25 Days, 25 Songs — Day 19: “Dance of the Sugar Plum Fairy”

Originally from ACT 2 Scene 14 of the ballet The Nutcracker, the “Dance of the Sugar Plum Fairy” has become one of Pyotr Ilyich Tchaikovsky most famous compositions. Tchaikovsky took eight selections from the ballet and made them into a piece to be performed in concert, sans dancing, called The Nutcracker Suite. The ending to the ballet version of “Dance of the Sugar Plum Fairy” was altered and gained popularity in the late 19th and early 20th century. In 1940 Disney’s Fantasia brought it into popular culture, and its original context, in a Christmas themed ballet, helped solidify it as a concert staple of many orchestras Holiday programs.

In 2005 The Red Baron remixed the Berlin Symphony Orchestra conducted by Peter Wohler’s 1989 recording, adding a trip-hop beat and accentuating the celesta in the mix. It breathed new life into the 100+ year old song, making it fresh for the new millennium. In 2008 BMW used this version of the song in a television commercial.

25 Days, 25 Songs — Day 18: “Peace on Earth/Little Drummer Boy”

“The Little Drummer Boy” (originally known as “Carol of the Drum”) was written by Katherine Kennicott Davis in 1941. The 1958 recording by the Harry Simeone Chorale made the song into a holiday classic. In 1968 it was made into a TV special by the Rankin / Bass team.

In 1977 David Bowie was invited to sing a duet with Bing Crosby for his upcoming television special Bing Crosby’s Merrie Olde Christmas. At Bowie’s urging a new song, “Peace on Earth,” was composed by Ian Fraser, Larry Grossman, and Alan Kohan, to be added as counterpoint to “The Little Drummer Boy.”

This was Bing Crosby’s last recording, he died October 14 of that year, just five weeks after this recording was made. As beautiful as the duet is, the pair’s witty banter before the song is great fun with Bing quipping “right or wrong, I sing either way” to Bowie’s question “You’re the singer, right?”

25 Days, 25 Songs — Day 17: “Rudolph the Red-Nosed Reindeer”

Johnny Marks contribution to the Christmas genre includes “Rockin’ Around the Christmas Tree”, “A Holly Jolly Christmas”, “Silver and Gold”, and “Run Rudolph Run”, but his most famous composition was “Rudolph the Red-Nosed Reindeer”. Based on a coloring book commissioned by the Montgomery Ward company that was written by his brother-in-law Robert L. May, it has become an iconic Christmas character, loved by children since it was first released by Gene Autry in November 1949. In 1964, Rankin-Bass adapted the song into a Burle Ives (as Sam the Snowman) hosted tale of redemption and acceptance.

The song has been recorded by many of the biggest names in music over the years including Bing Crosby (1950), Spike Jones and his City Slickers (1950), Paul Anka (1960), Burle Ives (1964), Ringo Starr (1999), Lynyrd Skynyrd (2000) and Destiny’s Child (2004) to name a few. It has also been recorded in a mambo version by Billy May in 1953, doo-wop versions by The Cadillacs in (1957) and The Melodeers in 1960, in country versions by Ernest Tubbs (1964), Merle Haggard (1982), Dolly Parton (1990) and Allen Jackson (1996), and by several Motown artists including The Supremems (1965), The Tempatations (1968) and the Jackson 5 (1970).

Because of the many varied versions I decided to stick with the best-selling and first recorded version by Gene Autry & The Pinafores.

25 Days, 25 Songs — Day 16: “Have Yourself a Merry Little Christmas”

Judy Garland first sang this Hugh Martin and Ralph Blane composition in the 1944 MGM musical Meet Me in St. Louis. Then in 1957 Frank Sinatra released the definitive version on A Jolly Christmas from Frank Sinatra. This version has the most common set of lyrics, having been modified by Hugh Martin at Sinatra’s urging. “Until then we’ll have to muddle through somehow.” was changed to “Hang a shining star upon the highest bough.” Even Ms. Garland sang the modified lyrics in subsequent performances.

In 1987, The Pretenders released my favorite version of the song on the LP A Very Special Christmas to benefit Special Olympics. Chrissie Hynde captures the original melancholy and the beautiful hope of the song, bring the best of Sinatra and Garland’s take on the song. The music is simple and straight forward, eschewing the heavy orchestralization found on many versions of the song.

25 Days, 25 Songs — Day 15: “It’s the Most Wonderful Time of the Year”

The 4th most played holiday song as compiled by ASCAP, Edward Pola and George Wyle 1963 “It’s the Most Wonderful Time of the Year” is perhaps Andy Williams’ most enduring recording. It first appeared on The Andy Williams Christmas
Album and is immortalized from the performance on his TV show. The lyrics are slightly different then your normal Christmas songs, cataloging some activities not normally associated with Christmas like “telling scary ghost stories” (perhaps a Christmas Carole) and “roasting marshmallows.”

I chose here to place another remix in the list, this time by the duo Shrift, though it seems this is more producer Dennis Wheatley’s vision because singer/songwriter Nina Miranda seems to be absent in the mix. Williams voice is used to great effect here and the track is not over-produced, retaining the original robust warmth while updating it for the new millennium.

 

25 Days, 25 Songs — Day 14: “Christmas Wrapping”

 

The Waitresses were one of the more interesting bands to emerge in the early 80’s. The hailed from Akron, OH and had hits with “I Know What Boys Like” and the theme to the short-lived TV show “Square Pegs,” along with their most iconic song “Christmas Wrapping.” Written by Chris Butler at their label ZE Records, request for Christmas songs from all its artists. It was released on the 1981 compilation album LP A Christmas Record, the next year it was reissued on the Waitresses’ EP I Could Rule the World if I Could only Get the Parts.

The title is a play on the vocal delivery style of Patty Donahue, imitating the burgeoning new style of music coming from New York’s 5 boroughs. The lyrics are a charming tale of a single woman’s struggles with the hustle, bustle of Christmas and her many attempts to go on a date with someone she had met early in the year. Through the course of the song her attitude goes from resolving to “miss this one this year””to a very happy ending” after running into the guy she wants to date on Christmas Eve at an all night convenience store.

Quirky, poppy and brought to life by a killer riff and bass line, this may be the most infectious Christmas song that lies outside the mainstream themes found in most Christmas songs.

 

25 Days, 25 Songs — Day 13: “Dominick the Donkey”

 

Lou Monte came out of left field with this quirky Ray Allen, Sam Saltzberg and Wandra Merrell composition in 1960. It is another in a long line of ‘transportation’ related Christmas songs. Legend has it that the recording time and record production was financed by the Gambino crime family, I don’t know how much stock I take in the story. It is also another example of a song becoming a Rankin – Bass TV special, this one being the impetuous for 1977’s Nestor, The Long-Eared Christmas Donkey. For sheer silliness this is a great song and one that my kids love to make donkey sounds along to.

 

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.