All posts by Kevin Hogan

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About Kevin Hogan

Kevin Hogan is a lifelong seeker whose creative journey has been shaped by obessesion, for music, literature, and lived experience. A 2000 graduate of the University of Maryland, College Park, where he studied poetry, Kevin has worn many hats including real estate agent, broadcaster, and father. His debut work, Tired Of Being Real, marks a significant milestone in a career defined by reflection, exploration, and emotional honesty. Whether on the page or behind the mic, Kevin is first and foremost a storyteller, bringing an authentic voice and a deep appreciation for music, poetry, and healing. Kevin’s other passion is music. Kevin also hosts weekly shows on his longest running project, the jamband focused wookplus, continuing his commitment to community, conversation, and creative expression. He has also interviewed over 300 musicians on his All That Jam podcast. You can also find him on his 6 episode podcast about the early years of punk rock called Beautiful Garbage.s.

25 Days, 25 Songs — Day 12: “The Christmas Song”

This Christmas classic, often called “Chestnuts Roasting on an Open Fire,” was written in 1944 by musician, composer, and vocalist Mel Tormé (aka The Velvet Fog), and Bob Wells. According to Tormé the song almost wrote itself, taking 40 minutes from inception to completion. Since, it has become the most recorded Christmas song ever. The earliest recording was in 1946 by the Nat King Cole Trio, he rerecorded it with strings later that year, then again in 1953 and 1961. The 1961 version, with orchestra conducted by Ralph Carmichael, is the version all others are compared to.

In 1978 The Carpenters released their album Christmas Portrait which included my favorite version of the Wells / Tormé classic. Often dismissed by critics, The Carpenters were a powerhouse in the 1970’s and recorded some of the most enduring pop songs of the decade. It always brings a small tear to my eye when Karen sings “And every mother’s child is gonna spy/To see if reindeer really know how to fly.” It brings back the wonder of Christmas I felt as a child and see in my kids eyes.

That’s All I Am Going To Say About That

I used to write poetry and woke with a fragment floating around the last remnants of a dream today. Like an old song, one that came through the static of a radio 30 years ago. It began “Belive it, hip sucks…” and ended with some notion about being crazy about illiviation. There was a butterfly slicing the air like paper to flesh, letting bad blood flow. It became the ink and asked what was the advantage of taking pen to paper. Poems, elegies, even a last thought are only for the living, to give us comfort or fading solace.

Even at 44 you were too young to die, but that was your choice. You let loose in the black ribbons of storm that have no gauge or alliance. I woke and rushed to write the poem, but each line I tried to put to paper faded like our youth, like the image of the trails that ran through Woodbridge Valley; each line failed to capture the truth of our lives.

There was a low stream that stumbled under a canopy of oaks, feeding on the eroding bank, muddying our feet as we ascended the other side. Perhaps it rushed by in ragtime, perhaps it was was where the silence I become lost in rose from.

I can not really remember where it began, perhaps on a dirt hill where the wind pulled the clouds down. I only know where it ends, where I will turn to stare back ‘why?’ and ‘convince me it was real.’

Perhaps I did not write you a poem because they tend to distract us from the flowers around the grassy knoll, the rivers bend, as much as they offer comfort or attempt to give form to our grief.

Yes, that stream became a river rushing by many trees before becoming the sea and returning as rain. If I look closely I can still see the rainbow at midnight hearing of your death gave birth to. If I look closely I can see your dark eyes peering into the cool blue pools of mine.

Yes, that brief glimpse of water in the forest could grow a spark to a flame, could in burning commanded a vision, the angry blind that only now lifts when we can’t look back.

If I knew last Tuesday, perhaps i would have picked up the phone, took your hand and walked with you from the forest toward a new horizon, one that we could forever see draped in the sunrise. Perhaps I wouldn’t need to write these words for you.

