While America gets nothing but lumps of coal in its collective stocking this year, we’ve at least got some tunes to help drown out the partisan noise. FEATURING: The Beatles (box pictured above), Minus 5, Bloodshot Records, Joseph Washington Jr., Rattlebag, New West Records, Tav Falco, She & Him, the Chipmunks, and more.
BY GILLIAN G. GAAR, FRED MILLS, JOHN B. MOORE, & UNCLE BLURT
THE BEATLES – The Christmas Records (5 out of 5 stars)
The Beatles’ Christmas records were initially issued to fend off a growing scandal. In 1963, as their popularity grew in their native Britain, membership in the Beatles’ fan club soared. As a result, the beleaguered staff couldn’t process orders in a timely fashion, leading to angry letters from parents complaining that their daughter had sent in her money order but had not, as yet, received the expected fan club greetings from John, Paul, George, and Ringo.
So Beatles publicist Tony Barrow had an idea; make a quick recording specifically for fan club members and send it out post haste to mollify those who’d had to wait so long for a response from the fan club. A 7-inch flexi disc with Christmas greetings was duly sent out, and proved to be so popular a similar flexi was issued for the next six years.
In 1970, with the Beatles now broken up, the fan club issued one more release; a long playing vinyl album that featured all seven Christmas records (the US version has a particularly nice cover). The recordings then went out of print, but have now finally been officially reissued as The Christmas Records, in a box set of seven-inch records packaged in sleeves that are facsimiles of the originals, with each vinyl record a different color.
First, it must be said that the overall presentation leaves something to be desired. Beatles reissues have often been somewhat lacking; consider the barebones CD releases of the 1980s, some of which barely used up a third of the available time on a CD and featured nothing in the way of liner notes. When some thought is put into a project, the results are wonderful, as in the deluxe edition of this year’s Sgt. Pepper’s reissue, which featured bonus tracks and a superb book (the latter worth the price of the box alone).
Of course the Christmas records aren’t in the same league as Sgt. Pepper’s. And as a vinyl-only release, this would’ve been a smash on Record Store Day. But as a general release, it seems remiss to not at least include a download code, let alone bonus tracks (outtakes of the sessions do exist). One could imagine a CD release with all the Christmas records and bonus tracks, along with a deluxe version featuring a CD, download, and the replica singles and/or vinyl album, along with the extras common to such endeavors (a facsimile program of the Beatles’ 1963 or 1964 Christmas shows, for example). As it stands, this might be a release fans purchase purely for cosmetic reasons; as one wag in an Internet comments thread stated, it’ll be something nice to look at while you listen to the bootleg.
Of course, the sound’s naturally better than on those sometimes crackly bootlegs (often taken from well worn copies of the original flexi discs). The records aren’t “Christmas records” in the sense of featuring conventional holiday songs, but more like greetings from the Beatles to their fans. The first three records (1963 to 1965) are primarily spoken word, and on the first in particular the group sounds dizzy over their success: “At this time last year we were all dead chuffed that ‘Love Me Do’ had got into the Top 20 and we can’t believe really that so many things have happened in between already!” John gushes at one point. Not that they take the proceedings seriously; Paul’s message in 1963 is interrupted when he shouts “Ow!” at one point, someone obviously having playfully whacked him (he also advises fans that the group has gone “right off” jelly babies, the Beatles having been deluged with the sweets after mentioning their fondness for them in an interview).
They offer up parodies of Christmas songs between the chat, like John’s reworking of the lyrics to “Good King Wenceslas” in 1963, and the off-key rendition of “Jingle Bells” (complete with kazoo) in 1964. In 1965, they perform a bit of “Auld Lang Syne” in the gravelly-voiced style of Barry McGuire’s “Eve of Destruction.” Nothing’s sacred; they lampoon “Yesterday” on the 1965 record as well.
By then they’d clearly become bored with the spoken word format, and their growing proficiency in the studio and interest in experimentation led to subsequent Christmas records becoming more elaborate. For 1966, they devise an aural pantomime, “Everywhere It’s Christmas,” with little sketches showing how the holiday is being celebrated around the world. For 1967 (this writer’s favorite Christmas record), they serve up the short piece “Christmas Time is Here Again” that you really wish they’d fleshed out to a full length number (it’s basically the title repeated five times). There are game show parodies (“Well, you’ve just won a trip to Denver and five others! And also, wait for it — you have been elected as Independent candidate for Paddington!”), silly songs, and a tap dance (by Victor Spinetti, co-star in A Hard Day’s Night and Help!).
