the new Christmas recordings that have been added to the long and proud tradition this year.
DAVID FOSTER; "The Christmas Album" (Interscope-Atlantic Records).
Though plainly, even unimaginatively titled, "The Christmas Album" is one of the season's best, a fresh example of a venerable idea. Producer-conductor-pianist David Foster's name is stamped large upon the cover, but this is an old-fashioned all-star festival of song. Foster recruited an impressive roster that includes Wynonna, Natalie Cole and Johnny Mathis.
His taste and touch guide "The Christmas Album" - and Foster's inclinations lean toward satiny orchestration and smooth production. Johnny Mandel and Jeremy Lubbock helped him arrange most of the songs; the result is reminiscent of the Nelson Riddle-Percy Faith school of yore.
With Foster at the keyboard, "Carol of the Bells" serves as the album's instrumental overture. Wynonna delivers "Blue Christmas" in a silken style Patty Cline would have admired. Other fine entries come from BeBe and CeCe Winans (a worshipful gospel-R&B "The First Noel") and Michael Crawford (his gentle tenor glows on "O Holy Night," backed by a children's choir). The semi-misfires are Vanessa Williams' role in the gospel hymns "Go Tell It on the Mountain/Mary Had a Baby" - the arrangement calls more for the depth of Aretha Franklin or Patti LaBelle - and Tom Jones' disappointing version of "Mary's Boy Child" (Belafonte he ain't). Also featured are Peabo Bryson and Roberta Flack, Celine Dion and Tammy Wynette. Everyone joins a microphone-trading chorus for the finale, Irving Berlin's "White Christmas," a la "We Are the World."
The project will be the focus of "The David Foster Christmas Special," airing locally at 9 p.m. Dec. 10 on KUTV Ch. 2. - R.B.
ALAN JACKSON; "Honky Tonk Christmas" (Arista).
It's going to be a honky tonk Christmas ("these silent nights are killing me") if country hunk Alan Jackson has anything to say about it. His Christmas album features a collection of lively tunes that showcase his style and talent well.
From Merle Haggard's "If We Make It Through December," to songs like "If You Don't Want To See Santa Cry," "Please Daddy (Don't Get Drunk This Christmas)" and Jackson's own "Merry Christmas To Me," there's plenty of lost love and sad sentimentality. But these are balanced with "Holly Jolly Christmas" and "Santa's Gonna Come In a Pickup Truck" (with the Chipmunks). Duets with Alison Krauss ("The Angel Cried") and Keith Whitley ("There's A New Kid In Town," taken from Whitley's demo tapes) pay tribute to the spiritual side of the holiday. - C.W.
BOYZ II MEN; "Christmas Interpretations" (Motown).
With a title like "Christmas Interpretations," fans might be expecting intricate harmonizing on an assortment of familiar songs of the season - but that's not what Boyz II Men deliver. Although a wonderful a cappella "Silent Night" brackets the set (one verse to open, an even better longer version to close), in between are nine brand-new songs.
As hits like "End of the Road" and "It's Hard to Say Goodbye to Yesterday" have proved, the interwoven voices of Michael McCary, Nathan Morris, Shawn Stockman and Wanya Morris can mesmerize. "Christmas Interpretations" offers listening pleasure if only for that reason. Although it would have been wonderful to hear them on a few more carols and chestnuts, other than "Silent Night" all the songs were written or co-written by the Boyz or their producer, Brian McKnight, on contemporary subjects. There doesn't seem to be a future "standard" in the bunch, i.e., they're too tailored to the Boyz II Men style to expect an interpretive life beyond this incarnation.
Naturally, the vocalists explore love: "Let It Snow" - no, not that one - is a comfy "stay inside" ballad; "You're Not Alone" is an "I'll be there" song (that wouldn't be Christmas-related without a spoken bridge); "Who Would of Thought" is about falling in love on the big day itself. A couple follow the breakup theme of "End of the Road" ("Cold December Nights"). A few might be described as prayers with melody. One of the latter is the positive "A Joyous Song," in which Stockman sees love pretty much everywhere. By contrast, it's followed by "Why Christmas," written by Wanya Morris, which takes less sunny note of the suffering and cruelty around us. - R.B.
VARIOUS ARTISTS; "Winter Solstice IV," Windham Hill.