25 Days, 25 Songs — Day 11: “Happy Holiday (Beef Wellington Remix)”

25 Days, 25 Songs — Day 11: “Happy Holiday (Beef Wellington Remix)”

While not technically a Christmas song, the Irving Berlin composed, Bing Crosby sung, “Happy Holiday” is forever linked to Christmas because it is now most commonly associated with inclusive holiday greetings used during the Christmas and holiday season and because the numerous recordings of it on Christmas themed albums. It first appeared in the 1942 film Holiday Inn, and served as a theme song for the entertainment venue called “Holiday Inn” Bing Crosby’s character Jim Hardy has opened. The premise is that the ‘Inn’ will only be open for guests and shows on Holidays, that is why the lyrics wish for the listener is to have ‘the calendar keep bringing happy holidays to you’. Opening night is on New Years Eve and this is the song he sings. Also starring Fred Astaire, in 1943, the film received an Academy Award for Best Original Song (Irving Berlin for “White Christmas”).

In 2003 producer Brendan Wood, under his stage name Beef Wellington, remixed the original recording on Six Degrees Records Christmas remixed album. He adds a swinging beat and accentuates the horns for one of the most successful uses of the sub-genre of Christmas music, the remix (which is often just adding an electronic beat to a famous recording).

The accompanying video, using the famous scene where Happy Holiday is first sung, has Fred Astaire performing one of his most iconic dances. Ted Hanover, (Astaire’s character) is drunk because Lila Dixon (Virginia Dale), his dance partner and lover, has run off on New Years Eve. He drives up to his old friend Jim’s new club and madness ensues as he stumbles out on the dance floor. Pretending to be drunk, Fred still out dances 99.9% of people in the world and Linda Mason (Marjorie Reynolds) is no slouch herself.

Since I discovered this version of the holiday classic in 2008 it has been on heavy rotation each holiday season, a toe-tapping, head-bobbing good time and one of the few remixes that improves the original.

25 Days, 25 Songs — Day 10: “Christmas Time Is Here”

Vince Guaraldi will forever be associated with the 1965 TV special A Charlie Brown Christmas. His song “Linus and Lucy” (often referred to a The Peanuts Theme song) has become a de facto Christmas song and his 1966 album, A Charlie Brown Christmas, a Christmas staple. Generations have thrilled to watching the Peanuts Christmas Special on TV as a kid and even as adults the hardest people have a hard time holding back a tear when Linus explains the true meaning of Christmas.

The song “Christmas Time Is Here” is found in two versions, an instrumental one by Vince Guaraldi, Colin Bailey and Monty Budwig (the Trio) and a vocal version as sung by the cast of the television special backed by the Vince Guaraldi Trio. This song works on so many levels for me, its lilting beauty and touch of melancholia subtly underpins the wonder of Christmas from a child’s eyes. It is gentle, warm and fuzzy, just hearing it makes memories of Christmases past come flooding back while helping to create new memories to be relived for years to come.

 

25 Days, 25 Songs — Day 9: “Santa Claus Is Coming to Town”

Date line November 1934, the place Eddie Cantor’s radio show, the event “Santa Claus Is Coming to Town” debuts. John
Frederick Coots and Haven Gillespie had no idea this night and this song would change their lives. By Christmas of that year they had sold 400,000 copies of the sheet music for the song (100,000 ordered the night after it aired), making it an instant Christmas classic.

The earliest recorded version was by banjoist Harry Reser and his band with Tom Stacks on vocal in 1934 and followed the next year by Tommy Dorsey & His Orchestra. In 1963 The Four Seasons charted with it and it has been recorded in Spanish by Luis Miguel. It is also another tune that Rankin – Bass made into a TV special, this time with Fred Astaire doing the singing and narrating the hour long special.

It is this special that introduced me, and probably many from my generation to the song, but it was the rock and roll version by Bruce Springsteen & The E Street Band that made it cool when I was a teenager. Recorded live in 1978 and released in 1985 as the b-side of “My Hometown,” it is one I look forward to breaking out each year.

 

25 Days, 25 Songs — Day 8: “A Holly Jolly Christmas”

When Rankin and Bass decided to make a half-hour stop-motion animated version of Rudolph the Red-Nosed Reindeer, they enlisted the song’s composer, Johnny Marks, to write the other songs for the show. The two he came up with, “Silver Bells” and “Holly Jolly Christmas” became instant classics and were recorded, along with the show’s namesake, the next year by the show’s star and narrator Burl Ives. They were released as singles and on the album Have a Holly Jolly Christmas on Decca/MCA Records in October 1965.

