Christmas, music, Top Ten List, Tradition

Christmas Music: The Deep Cuts

I posted the other day about the greatest Christmas songs of all time. For the most part, it was a no-brainer (like me). I touched on the idea that there is no bad Christmas music. I find myself loving some Christmas music from the ’50’s that is maybe overly sentimental or just really cornball. I’m thinking “Twinkle Toes” by the Crew Cuts or “Merry Twist-mas” by the Marcels. I’m rolling my eyes and thinking ‘this is lame’ – but I’m loving it. Christmas is the time of year when this is OK. But then there’s the teeny-bopper types: Hanson, Jessica Simpson and Justin Bieber have all released Christmas albums. Here’s where I have a bit of a problem. From some artists it really seems disingenuous – phony. It sounds like cashing in – “this will play and sell every year so…”

Some artists, though, sound like they are really trying to make an effort. For some of them, it sounds like they really care about the season and the music that goes with it. As far back as Robert Goulet’s 1963 album “This Christmas I Spend With You”, songwriters have tried to add new songs to the canon. Goulet recorded “December Time” on that album, the liner notes hopefully predicting that it would appear annually. In the early ’90’s, when Christmas music stalwart Andy Williams was doing his annual Christmas shows in Branson, he introduced “Christmas Needs Love to Be Christmas”. While neither song is remembered today, you have to respect the effort – or you figure it’s pointless to try to add new songs, the songs we already have are perfect and we don’t need any new ones, up to you. Maybe the best example of an artist successfully adding something new is 1984’s “Once Upon a Christmas” by Kenny Rogers and Dolly Parton. I never knew this album myself growing up but my wife and her family have always loved it and in the last twenty years I’ve encountered many who count this as one of the better ‘non-classic’ Christmas records. The reason for this is surprisingly simple: Dolly Parton. This album is an odd case of the traditional songs on the album being unremarkable and the originals standing out. Parton wrote or co-wrote 5 of the six originals on the album and they are quite good. In a sexist world, you would think it was Rogers that was driving the bus here but this is Parton’s show – ‘guest vocals by Kenny Rogers’ type thing. Parton sounds like she cares about Christmas. The record is genuine. Here’s my take on why: Dolly hails from Tennessee and in the Southern states the birth of Christ is taken seriously and handled reverently. I’ll presume that Christmas is significant to Dolly Parton and it shows in this album.

I want to own all the Christmas music I can which has led me on a merry chase lo these last 20 years. I’ve been pleasantly surprised to discover and add many new albums to our collection, mostly in the non-traditional format of mP3. Like my ‘regular’ music, some I need on CD, some I need on vinyl and some are OK just on digital. I’d like to share with you some of my finds, some you may not be familiar with. Not to replace your Crosby’s or Cole’s but for something different to shake up your Christmas party. Not in order. A post like this should really contain links to all these songs but that would’ve clogged things up. Head to YouTube – they all should be there.

“‘Twas the Night Before Christmas”Family Force 5 (2009)/Art Carney (1954) — The same venerable Christmas poem set to music in two VASTLY different ways. Family Force 5 are purveyors of crunk rock or crunkcore. (Yeah. I know) But their version of “‘Twas…”, from their “Family Force 5’s Christmas Pageant” album, is outstandingly audacious. It is what they call a stone groove and the boys from Atlanta have created an incredibly catchy chorus. Art Carney’s version comes from a totally different realm. Television’s Ed Norton released this as a single and it is a full-on hepcat work out. It is available on the great jazz compilation “Jingle Bell Swing”. And, one word: “Crazy!”