Windham Hill artists continue their holiday tradition with a fourth Winter Solstice album, a collection that is a fine addition to the series. If you're looking for soft, lyrical instrumentals, few do it better than this.
Whether they are interpreting old favorites (guitarist Steve Erquiaga on "Silent Night;" Barbara Higbie doing "We Three Kings" with harp, piano and fiddle; Darol Anger and Mike Marshall playing a guitar-violin duet on "Angels We Have Heard on High") or conjuring up musical pictures of their own (Tim Story's "Asleep The Snow Came Flying," or Will Ackerman's "Just Before Dawn"), these artists are masters at creating a soft and mellow mood. There's also a bit of Bach (Modern Mandolin Quartet on "Sheep May Safely Graze"), Vivaldi (Turtle Island String Quartet with "The Rain") and more, all with unique interpretations, of course. One of the best for pure prettiness is "Carol of the Bells," a joint effort from a number of the Windham Hill family. - C.W.
BEBE AND CECE WINANS; "First Christmas" (Capitol).
Brother and sister team BeBe and CeCe Winans bring the style that has made them an award-winning R&B gospel duo to a Christmas album featuring both original songs and traditional favorites.
From the soulful "Jingle Bells," to a "funked-up" version of "Hark the Herald Angels Sing (complete with drums and an African-sounding chant), to perennial favorites "Silent Night" and "White Christmas," the emphasis is on inspiration, with a contemporary, upbeat edge.
The album is a family celebration, with numerous contributions from the large Winans clan, known as the "first family of gospel." Bebe contributed a couple of original songs, "Give Me a Star" and "I Love You." CeCe and writing partner Madeline Stone added "All Because," one of the better new songs to come along: "People sharing, people caring . . . all because a Child was born." - C.W.
HARRY CONNICK JR.; "When My Heart Finds Christmas" (Columbia).
Connick has a good time with the whole holiday-music tradition on "When My Heart Finds Christmas." Besides doing the crooning, he arranged all 14 tracks in a variety of moods and styles, from playful to prayerful - and penned four new tunes. Impressive among the latter are the Sinatra-esque title ballad and the New Orleans-jazzy "(It Must've Been Ol') Santa Claus," about a child's joyride with the merry elf himself.
He and an array of musicians perform snappy, big-band renditions of "Sleigh Ride" and "Let It Snow," give "Little Drummer Boy" a jazzy drum shtick in an otherwise straightforward setting and go Hollywood epic on "O Holy Night." They pare things down on his two other originals, "The Blessed Dawn of Christmas Day" and "I Pray on Christmas," which seems to be part gospel, part doo-wop.
Connick misses the mark here and there, however. In particular, his voice is no match for "Ave Maria." He gives the classic a nice piano sonata opening, but the melody and Latin text then beg for Pavarotti's pipes. - R.B.
JOHNNY MATHIS; "The Music of Christmas" (Columbia).
Johnny Mathis has been singing Christmas songs for years and years, recording numerous cuts for various albums. He has pulled together his personal favorites for this digitally remastered CD, part of Columbia's Legacy series.
Mathis' mellow style and rich voice come through in fine fashion on such songs as "Silent Night," "Silver Bells," "The Little Drummer Boy," "We Need A Little Christmas" and "It's the Most Wonderful Time of the Year."
"I've always loved the holidays, and of course, the music is so much a part of them," says Mathis in his Christmas-card liner notes. "I hope these songs help bring a smile to your face and joy to your heart. They do to mine." - C.W.
GLORIA ESTEFAN; "Christmas Through Your Eyes" (Epic).
Gloria Estefan applies her patented ballad style - that bruised, emotive voice; the occasional salsa beat; a few Spanish lyrics - to the holiday season in "Christmas Through Your Eyes." Most of the songs are familiar, chiefly from the genre's '40s pinnacle (a few even have that era's sound), but the title number is a nice original, by Estefan and hitmaking songwriter Diane Warren. The lyrics express a nostalgic, grown-up wish to recapture the childlike innocence and wonder of Christmas.
