Backstreet Boys "A Very Backstreet Christmas"

 It's safe to say I have waited far too long for this record to come to fruition to not be skeptical. One of their main competitors released a festive record that has been in sync with the holiday music listening regimen for decades, and another group not only raised the heat with one modern pop masterpiece but managed to rekindle that flame for a second time; both of which I have enjoyed for twenty-four and five years, respectively, without breaking a sweat.

I had lost hope that the boys would ever record a festive album a long time ago, but when I heard that they were working on one, I think my spirit inside lit up like a Christmas tree; you could blame it on nostalgia and my imagination. 

It was inevitable that I would compare A Very Backstreet Christmas with those of their contemporaries Home For Christmas by N'SYNC; and This Christmas and Let It Snow by 98 Degrees. Then there was that Bieber boy who filled the void while Under the Mistletoe waiting for a kiss, from me? No No. So where is this review going to go?

I can say that this record cannot be compared with N'SYNC's modern pop masterpiece, for it is on another level, and one of the few records of this variety that features eleven original songs. While many were not as potent as "Merry Christmas, Happy Holidays," many of those were solid additions to the merrypotoire.

But now, BACK(to the)STREET BOYS! They are one of the few boy bands that have been as consistent as they are productive with the same members throughout their career, and it shows. Yes, I prefer quality over quantity, and maybe not every record is a smash, but some of these records should be sleeper hits, at the least.

 This record includes many songs that overworked that one horse running for an open sleigh, yet despite that disadvantage they managed to revitalize those weary horses for another round on the same snow- covered track. "White Christmas" takes its cues from the version recorded by the current "King of Christmas," Michael Bublé, with assistance from Shania Twain. There's a queen, so why not a king? Yes, Bublé caught the drift from Doo Wop.

While the next three covers were charming, I would have to say that this was another standout. Yep, the boys made the good list with their version of "Last Christmas," and just when I think my list of favorite versions is complete, another shines its light to compete.

 Yes, I must applaud how they handled "O Holy Night" and "Silent Night," but I was most interested in how they took the classic "Same Old Lang Syne" and brought it into the new year. I will not assume what Fogelberg would say if he were able to hear their version, but I suggest you listen to the versions you have not heard as a smaller, more attainable resolution.

There are two original songs that are saved for last on the record, one about spending, and reveling in, the holiday "Together" with that special someone, and "Happy Days" inspired by that feeling that JT couldn't fight before he became a branch on the tree of trolls. I can type something I usually don't, and that is that I enjoy the covers of canon classics more than the original tunes on this record, but it does not mean that I will not grow to appreciate these later on.

I guess the final question that I must address is, was the album worth the wait? If I consider the time waiting with knowledge of one in the works, then yes. If I count the time waiting with only the hope of one, then I would say no. It was good, but over twenty years for the group to catch up with their contemporaries? Not that good. 

I cannot imagine how the G'N'R fans that knew of Chinese Democracy before the aughties began felt as they waited, and as it finally came. I was only waiting the tail end of it, maybe two or three years, and it could have been called "Use Your Illusion III" in the sense that you had to convince yourself it was worth the wait. There were some good songs on there, and I may be in the minority on that, but to say it was worth the wait from the time of inception? Missed the mark, but I got over it and learned to appreciate for what it was, and I'll do that with this record too.

The Philly Specials "A Philly Special Christmas Special"

After seeing a certain amount of Christmas specials, the emotion and what some may call "magic" that the specials aim to portray wanes, same can be said with Christmas albums. In spite of the adversity, and the fact A Philly Special Christmas Special checks off both boxes, I find that I enjoyed the record more than I expected.

 Yes, I have heard a lot of these songs before, but they were good enough. The one that stood out the most to me was the finale, "Auld Lang Syne." Of all those songs, you picked that one? Yes, because they stated and celebrated who and what they were thankful for. They probably could have even expressed gratitude for more, but that is beside the point. They took the time to acknowledge and express that gratitude for what they have, and love for their fellow Eagles and their families, as well as the rest of the unofficial team members that take care of them outside the game.

I also liked the album's spotlight on its unofficial mascot, "Dominick the Donkey." 

Although my relationship with Santa has changed, it is not lost on me that the day following "Santa's Night" still brings many children and families delight; the song is cute, in spite of itself, being about the most celebrated unofficial elf.