“Home for the Holidays” – Anthony Hamilton (2014) — I stumbled on Anthony Hamilton when I was looking for a modern equivalent to Sam Cooke or Otis Redding. I was happy to find Hamilton and after I bought his latest album, “What I’m Feelin'”, I browsed through his discography and discovered his Christmas album, “Home for the Holidays”. Now, my problem with some of these new R&B singers is that they seem to play it so mellow. Everything is a slow jam. Anthony’s Christmas album starts off with some great, uptempo original songs. And then, halfway through the album, comes the title track. It’s simply the greatest new Christmas song I’ve heard in many a year. Incredibly gentle and heartfelt, it is performed by Hamilton with singer Gavin DeGraw. Wonderful singing and the chord changes caress your ears.

“Little Drummer Boy” – Audio Adrenaline (2002) — This one might be hard to find but you should search it out. Audio Adrenaline was a great band that unfortunately lost their excellent lead singer, Mark Stuart, when his voice gave out. This is an excellent, energetic version of this Christmas classic. It bowls you over with it’s might. It was available on a compilation called “WOW Christmas: Red”.

“We Three Kings” – Harry Connick, Jr. (2008) — I’ve loved Harry Connick since 1990 and one of the coolest things about him is that he knows Christmas. He’s released four Christmas albums and his first, “When My Heart Finds Christmas”, is his biggest selling album. His third, 2008’s “What a Night! A Christmas Album”, is his least satisfying Christmas vocal CD but it contains this instrumental gem. One of the challenging things about loving Harry Connick is that he is so intelligent and creative that he loves to flex his arrangement muscles. Sometimes his arrangement of a song you know well will render it indistinguishable. His chart for “We Three Kings”, though, is a straight-up powerhouse. His piano playing is stellar and the horns are off the chain. Careful listening to this driving, though. Cops don’t accept it as an excuse when they pull you over for speeding.

“My Little Drum” – Vince Guaraldi (1965) — I recently put together a great Christmas playlist I call “The 12 Nights of Christmas”; songs perfect for quiet nights sitting by the tree, fireplace glowing, snow gently falling outside. Here’s a sneaky little tune from the man who gave us the music for all the classic Charlie Brown specials. This one is found on the “A Charlie Brown Christmas” soundtrack and you don’t realize it at first but then you notice your eyelids getting heavy as you drift off to the gentle sound of Vince’s piano. This trance-like beauty is a real hidden gem.

“O Come All Ye Faithful” – Abandon Kansas (2010) — An obscure band that put out a great album in 2011, Abandon Kansas are now on hiatus. They recorded an interesting arrangement of this carol for a compilation called “‘Tis the Season to Be Gotee” – an album of Christmas songs by bands that were a part of the Gotee Records stable. Such an intriguing version. Perfect if you are young-ish as, to me, it is a contemporary-sounding, pop arrangement. Infinitely listenable.

“O Little Town of Bethlehem” – Engelbert Humperdinck (1980) — The glory of this recording is in it’s worshipful tone. It is an exceedingly reverent version of this timeless carol performed by a singer who’s pipes may have been at their peak at this point. I have to include this celebration of the birth of Christ here due to it’s ending. Some appropriate added lyrics and the soaring majesty of Humperdinck’s performance render the listener awed by not only the finale but by contemplation of the first Christmas and it’s ramifications. Appears on Hump’s second Christmas album, “A Merry Christmas With Engelbert Humperdinck”. It’s a personal favourite of mine.

“Happy Holiday” – Ray Noble and His Orchestra (1949) — Here is the hidden-est of all the gems on this list. I first heard it on an old cheap-o Christmas cassette I had. When I bailed on cassettes I knew I had to find it elsewhere and did so on iTunes. It is available there on only two compilations. I see it was first released on a 10″ album. It’s a gloriously vintage recording that features a husband and wife sharing Christmas and New Year’s Eve together. They reminisce about Christmases past and enjoy a quiet New Year’s Eve together. I always speculate as I listen that these are the last holidays they spend alone together before the kids arrive. For fans of mid-century culture, it is an absolute delight. It’s really hard to find and not on YouTube. You can listen here: https://soundcloud.com/raynoblehisorchestra

“Go Where I Send Thee” – Colin James and the Little Big Band (2007) — Canada’s own Colin James built himself an orchestra in the vein of the Brian Setzer Orchestra and put out a great Christmas album simply called “Christmas”, his forth with the orchestra. Filled with songs we all know, it wraps with this traditional tune. I come back to it every year. It’s fun to sing along to (if you can) and it’s just a great time. Colin’s echo-y vocal, the drummer’s snare work and the backing vocals make this sound like a fun Christmas Eve party out at some roadhouse off Route 90.