Ace producer Phil Ramone helmed Estefan's project, with various arrangers - contemporary pop and jazz - lending their skills. Most striking are the songs charted by Patrick Williams. "Silver Bells" becomes a lush and brassy orchestral overture with interpolations of various carols. Best of all is "Have Yourself a Merry Little Christmas," which has Estefan backed only by the members of Singers Unlimited in a setting that would do Manhattan Transfer proud, before a small orchestra joins Estefan and company for a second go through the verses. Doug Katsaros' spartan arrangement of "I'll Be Home for Christmas" matches Estefan only with the American Boyschoir. Always-pretty "Silent Night" has a final verse in Spanish, and Estefan also includes the all-Spanish "Arbolito de Navidad." - R.B.
VINCE GILL; "Let There Be Peace On Earth" (MCA).
Vince Gill is one of the hottest country artists around these days. But his Christmas album has definite traditional leanings. Gill lets his rich, distinctive voice provide all the country flavor rather than trying to "countryize" favorite carols and songs. "As a fan I enjoy traditional Christmas records," he says. "So I wanted to show some reverence for where those tunes came from." Plus, he says, he wanted something different from what he does all the time.
Included are his personal favorites such as "What Child Is This," "Do You Hear What I Hear" and "I'll Be Home For Christmas."
The one original cut on the album, "It Won't Be the Same This Year," is a tribute to a brother who died in March. Another nice touch is provided in the title cut, which is a duet with Gill and his daughter Jenny. Gill also shows off his guitar playing ability on a couple of instrumental numbers, "Santa Claus Is Coming To Town" and part of "White Christmas." - C.W.
AARON NEVILLE; "Aaron Neville's Soulful Christmas" (A&M).
Aaron Neville's unique tenor - and his is one case where unique is not a misapplied adjective - is a perfect match with Christmas. And, as Neville's "Soulful Christmas" demonstrates, he knows which styles work for him, too.
He and his New Orleans sessionmen try out some Fats Domino-ish '50s piano on "Please Be Home," and return comfortably to that happy musical era on "Such a Night" (in an arrangement reminiscent both of the Drifters, the song's originators, and Elvis Presley, especially that storytelling midsection). In homage to his home territory, he mixes Cajun bounce and jazz into "Louisiana Christmas Day," which could be the story of his minstrel's life - always trying to get back home for the special holiday. "Let It Snow! Let It Snow! Let It Snow!" spotlights organ and saxophone as well as his great vocals.
And then there are the quieter pieces. When critics describe Neville's voice as "angelic," and they often have even in more secular contexts, they're writing about the soft, almost falsetto (but not quite) voice he uses on carols like "O Holy Night," "O Little Town of Bethlehem" and "Silent Night." A few are arranged with a small, unobtrusive orchestra, others with the backing of a respectful gospel choir. They're perfect little gifts from heaven. - R.B.
ESTEBAN; "What Child Is This" (Daystar Productions).
In the past, classical guitarist Esteban has tackled popular songs, western songs and original compositions. On his latest offering, he turns to Christmas songs. His goal: to capture "the soft tranquility of ancient melodies . . . then suddenly the listener experiences the vibrancy of the holiday season bursting forth with strong rhythms full of life."
Though Esteban is credited with the arrangements, liner notes say that he played each piece spontaneously with no written arrangements at all. It's a system that seems to work rather well. Other instruments and vocals are used at times to add richness.
Cuts on the album, ranging in length from 41/2 to 131/2 minutes each, include traditional carols ("O Come O Come Emmanuel," "Angels We Have Heard On High"), folk favorites ("Mary's Little Boy Child," "Some Children See Him") and even a combination of "Jolly Old St. Nicholas" and Pachelbel's Canon that blends remarkably well.
As a bonus, there's "El Paso," a preview of the "Spirits of the West" album, a bit of a jolt if you're heavily into Christmas by then. - C.W.
CARNIE & WENDY WILSON; "Hey Santa!" (SBK-ERG).
Minus Wilson-Phillips partner Chynna Phillips, sisters Wendy and Carnie Wilson have teamed for a cozy, soft-pop Christmas album of their own. An affection for the holiday runs in the family, of course; their dad Brian and the rest of the Beach Boys recorded a fun one during their 1960s heyday - and the last track on "Hey Santa!" is a 17-year-old recording of these two '90s stars and other second-generation Wilson and Jardine children on "I Saw Mommy Kissing Santa Claus." Cute.
