The solemnity of "Up On The Housetop?"

It dawned on me today that nearly all of the many Christmas selections I've listened to from my own collection are about the solemnity of the holiday.  I've listened to multiple renditions of "The First Noel," "Away In A Manger," and "It Came Upon The Midnight Clear," for instance.  Subconsciously, I think I've reasoned that I've already heard Bobby Helms singing "Jingle Bell Rock" or Andy Williams belting out "It's The Most Wonderful Time Of The Year" repeatedly, as they're the two Christmas tunes I've heard most on KEZK and KLOU so far this season.  Still, at the pace I'm going, I'll have heard all of the solemn, reverential Christmas carols in my collection before Christmas Day. At this rate, I'll be acknowledging Christ's birth with The Ventures tearing into their guitars on "Rudolph, The Red-Nosed Reindeer" or America singing "Frosty The Snowman" with a more contemporary feel than the tune usually receives.  Nothing wrong with that, of course...Still, the occasion calls for something more reverential...Wait a minute...

...I've got it.  Dan Fogelberg's "The First Christmas Morning."  I haven't played that yet.  There's the appropriate degree of reverence needed for December 25...I've solved this problem that isn't really a problem.

Online radio sampler highlights LXVIII

Ready for your Beach Boys-style falsetto?  Here goes, then..."They're the caaaaaaats with allllllll the toyyyyyyyyys..."

Early morning standouts:

KAFM (Grand Junction, CO)

• Songbird-Eilen Jewell (A lyrically effective metaphor for anyone whose help is essential for your survival; Jewell's voice and a guitar are all that's needed to pull it off.)

KBOO (Portland, OR)

• Don't @$&* Around With Love-The Blenders (You don't usually hear profanity in this type of tune.  At first, I thought this was a modern vocal group doing a '50s R&B/doo-wop pastiche.  Per multiple sources, though, it's actually an alternate version of the band's "Don't Mess Around With Love," recorded in 1953.  Both versions contain equally smooth harmony singing.)

KOSI (Denver, CO)

• The Man With All The Toys-The Beach Boys (A fun, short tribute to Santa Claus; in my opinion, it holds up better than "Little Saint Nick.")
• Caroling, Caroling-Nat King Cole (Cole's rendition of "The Christmas Song" gets a lot of radio airplay at this time of year.  His elegant version of "Caroling, Caroling" deserves its due as well, however, as does his moving rendition of "Away In A Manger.")
• Mary's Boy Child-Celtic Woman (Celtic Woman honors Harry Belafonte's reverential version while picking up the tempo.)

WBGO (Newark, NJ)

• Let It Snow-Kitty Margolis (Margolis makes the vocals swing, and the piano underpinning gives the tune a glossy sheen I wish other renditions of it had.)

WXXI (Rochester, NY)

• Franz Schubert: String Quartet No. 14, "Death And The Maiden" (Hagen Quartet) (Convincing portrayals of tenderness, somberness, and ferocity, especially from the violins.)

A function of age?

Maybe it's because I expect life to be more of a mixed bag as I get older, but this year, I've been less inclined to hear "Coventry Carol" as one of the drearier Christmas carols.  Today, after listening to versions by John Denver and Joan Baez, I realize I haven't given it enough credit for its reverence.

However, if I ever start feeling that way about "Carol Of The Bells," I'll know I've gone off the deep end.

A record store's welcoming ambience

Spring 2010: The welcoming atmosphere of Webster Records.

Sometimes, it isn't just the music that draws you in.  I always enjoyed the inviting vibe that Webster Records gave off.  It was obvious upon a quick glance around the store that the staff of Webster Records put thought not only into the music it sold but to the decorations on its walls and bins.  The store's bright lighting illuminated the posters, plates, and other musical mementos, providing a welcoming atmosphere in which to shop.

Webster Records closed at the end of January 2012, and I still miss it--not only for its music but its ambience.

Persistent earworm alert LXXVII

Watching "Saturday Night Live"'s sketch,  "The Race," brought to mind an '80s tune that's almost impossible to forget once you hear it.  Are you ready for it to lodge itself into your brain for an hour or, more likely, a day?  If not, feel free to go back three years and read one of my favorite Christmas-themed blog posts.