It was the last time the four Beatles worked on a Christmas record together. As the Fabs increasingly went their separate ways, in 1968 and 1969 they recorded their contributions individually. In 1968, Paul performs a short “Happy Christmas” song, very much in the style of the numbers he did for The Beatles album (aka The White Album) released that year. George introduces Tiny Tim (yes, that Tiny Tim) who sings “Nowhere Man” as only he can. John offers a bitter recitation about the mistreatment he and Yoko (here referred to as “Two balloons called Jock and Yono) have received, even from “some of their beast friends.”
The 1969 record is essentially the John-and-Yoko show, with the two recorded strolling around the grounds of their home in Ascot (Yoko hopes for a “quiet peaceful ‘70s”) and making improvisational music together. George makes a single statement offering Christmas greetings. Ringo sings a short ditty and plugs his latest film The Magic Christian. Paul, safely ensconced in his own hideaway, sings another sweet, if wistful, Christmas song (even his spoken message has a touch of sadness in it).
There’s also — likely unconscious — a nod to the past, when John starts singing “Good King Wenceslas,” as he did on that very first Christmas record. Certainly so many things “happened in between already” since 1963, and by late 1969 the Beatles were on the verge of becoming history.
These Christmas records bring to light another side to the Beatles: their off the wall humor, and the sense of playfulness that’s even there in the later recordings (it makes perfect sense that George Harrison would want to produce a Monty Python film). It would certainly be a fun blast from the past for the Beatlemaniac in your life. Just make sure they have a turntable handy. –Gillian G. Gaar
THE MINUS 5 – Dear December LP (5 out of 5 stars)
Santa Scott McCaughey arrives in his sleigh this season, accompanied by Satan’s Elves, Joe Adragna and Peter Buck (you may have heard of him), plus fellow Northwesterners Kurt Bloch, Tucker Jackson, John Moen, and Kevin McCaughey. A host of guest vocalists turn up as well, among them Mike Mills, Colin Meloy, M. Ward, Chuck Prophet, Kelly Hogan, Ben Gibbard, and the Posies, effectively turning what can nominally be described as a collection of quirky, rocking holiday songs that wouldn’t have been out of place on the Minus 5’s most recent full-length, 2016’s delightful Of Monkees and Men. Make no mistake, however—in the indie world, Dear December is a superstar-laden offering that’s artistically on par with Band Aid back in the ‘80s.
Highlights? There’s the wall-of-sound magnificence of “Johnny Tannenbaum,” which features Kelly Hogan and her Flat Five bandmate Nora O’Connor handling the girl-group backing vocals. “Merry Christmas Mr. Gulp-Gulp,” with Dressy Bessy’s Tammy Ealon in call-and-response with McCaughey, has a similar Phil Spectorian vibe. Twangy, poppy “Festival of Lights (Hanukka Song)” has the Mills turn at the mic, the song credits reading “lead vocals by Mike Mills, featuring Mike Mills.” And the garage-rocking guitar raveup that is “I Still Believe in New Year’s Eve” is McCaughey’s way of bidding everyone a happy and safe annum to come.
Hold that thought: With McCaughey in the hospital at the time of this writing, having suffered a significant stroke while on tour, those wishes of cheer take on an additional meaningfulness. We’re sending good tidings right back atcha, Santa Scott.
Dear December, incidentally, was released as a limited edition Black Friday (Record Store Day) title, and it’s rather unusual. Not only is it pressed on snow-white vinyl, it has a detachable outer front cover that has a bunch of pull-apart hinged “windows” that no doubt reveal sundry gifts underneath them. Of course you have to effectively destroy part of the album to partake of those visual treats, so for collectors…. —Fred Mills
VARIOUS ARTISTS – Bloodshot Records 13 Days of Xmas LP (3 out of 5 stars)
Looking for that perfect Christmas record to get your buddy who pairs his faded Melvins t-shirt with a pair of cowboy boots? The alt country punk rockers at Chicago’s Bloodshot Record’s got ya covered. On 13 Days of Xmas, the label has pulled together a fine collection of brand new holiday songs and a handful of faithful covers of traditional songs, though, aside from Ron Gallo’s “White Christmas,” the latter are hardly well-known. Bloodshot pulls in many of the folks on their roster like The Yawpers, Murder By Death, Ruby Boots, Ha Ha Tonka and others, as well as some friends of the label to make this one work.
Although it’s a fun record, the quality of the songs here vary. For every stellar track like Ruby Boots’ “I Slept Through Christmas,” or Ha Ha Tonka’s “The List,” there’s a too goofy for its own good track like Devil in a Woodpile’s “The Pagan’s Had it Right.”