"Hey Santa!" primarily taps into the catalog of modern Christmas songs, from "Winter Wonderland" to "Rudolph the Red-Nosed Reindeer." The sisters share harmonies on many songs, and otherwise trade leads. "The Little Drummer Boy" is the most Wilson-Phillips-ish of the lot, but by going in a rather conventional direction fails to approach the memorable Harry Simeone Chorale arrangement. And while the Wilsons use a perky '50s guitar on "Jingle Bell Rock," they still soften up the vocals on the Bobby Helms classic. The only track featuring older carols is the medley "We Three Kings of Orient Are/Silent Night/The First Noel," with strings and chorus. With a spoken message from the duo in its midst, the medley serves as an extravagant Christmas card to their fans, for whom this album is obviously meant. - R.B.
KATHIE LEE GIFFORD; "It's Christmastime (Warner Bros.).
Kathie Lee Gifford is perkiness personified. And whether she's singing traditional carols ("What Child Is This," "O Little Town of Bethlehem") or old favorites ("It's Beginning To Look Like Christmas," "Winter Wonderland") that personality comes through.
Her patented banter with co-host Regis Philbin is even put to use on "Silver Bells" (although it seems a bit too cutesy). Several of her medleys combine well-chosen songs in nice arrangements to give the album an overall pleasant, upbeat feeling.
"Christmastime is the only time of the year when the spiritual and the secular come together in a natural and spontaneous way," says Gifford. "It's always been my favorite time of the year." That feeling comes through in fine fashion on her album. - C.W.
BRUCE COCKBURN; "Christmas" (Columbia).
Folk-oriented Christmas collections can be among the most satisfying of all, and Canadian singer-songwriter Bruce Cockburn ("Co-burn") has added a jewel to the treasury. "Christmas" is a refreshing antidote to flashier fare not because the performances - of 14 traditional carols and one original - in any way lack polish but because Cockburn's generally acoustic approach is warmer, singalong-friendly, less gussied up for frill's sake.
Cockburn, a folk veteran with a nasally gruff tenor not unlike Warren Zevon's, selected both familiar and mildly exotic carols. Short solo-guitar versions of "Adeste Fidelis" and "Joy to the World" open and close the sequence. He includes "O Little Town of Bethlehem," "Silent Night" and intriguing arrangements of "God Rest Ye Merry Gentlemen" (the strong guitar essentially strums a counter melody) and "It Came Upon a Midnight Clear" (Cockburn credits singer Sam Phillips with the idea of performing it in a minor key, giving the song a pensive quality). He also introduces antique songs in Spanish ("Riu Riu Chiu") and French ("Les Anges Dans Nos Compagnes"), as well as "Iesus Ahatonnia" - written in Huron in the early 1600s by a Jesuit priest for the Indian faithful, and considered the first Canadian carol. - R.B.
JOHN FAHEY; "The New Possibility: John Fahey's Guitar Soli Christmas Album" and "Christmas With John Fahey Volume II" (Takoma-Rhino).
Centuries of guitar tradition are reflected in guitarist John Fahey's Christmas albums: the elegance of the Renaissance, folk music from the British Isles, American country and blues. It's not at all uncommon for these influences to manifest themselves in a single piece.
Rhino has remastered and paired two Fahey classics, originally released via his own Takoma label. Only "Christmas Fantasy Part I" was axed to make everything else fit on a single 75-minute CD. The guitars' chiming clarity testifies to the care taken 25 years ago in recording "Guitar Soli" and 18 years ago for "Volume II."
Most of the numbers are short - 2 or 3 minutes - but Fahey also loves to experiment, as is demonstrated on longer, 10- to 12-minute "fantasias," in which he improvises around snippets of familiar melodies. The guitarist shines on dexterous reworkings of "Joy to the World" and the swaggering "God Rest Ye Merry Gentlemen." Most of the tracks from the second album are guitar duets with Richard Ruskin. Their medley of "Oh Tannenbaum/Angels We Have Heard on High/Jingle Bells" emphasizes the diverse styles absorbed by Fahey, beginning in a stately fashion with an almost harpsichord effect, turning folkish and winding up with a "yee-hah" country flavor. Rimsky-Korsakov would be bemused - probably - by their transformation of his melodies on "Russian Christmas Overture." - R.B.
ANITA KERR SINGERS; "Anita Kerr's Christmas Story" (Brainbridge).
Anita Kerr has had a long and distinguished musical career. The Anita Kerr Singers began recording in the '50s, working with such artists as Red Foley, Brenda Lee, Perry Como and Pat Boone. In the '60s, Kerr began writing instrumental music to underscore narration by pop poet Rod McKuen, records that are now acknowledged as precursors of new age music.