For the brave readers still remaining, my earworm this morning is Matthew Wilder's "Break My Stride."  That tune ran through my mind prominently one night during college.  I took a nap before an orchestra concert in which I was supposed to play.  I slept through the alarm and woke up at 7:45, 15 minutes before the concert's starting time.  I changed into concert garb hastily, darted out of my dorm room, flew down six flights of stairs, and ran faster through the streets of Columbia than I ever had.  In my mind, Wilder was singing, "I've got to keep on moving," about eight times louder than usual.  I arrived at the theater out of breath but on time.  My fellow bass players, not knowing if I'd make it in time, had considerately unpacked my bass for me.  I learned my lesson that night; leave nothing to chance on the night of a concert.  Even if you've only had an hour of sleep that day, don't take a nap.  Also, head to the venue much earlier than I did.

An impressive Christmas songwriting feat

Composing an original song about the true meaning of Christmas is no easy feat.  After all, how does anyone compete even remotely with the poetry of standards such as "Silent Night," "The First Noel," or "It Came Upon The Midnight Clear?"  Two artists, however, pulled it off.

Peter Mayer's "Love Is Born Anew," which received airplay on KDHX's former singer-songwriter show, "Blue Highways," sports a flute-based introduction reminiscent of R. Carlos Nakai and William Eaton.  The contemplative, wandering-through-the-woods intro gives way to Mayer's guitar and vocals, conveying the rejoicing that followed Christ's birth.  It's difficult not to sing along involuntarily with "Won't you sing the song of love made new, born on this Christmas day...?"

Erin Bode's "The Star's Song" accomplishes a similar feat.  This Adam Maness-Erin Bode composition chronicles God's selection of the star that would guide the three wise men to the stable of Christ's birth.  Its captivating, declarative chorus, "Follow me down the road that leads to Bethlehem," stays with me whenever I hear it.

Just when you think you've heard the story of Christmas already conveyed in every imaginable form...

SiriusXM highlights LXXIX

Standout tunes heard this afternoon:

The Bridge

• I Don't Want To Know-Fleetwood Mac (Some of the most immediately accessible uptempo Lindsey Buckingham-Stevie Nicks vocal harmonies matched with equally accessible, hook-laden guitar accompaniment.)

Holiday Traditions

• Jingle Bell Rock-Chet Atkins (In some ways, this version holds up as well or better than the Bobby Helms original.  Brisk guitar and subtle backing vocals are a smart way to go here. Another highlight of the "East Tennessee Christmas" album: the appropriately somber solo guitar rendition of "God Rest Ye Merry Gentlemen.")
• Santa Claus Is Comin' To Town-The Mills Brothers (The Mills Brothers sing this as a straightforward, matter-of-fact, midtempo guide on how to stay in Santa's good graces.  Also recommended: the best, bounciest version of "Here Comes Santa Claus" anyone has ever recorded and everything else on the ensemble's "Merry Christmas" album.)

The Loft

• Gone, Gone, Gone-The Everly Brothers (One of the catchiest, most concisely arranged tunes about a relationship ending abruptly.  Fairport Convention covered it impressively, with strong group vocals and equally crisp guitar accompaniment.)

ONEderland

• I've Been Thinking About You-Londonbeat (Over a quarter-century later, this still holds up as a pop/dance hit with easily relatable lyrics.)

Rock & Roll Hall Of Fame

• Back On The Chain Gang-The Pretenders (A well-written and well-sung '80s hit about carrying on after a loss.  Decades later, it hasn't worn out its welcome, and it shouldn't.)

Silk

• One Last Cry-Brian McKnight (The universal feeling of pain after a rejection, sung with the right level of emoting.  This tune came up frequently in KNJZ's rotation.)

Soul Town

• Until You Come Back To Me-Aretha Franklin (To my ears, this is one of Franklin's most appealing melodies.  I'm surprised it doesn't get more radio airplay, given how accessible and memorable the tune is.  I also recommend Basia's excellent cover of it.)

Watercolors

• Angels We Have Heard On High-Spur Of The Moment (A fine driving, sax-dominated smooth jazz rendition.)