“Jingle Bells” – Jose Feliciano (1970)/Vinnie Zummo (2001)  — “Jingle Bells” has been recorded a million times, generally as a swinger. It lends itself so well to an energetic performance. When you hear it done differently, it can be really interesting. The Jackie Gleason Orchestra recorded a version that barely moves, it is so slow. These two instrumental versions are a delight. Jose’s shimmies with a Latin beat and the unknown Zummo’s is a smooth bossa nova groove.

“Silent Night” – Zach Gill (2008) — Another ‘stable’ album. “This Warm December: A Brushfire Holiday Vol. 1” features artists signed to Jack Johnson’s record label. As you would expect from a surfer and surfer-type artists, the album is light and fun and focuses on secular delights of the season. That’s partly why it’s such a breath of fresh air to hear unknown Zach Gill close the album signing a restrained version of the world’s most beloved carol.

“Christmas Time With You” – David Ian (feat. Acacia and Andre Miguel Mayo) (2011) — David Ian is actually rock guitarist Dave Ghazarian. He’s obviously half-a-jazzbo, though, because he’s released three instrumental jazz albums featuring himself on piano. The first of these is called “Vintage Christmas” and contains great piano bar-type versions of Christmas classics and this original song which appears twice on the album, once in this charming vocal version. Ian’s got style and a light touch on the keys. The jazz trio sound hearkens back to Vince Guaraldi’s trio that produced some legendary Christmas tunes. Ian’s outfit offers a nice, fresh take.

If you’re looking for a few albums that are outside the norm, I can certainly suggest some. I think I’ve discovered this year that “Christmas Album” by Herb Alpert and the Tijuana Brass from 1968 is my favourite Christmas album. Easy listening, excellent arrangements, great for late night listening. I mentioned earlier “A Merry Christmas from Engelbert Humperdinck”. It sounds like 1980 but in a good way. Great vocals, pleasant versions of songs you know. Lounge music goes great at Christmas and Capitol’s fantastic “Ultra-Lounge” series offers up four volumes of “Christmas Cocktails”. The first two present a swingin’ Christmas party at a Vegas lounge in 1963. Andy Williams put out two well-known Christmas albums in the mid-’60’s but he released “Christmas Present” in 1974. Perfect singing and the arrangements are other-wordly. Brian Setzer knows Christmas. The former Stray Cats front man has put out three Christmas albums with his Brian Setzer Orchestra. The first two particularly are excellent and he presents all of our favourites. If you love your Christmas music in a good, old fashioned orchestral setting Henry Mancini, Percy Faith and David Rose have put out excellent Christmas albums. Other artists who have released great Christmas music you may never have heard include Marty Robbins, the Ames Brothers, Steve Lawrence and Eydie Gorme, Aaron Neville, Oscar Peterson, Lori Mechem, Chris Isaak, the Hollyridge Strings and Frankie Avalon, just to name a few. Google them.

You can never have enough Christmas music. Hope this helped you out and made you want to seek out some new albums for your collection. Merry Christmas!

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Centennial, Dean Martin, music, singing

Dino 100: Part 1

To commemorate the 100th anniversary of the birth of Dean Martin, SoulRide will be looking at the life of this legendary entertainer. As usual with iconic personalities, the public perception of Dino is one thing but there is much to know and much to love about the man who may be in a group of only three or four singers remembered as the greatest, most definitive and most beloved vocalists of the golden era. Here’s Part 1 of our 3-part series.