The record ends on a beautiful high note, with The Yawpers’ “Christmas in Oblivion.” Not for everyone, but ideal for some. —John B. Moore
JOSEPH WASHINGTON JR. – Merry Christmas to You From Joseph LP (3 out of 5 stars)
Blues/funk/soul bassist Washington has a relatively slim back catalog, but those few records that did slip out apparently fetch fairly respectable prices on the collectors’ market, including 1983’s Merry Christmas to You From Joseph, originally issued on the S&P Music label (which itself appears to be fairly obscure). The ever-diligent archivists at Numero Group, acclaimed for their “Eccentric Soul” volumes and other excursions into the funk and soul hinterlands, have rescued this minor gem in time for this year’s Yule tidings; it was made available – on vinyl – for the Record Store Day Black Friday event.
What’s unique about Washington’s nine-song set is that the music, while somewhat dated, is all original, so rather than yet another tired chorus of “Rudolph the Red-Nosed Reindeer” you get a peppy slice of funk titled “Rudolph.” Okay, admittedly, Washington nicks most of the original ode’s lyrics, turning extemporaneous in a few spots, and the combination of familiarity and freshness makes the tune fairly compelling. Several of the songs, like “Merry Christmas,” are standard-fare early ‘80s soul, which is to say, not so compelling; the early ‘80s wasn’t particularly kind to the soul oeuvre, Michael Jackson’s reign notwithstanding. But when Washington bears down with da fonk — the bouncy boogie that is “Shopping,” the jazzy, vibraphone-tinged “Snowing In the East on Christmas” which boasts some positively kooky vocals — he’s inspiring. Whatever happened to this cat? —Fred Mills
RATTLEBAG – A Rattlebag Christmas (3 out of 5 stars)
The kids have just found out there’s no such thing as Santa Claus (and like dominos knocking again each other, the Tooth Fairy, the Easter Bunny, etc.); like an idiot, you bought them the wrong game console for Christmas and grandma sent socks and underwear again. Have we got a festive soundtrack for you!
Rattlebag’s gloriously loud and equally funny four-song entry to the Christmas music market, A Rattlebag Christmas, is the punk rock holiday record everyone from the Sex Pistols to the Dead Kennedy’s forgot to make. Through distorted power chords and bellowed out off-key vocals, the band churns through “Jingle Bless,” “Deck the Halls,” “Angels We Have Heard on High” and “Auld Lang Syne,” all in record time.
Rattlebag provides the ideal soundtrack to those likely getting fuck all for Christmas this year. —John B. Moore
VARIOUS ARTISTS – An Americana Christmas (3 out of 5 stars)
Giving a nod to both Americana’s elder statesmen and the up-and-comers, New West Records – easily one of the genres best labels going right now – has one of the freshest takes on Christmas albums. Despite some solid contributions by Bob Dylan, The Band and Johnny Cash, aside from John Prine’s brilliantly original number “Everything is Cool,” the real standouts here come from New West’s newer artists like Robert Ellis’s cover of “Pretty Paper” and Nikki Lane’s beautifully twangy “Falalalalove You” (Patsy Cline’s heir apparent?). While Christmas albums nowadays are as stale as a plate of Gingerbread cookies left out until April, An Americana Christmas is a refreshing take on the seasonal record. —John B. Moore
Memphis raconteur, filmmaker, photographer, and author Tav Falco is known far and wide as the guiding light of Panther Burns, that proto-Americana, R&B-championing outfit that once featured the late Alex Chilton as a member. For A Tav Falco Christmas he’s joined by bassist Mike Watt, drummer/sleighbellsman Toby Dammit, guitarist Mario Monterosso, and pianist Francesco D’Agnolo, and we are advised that the ensemble hunkered down at Sam Phillips Recording Service studios in early July—which, if you know anything about Memphis in the summer, is the least likely time of year when one would find oneself “getting into” the Christmas spirit.
But maybe working through this eight-song set of holiday staples and a handful of semi-obscure R&B Christmas standards worked some seasonal magic, because the music is, in a word, cool. Sammy Cahn’s slow, strutting “Christmas Blues,” in particular, is for all you finger-snapping, whistling hepcats, while a twangy, countrypolitan “Jingle Bell Rock” is guaranteed to have even the most stalwart Scrooge—such as yours truly, who is on record as not being a huge fan of Christmas records—joining in, no guilty pleasuredom needed.