In 1971, she produced an original musical fantasy, "The Angel in the Faded Blue Jeans," for which she composed the music and wrote the words, narrated the tale and conducted the Royal Philharmonic Orchestra.
The musical story is being re-released on CD this year. It's one of those productions where the music is nice enough that you can almost forgive the contrived and predictable story (blue jeans at the time of Christ's birth?) The songs carry the story (a modern spin on the "Littlest Angel") along, with a blend of new melodies and traditional carols. It has a slightly dated feel, but the message is universal: "He's going to teach us to love each other." - C.W.
VARIOUS ARTISTS; "Happy Holidays: Warm & Wonderful Christmas Favorites" (Capitol).
VARIOUS ARTISTS; "Christmas Magic: Instrumental Holiday Favorites" (Capitol).
Capitol Records has vaults stacked with master recordings made during the past half-century, featuring a constellation of stars. Over the past few years the label has been dipping into that trove to create remastered CD-era anthologies designed specifically for the holiday season, like "Cuddly Christmas Classics" and "Merry Christmas Baby: Romance and Reindeer from Capitol Records."
As you might gather from those titles, there's an old-fashioned feel-good motif, and the new entry "Happy Holidays: Warm & Wonderful Christmas Favorites" sticks to the formula like a cold key to a bare thumb on a below-zero morning.
The 18 selections, concentrating on the period between 1949 and 1968, sample Christmas fare by Bing Crosby ("Let It Snow! Let It Snow! Let It Snow!"), Lena Horne (a sassy "Jingle Bells"), Peggy Lee (her silken "The Christmas Song") and Nancy Wilson's atypical "The Things We Did Last Summer," with the George Shearing Quintet. Nat King Cole, Dean Martin, Glen Campbell, Lou Rawls, June Christy and the Lettermen add their voices to the gently nostalgic fun. And a few instrumentals are tossed into the recipe, including Les Brown & His Band of Renown spicing up "The Nutcracker Suite" and Jan Garber imitating Guy Lombardo on "Winter Wonderland."
Another Capitol collection, "Christmas Magic," is tailor-made for mall managers and their fiefdoms - and perhaps for those few who, when trying to shop, find their attention irresistibly wandering, reeled in by instrumental takes on the old chestnuts. Yes, this is an anthology assembling 50 minutes of seasonal elevator music by giants of the genre, like Ferrante & Teicher and Jackie Gleason.
Actually, Capitol's Christmas team concentrated on the smooth and lilting. And there are a few real treats, such as Jan Garber's toy-tuneful "Parade of the Wooden Soldiers" and electric-guitar pioneer Les Paul's lightning-fingered, multitracked "Santa Claus Is Comin' to Town," two of the earliest recordings in the batch, dating from from 1952 and 1954 respectively. But then Paul is immediately followed by the Hollyridge Strings pizzicato-ing "Jingle Bell Rock" to death. . . . - R.B.
SHARON, LOIS & BRAM; "Candles, Snow & Mistletoe" (Drive Entertainment).
The trio behind Nickelodeon's "Elephant Show" bring their special blend of style and wit to what is billed as their "most family-friendly album ever" in this collections of songs designed to provide a multicultural celebration of Christmas and Hanukkah.
The songs are full of the zany, exuberant lyrics that tickle the fancy of both kids and adults and will be featured on an upcoming holiday television special.
There's a chance to learn a bit of language on "The 12 Days of Christmas" ("Trois poussins francais, dos palomas blancas . . ."), to cook up a holiday treat with "Mrs. Fogarty's Christmas Cake" and to do the Christmas hula on "Merry Hula/Christmas Island."
Sing-a-long lyrics are also provided. All in all, a lot of fun. - C.W.
THE FLINTSTONES; "A Christmas in Bedrock" (Kid Rhino).
"Yabba dabba do!" might be how Fred Flintstone would react to this collection of Christmas songs with a prehistoric twist. Fred and Wilma, Barney and Betty, Pebbles and Dino are all featured in the simple little songs. An interesting twist is the take-off on "The 12 Days of Christmas," which uses appropriate prehistoric images ("A bowling ball from Macy's quarry" replaces the traditional partridge).