Dean Paul Crocetti was born June 7, 1917 in Stuebenville, Ohio. Born to Italian parents from Abruzzo, Dean spoke only an Abruzzo dialect of Italian until he started school at age five. He was bullied in school for his broken English and dropped out of Stuebenville High in grade 10 thinking he was “smarter than his teachers”. And here, already in his early life, is where Dean’s path differs greatly from his famous friend, Frank Sinatra. As we’ll see later, Frank and Dean would set the standard for cool in the early 1960s. Sinatra was always the more earnest. Edgy and driven to perfection in all things, Frank’s nature was very different from Dean’s. In some interviews, Frank would like to cultivate the idea that he had hard scrabble beginnings and was a bit of a tough in his early days, which was not exactly the case. Dean Martin, who said little or nothing about his early days, did indeed operate outside of the law and in some shady, half-criminal environments. After leaving high school, Dean worked as a bootlegger, dealt blackjack and ran card games in speakeasies. He also worked in a steel mill and spent time – as did Sinatra – in the ring, fighting as ‘Kid Crochet’. During his 12-bout fight career, he suffered a broken nose (which was later fixed with the financial help of comedian Lou Costello) and many broken knuckles. I’ve always thought, when I looked at Dean Martin’s hands, that he had strong looking but gnarled fingers and here is the reason. Martin began singing with local bands in the early 1940’s using the name Dino Martini. His style was heavily influenced by Harry Mills of the Mills Brothers. By 1946, he was making a decent living as a singer but was unknown outside of the small east coast night club circuit he operated in.

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In 1945, Martin was performing at the Glass Hat in New York. Also performing there at that time was a comic who was nine years Dean’s junior. Jerry Lewis was a skinny, Jewish kid who would lip sync to popular records. The two became friends but didn’t team up until the summer of 1946 when “Martin and Lewis” debuted at the 500 Club in Atlantic City. They bombed. The 500 Club was owned by Skinny d’Amato, a serious guy with mob connections. After the duo’s first unsuccessful show, Skinny told them – in his quiet, menacing way – that if the boys didn’t improve, they’d be fired. What followed is one of those glorious and true Hollywood legends that reveal true talent and personality in performers that today may be taken for granted or not understood at all. Dean and Jerry, huddled in a back alley, decided to go for broke. What they had scripted wasn’t working so, for their next show, they ad-libbed a routine – made it up as they went along – and were a smash. Jerry Lewis – still alive at 91 – is class in so many ways. Not the least of which is his propensity to heap praise on his ex-partner. Lewis is always quick to point out that Martin had impeccable comedic timing and was one of the all-time straight men with immense comedic gifts. This is something often lost in Dean Martin’s story. The comedy team of Dean Martin and Jerry Lewis went on to conquer first night clubs, then radio, then television and finally the movies. In the films, Dean sang the songs, kissed the girls and played straight man to Jerry’s antics. But after ten years together, the films began to be more tailored to Jerry’s insane style of comedy and Dean had had enough. Under a deep cloud of animosity, Martin and Lewis split up, ten years to the day after forming their partnership.

circa 1955: American comic team Dean Martin (1917 - 1995) and Jerry Lewis smiling in a promotional portrait. Martin smiles and rests his chin on top of Lewis's head, as Lewis makes a funny face.