Throughout, Falco is in fine voice, his Southern near-drawl adopting a Presley-like classy croon on tracks like “Blue Christmas” and Lieber & Stoller’s “Santa Claus Is Back in Town.” He’s nicely abetted by backing vocalists Lahna Deering and Tiffany Harmon, and the entire ensemble seems to revel in truly inhabiting the material. The LP, released for Record Store Day Black Friday 2017, is a limited edition (1000 copies) red vinyl gem, a perfect visual representation the holiday season. Christmas does come in July after all. —Fred Mills
SHE & HIM – A Very She & Him Christmas (4 out of 5 stars)
You’re forgiven for assuming A Very She & Him Christmas (originally issued in 2011) would be the hipster equivalent of The Carpenters Christmas Album, a holiday staple for every Williamsburg and Bushwick apartment. Despite the fact that the “She” in She & Him is Zooey Deschanel, hipster chick personified, the album is surprisingly irony free, just an even dozen Christmas standards updated slightly with Deschanel’s charmingly quirky lilt backed by the always impressive M. Ward. Even the ukulele on The Beach Boys’ “Little Saint Nick” sounds a bit alluring, rather than forced. The album is a holiday classic in waiting, even if you don’t own a single pair of skinny jeans and couldn’t grow a beard to save your life. —John B. Moore
ALVIN AND THE CHIPMUNKS – Chipmunks Christmas (5 out of 5 stars)
Al-viiiiiin!!!! Okay, give it up for the Chipmunks – you know you wanna. If we’re talking perennials here, this certainly ranks alongside A Charlie Brown Christmas. Don’t scoff. Sure, it’s nowhere near as “listenable” on a repeat-spin basis as Vince Guaraldi’s holiday classic, and in truth, hearing “The Chipmunk Song (Christmas Don’t Be Late)” only once or twice a year is plenty for me. Novelty-tilting though it certainly is, Chipmunks Christmas has a certain timeless quality that can turn anyone into a kid again, if only for 2 ½ minutes. And that’s something that not even those ghastly latterday Chipmunks movies (Chipwrecked, anyone?) can take away.
EMI and other labels have repackaged the Chipmunks frequently over the years – as a child, I owned the original 10-song vinyl LP – and this iteration boasts 18 squeaky, freaky tracks guaranteed to put an ironic smile on any hipster’s face while simultaneously making his or her significant other’s skin crawl. Such was the genius of Chipmunks creator Ross Bagdasarian Sr., who originally launched his anthropomorphic rodents in 1958 and took ‘em to the top of the charts, to the Grammys, and to the bank: for better or for worse, the Chipmunks had a little something for everyone, and still do. — Fred Mills
VARIOUS ARTISTS – The Classic Christmas Hard Rock Album (1 out of 5 stars)
This is my personal gift to Donald J. Trump and his lovely hostage, er, wife, Melania. Consumers, beware: if you purchase this — based on its title and the roster of contributors, which includes bonafide “hard rockers” like Jeff Beck, Joe Satriani, Steve Vai, Robin Trower, Ted Nugent, Journey’s Neal Schon, Rush’s Alex Lifeson and Judas Priest’s Rob Halford — expecting the proverbial rock-with-your-Christmas-cock-out, flic-your-Santa-Bic arena-anthem fest, you’re gonna get a stockingful of coal. Only Halford’s blazing, rapid-fire “We Three Kings” and the Nuge’s stomping “Deck the Halls” even remotely qualify here as “hard rock” (in truth, the latter could actually qualify for a Ramones-styled Christmas collection… but I digress).
Everything else, and I say this as a fan of several of these fret wizards, might surface in an alternate dimension’s version of a Windham Hill holiday album. My hero Jeff Beck scores points for his blue note-laced “Amazing Grace,” but what’s up with those sappy chorale singers? Ditto Schon’s “O Come, O Come Emmanuel,” with its New Agey keyboards and barely-there puffs of percussion; don’t stop believin’ in the dude’s skills, but if you run into him, feel free to ask him what the hell kinda mistletoe was he smokin’ when he cut the tune. And okay, to be fair, Satch – that’s Joe Satriani to all you Coldplay fans – and his somewhat fiery “Silent Night/Holy Night Jam” is indeed marginally “jamming” in traditional J.S. fashion, but “Surfing With The Saviour,” this is not; it’s just a wank-fest. Only aging bleached blondes with their sagging artificial tits and their bemulleted weightlifter trophy husbands — plus the stray Rush nerd who never got laid — need apply.
A classic example of a record label marketing an angle without actually determining what the “angle” might be, The Classic Christmas Hard Rock Album is part of a larger series that includes worthy titles from Frank Sinatra (reviewed above), Johnny Cash, Tony Bennett, Neil Diamond, Elvis Presley, Willie Nelson and even Kenny G. There is a companion released titled The Classic Christmas Pop Album boasting contributions from… drumroll please… Backstreet Boys, New Kids on the Block and Big Time Rush, along with semi-credible artists Phantom Planet, Glasvegas and Los Lonely Boys. Ironically, the so-called pop community’s take on “classic Christmas” is a zillion times more vital, and inspiring, than the hard rockers. O my once-hero, Jeff Back, how far you’ve fallen. —Uncle Blurt
Below, check out the colored wax from the Minus 5 and Tav Falco camps – THAT’s the kind of holiday cheer we like to spread around here! – Ed.