There's nothing great here, but Flintstone fans will enjoy. - C.W.
THE THREE STOOGES; "Christmas Time With The Three Stooges" (Kid Rhino).
If it's wild and wacky you're looking for, you won't have to look further than the re-release of this classic collection. Larry, Moe and Curly romp through skits and songs such as "We're Coming To Your House," "I Want a Hippopotamus for Christmas," "Wreck the Halls With Boughs of Holly" and "I Gotta Cold for Christmas."
It's the kind of silliness kids like and parents will remember from the days when the three wise-cracking goofballs were all the rage. - C.W.
VARIOUS PERFORMERS; "Storyteller Series" (Walt Disney).
Two new book-and-cassette stories with a Christmas theme join the three other titles in Disney's popular read-along collection.
In "Beauty and the Beast: One Magical Christmas," original cast members Paige O'Hara and Robby Benson as Beauty and Beast celebrate their first Christmas together in a "Gift of the Magi" sort of way. Included is a new song, "A Gift to You."
In "101 Dalmations: A Lucky Christmas," baby Lucky is lost and returned by Santa just in time for Christmas. The new song here is "Hey Santa." - C.W.
VARIOUS ARTISTS; "LaFace Family Christmas" (LaFace Records-Arista).
LaFace Records' R&B and hip-hop acts, including recent hitmakers Toni Braxton and TLC, give the season a contemporary urban twist on "A LaFace Family Christmas." The anthology basically has only eight tracks, with two brief "interludes" (one of those at the conclusion. . .).
The most accessible in the batch are Braxton's torchy take on the Mel Torme-Robert Wells classic "The Christmas Song," with only a piano, bass and percussion backing up her beautiful voice, and McArthur's soulful "Have Yourself a Merry Little Christmas." Usher also does a pretty good job on Donny Hathaway's "This Christmas." A Few Good Men sound great, in the Boyz II Men mode, on "Silver Bells," marred slightly by inclusion of a distracting spoken roll call and message segment from the four lads. TLC reworks Leroy Anderson's "Sleigh Ride," turning what once was a paean to a rural scene into a sassy party conversation (sleigh bells in the city?). "Player's Ball," by OutKast, is a gangsta rap that in a way disses the "harmony" (musically and philosophically) endorsed on the rest of the album. The track portrays a realistic street point of view - gang members wandering aimlessly on the holiday . . . but does a disaffected Christmas "attitude" have anything to do with Christmas spirit? - R.B.
ELMO SHROPSHIRE; "Dr. Elmo's Twisted Christmas," (Laughing Stock Records).
Like a dreaded yet imperishable fruitcake that reappears about this time every year, Elmo is back - and he's added even more nuttiness to the recipe.
Elmo Shropshire, a k a "Dr. Elmo" these days, is the purveyor of that morbidly silly Christmastime hit "Grandma Got Run Over By a Reindeer," originally released by Elmo 'n Patsy back in 1979. Well, he's re-recorded the song and created several sequels: "Grandma's Spending Christmas With the Superstars" (Elvis, Marilyn, Liberace, etc.), "Grandpa's Gonna Sue The Pants Off Santa," and the DJ's lament "Don't Make Me Play That Grandma Song Again."
Other new ditties have Santa going on strike because of all the greed, a junk-bond king in a plush prison for the holidays and the ironic "Christmas Millionaire," with a musician wishing for one such evergreen hit, for "though it might just get annoying to someone else's ears, it would would sound like dollar signs to me." Over folksy "Hee-Haw" arrangements, Elmo sings them all in an amused, strangled voice, as if Santa has a light grip around his throat. - R.B.
VARIED ARTISTS; "It's A Cow Christmas," (Spinnaker Enterprises).
Do you find Christmas a m-o-o-o-ving experience? John Olson does. "Cows have been part of Christmas since day one, but they never get recognition beyond the barnyard. We thought Christmas was the perfect time to show the world how udderly talented they are." And so with co-creator Terry Esau, he offers up 13 bovine beauties. From the stirring strains of the "Hallemoojah Chorus," to "Angus We Have Heard on High," "We Three Cows," "The Little Summer Calf," "God Rest Ye, Merry Cattlemen," "The Docile Song," and more, there are parodies a-plenty and laughs galore. What more can you said? Only "Have a Dairy Christmas and a Happy Moo Year." - C.W.