By the time he split with Jerry, Dino had scored 13 top 40 hits, many of them becoming not only inextricably linked with Dean Martin but also becoming quintessential “crooning” classics: “That’s Amore”, “Sway”, “Standing on the Corner”, “Return to Me” and the worldwide number one song “Memories Are Made of This”. Recording for Capitol Records, Dean soon gained a reputation as a light, breezy, smooth vocalist known for his effortless delivery. He also embraced his heritage recording many Italian flavoured songs and a complete LP devoted to same: “Dino: Italian Love Songs” (1962). His recorded output while with Capitol consists of several great albums exhibiting the relaxed style Dean came to be known for. “Pretty Baby” (1957) contains lovely mid-tempo numbers like “I Can’t Give You Anything But Love” and the title track and some gorgeous ballads, most notably “Once in a While”, maybe Dino’s smoothest, loveliest work at Capitol. “Sleep Warm” (1959) is a dreamy set dedicated to songs dealing with ‘sleeping’ or ‘dreaming’. This album is notable for the orchestra having been conducted by Frank Sinatra. “A Winter Romance” (1959) is a seasonal treat to be listened to every December. Unique among “Christmas” albums, the songs don’t reference Christmas specifically but are odes to winter sports, indoor and out. “This Time I’m Swingin'” (1960) teamed Dean with the great arranger Nelson Riddle and the results are impeccable. Some of Dean’s finest recordings can be found on this LP: “You’re Nobody ’til Somebody Loves You” (this version was used over the opening credits of the film “Swingers”), “Until the Real Thing Comes Along”, “Just in Time” and a contender for Dino’s finest Capitol recording, “I’ve Grown Accustomed to Her Face”. Another contender, “My One and Only Love”,  can be found on Dean’s last album for Capitol, “Cha-cha de Amour” (1962).

The 1960’s would bring new levels of stardom and success to Dean Martin. And as the decade unfolded, Dino forged a reputation and a cultural significance that would last throughout the ages.

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Elvis Week 2017 – Day 1: Tupelo & Mama

Welcome to Elvis Week 2017! This is the annual week long celebration of the January 8th anniversary of the birth of Elvis Presley. This year he would have been 82. There was so many cool things about him – one of the coolest was to be born when he was. The holidays are over but before the January Blahs can set in we can all continue our ‘escape’ by entering Elvis World for a week to cushion the blow of the coming winter. I’ve tried to break down EP into only seven short segments (no small task) but let’s walk through the Coles Notes version of his life over the course of this week.

Day 1. TUPELO – Tupelo, Mississippi,  January 8, 1935 – basically the mid-way point of the Depression – and Gladys Love Presley goes into labour with her first child. Father Vernon Elvis Presley – in the manner of the day – is banished from the shack he has built with his father’s help to await the arrival. In the early morning hours, Gladys finally delivers a tiny baby boy. The child, however, is born dead. In the horrific aftermath of this it is realized that there is another child awaiting birth. 35 minutes later, another child – only 5+ pounds but alive – is delivered into the world. In trying to think of these people as just regular folks, one can possibly understand how a stillborn baby – and the knowledge for the mother that she can never conceive again – would do irreparable emotional damage to an already destitute, although tight-knit, family. As Elvis grows, Gladys becomes obsessively devoted to her only child. Often to the exclusion of Vernon. She never wanted little Elvis out of her sight and so began a relationship that saw mother and son form an unusually strong bond. Indeed, in many ways, as history would show, their destinies became inextricably linked.

I don’t think enough can be said about the effect that extreme poverty had on the rest of Elvis Presley’s life. Growing up in such dire straits and then coming into a fortune that was inconceivable to share-cropper families like his had an inestimable effect on the way Presley conducted business throughout his career. It can explain so much about the way he handled contracts and his employees and about the influence he allowed his manager, Col. Tom Parker, to exert over him. The same can certainly be said about Vernon. Indeed, Elvis’ father lived the rest of his life in fear that one day it would all be gone and they’d be back where they started. Even in the middle of the opulent lifestyle that his son’s success made possible.

As Elvis entered his late teens, the family decided to pull up stakes and try for a better life over the state line in Memphis, Tennessee. The next few years of his life would bring a change of fortunes for his family. Actually, the next few years of his life would bring changes that would literally resonate throughout the social history of life on this planet.

12-elvis-presley-and-his-mother

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