Originally envisioned as a song for the character of Yukon Cornelius to sing, when Ives was recruited they rewrote the script to have Sam the Snowman sing the song. The version that is known and loved is actually a re-recording of the original that is a little more ‘pop’, enhancing the happy, almost goofy, lyric that is delivered with such conviction and warmth by Mr. Ives. When I hear this it brings the memories of a simpler time when I waited each year for the chance to see all the classic Rankin – Bass shows in the days before Christmas.

25 Days, 25 Songs — Day 7: “What Christmas Means to Me”

An often covered R and B Christmas song by Anna Gaye, Anna Gordy, Allen Story and George Gordy, “What Christmas Means to Me” was first recorded by a 17 year old Stevie Wonder in 1967 on Someday at Christmas under the Tamla imprint.  Backed by the The Funk Brothers, this cut has that signature Motown Sound. The lyrics touch on all the things that make Christmas special to the singer while at the same time expressing his love for an unnamed person who he wants to spend a few minutes with under the mistletoe. Of all the versions this still stands as the best and provides a little toe tapping soul to the often over produced R and B Christmas lexicon.

Other notable versions:

  • Paul Young (1992) on A Very Special Christmas 2 
  • Hanson (1997) on Snowed In 
  • Mary-Kate and Ashley Olsen with Sean Holt (1999) on Cool Yule: A Christmas Party With Friends 
  • En Vogue (2002) on The Gift of Christmas 
  • Holiday Express (2002) on Live 
  • Jessica Simpson (2004) on ReJoyce: The Christmas Album 

25 Days, 25 Songs — Day 6: “Here Comes Santa In A Red Canoe”

“Here Comes Santa In A Red Canoe” is another song focusing
on Santa’s mode of transportation, this time from Hawaii
courtesy of The Surfers from thier classic 1959 release
Christmas From Hawaii. It has an almost doo-wop feel and adds
a unique perspective to the Christmas lexicon. The LP is a mix
of traditional fare rotating between the religious (“Mary’s Boy
Child,” “Oh, Holy Night.”) and the secular ( “White Christmas,”
“Deck The Halls”) and songs focusing on Christmas where it
never snows (“Hawaiian Santa,” “Mele Kalikimaka”). The
Surfers were a pop vocal group, clean-cut with tight harmonies,
who were often backed by legendary steel guitarist Jules Ah See
and percussionist Harold Chang.

 

25 Days, 25 Songs — Day 5: “We Three Kings”

“We Three Kings” is a religious themed Christmas song written
in 1857 by Reverend John Henry Hopkins, Jr., and was first
published in 1863 in his Carols, Hymns and Songs. It recounts
the journey of the magi to see the newborn King. It has been
recorded by everyone from Ella Fitzgerald to The Beach Boys
to The Reverend Horton Heat. My favorite version is by the
Portland, Oregon group Pink Martini. Lead by Thomas
Lauderdale’s beautiful piano figure, lead vocalist China Forbes
creates an almost etheral feeling on this modern take on a
Christmas Classic. You can find it on their fantastic 2010 album
Joy To The World.

25 Days, 25 Songs — Day 4: Zat You Santa Claus

Louis Armstrong recorded 6 Christmas songs for Decca in three sessions between 1952 and 1955. The first two sides, a couple of standards, “White Christmas” backed with “Winter Wonderland”, were recorded in 1952 with Gordon Jenkins’ and His Orchestra. The next year, Satchmo took to recording less traditional songs and we were introduced to “Zat You, Santa Clause?” backed with Steve Allen’s “Cool Yule” on a release by Louis Armstrong With The Commanders. Then in 1955 it was “Christmas In New Orleans” backed with “Christmas Night In Harlem” as Louis Armstrong With Benny Carter’s Orchestra. All are available on the compilation album What a Wonderful Christmas and the second two sessions produced some of my favorite Christmas songs.  I chose “Zat You, Santa Clause?” because of the menacing groove The Commanders lay down coupled with Jack Fox’s fantastic lyric that has the singer going back and forth between anticipation of a visit from everyone’s favorite fat man and a sense of paranoia that someone is creeping around outside his house