 Hanukkah may have passed already this year, but I liked their rendition of "The Dreidel Song." Now, "Christmas Time is Here" and even though their charming rendition cannot touch this timeless classic, they did not fumble the ball.

"Milk and Cookies: A Merry Crowder Christmas"

 Reading the title you can tell, that while it may not be a Santa-centric release, he is one of the topics in the conversation. There are plenty of faith-based tunes that focus on the true reason for the season, and not merely the mascot of what some may call a holiday perverting the true meaning.

Once the prelude briefly recalls the journey of what came upon a midnight clear, the first song becomes one of praise for the heavenly father for not only "making a saint out of a sinner" but turning Crowder into a "Thanks Giver." 

There is a reason why we need to slow down from time to time, and it is not just to appreciate what we have, but why we have it, and this song addresses the source for the true believers, while also admitting that one can get caught in the bustle (transcending the mere holiday hustle) of life and forget. The song is perfect for that drive home for the holidays or some introspection and reflection during the season.

"I've Heard About You" can be called a one-sided conversation, a testimonial declaring the greatness of the Lord, or a list of things heard about him, and they would all be true. It delves a little deeper without pushing those away for being "too much." It is a genuine declaration of love, praise and belief in the Lord.

The next few songs are about that jolly old elf with a long white beard and an affinity to the album's namesake; one of the songs even laments about that timeless and tired facial hair. The first interlude even puts him on blast, asking why does Santa get all the focus, when the reason for the season was here a long time before, and much greater? (without saying it outright) It also leads you to believe that was the major point, but it served a dual purpose.

Which is?  A Prologue to "The Elf Song" a purposeful sing-along, where the chorus may not leave your head before a year gone. Even then, you may find yourself singing about the jolly and overworked during July. If you're reading these as song lyrics, you wouldn't question why

"The Ballad of Mrs. C (she's sick of the beard)" could also serve as her parallel to "Elf's Lament" which leads them to Mexico with a beardless St. Nick.

There is a break in the Santa Chronicles for the announcement that "Christmastime is Here," and it may not be a cover of the Charlie Brown classic, but it does mention the lad, and other secular and seasonal activities that take place during the holidays.

"Interlude II: Cookies" gives us an update on Santa's court proceedings and life changes, and mentions his, or St. Nicholas' love and respect for God and Jesus. So, the song is making room for both Santa and Jesus, which may not be appreciated by some people. The sentiment outside is nice regardless.

"Your Praise Goes On" is probably one of my favorite songs on the record. It revisits that fateful night, and "what happened that night away in the manger changed the whole universe." 

Crowder than covers three Christmas canon classics consecutively. The first of which is a bluegrass treatment of "Go Tell It On the Mountain" followed by a high-energy rendition of "White Christmas," and then another version of "Carol of the Bells." I type it that way because the latter ends up contributing to white noise, and while this version doesn't stray far from the path, it does not try too hard, and alters the sound enough to stand out as another noteworthy version.

While the day after Christmas is known by some as Boxing Day, this "December 26th (Auld Lang Syne)" comes about a week early, it incorporates some of the lyrics from that timeless tune, and gives a status report on some of the seasonal markers.

"Postlude" sounds like "Goodnight Moon" with farewells to many elements of the season, and even alludes to the prospect of heaven toward the end, my take anyways.

this is my christmas album review

 I haven't been the biggest fan of Switchfoot, but have kept up to date with their discography, but that may change soon enough. Regardless, their latest album prior to "their version" of The Beautiful Letdown was not a disappointment, but it was underwhelming.

While I don't ever plan to revel in a "California Christmas," the lyrics were descriptive enough to facilitate a vicarious experience, and maybe incite an interpersonal debate as to whether that should be added to the bucket list.

Cindy Lou Who is not the only one "Looking For Christmas," but Foreman and crew are too. It took me a few listens to make that connection, "but maybe my hearing's different, something's changed." I admit some of my favorite albums and songs from yesteryear don't feel the same as they had prior to here, and there are a lot of songs and albums I have listened to in this genre which "feel disturbingly inept and sincere."

I listened to the song several times, but it was not until I read all the lyrics that I developed a deeper appreciation for the song and its meaning. People can say this holiday should not exist, and others can say that the real reason for it is extinct. They have pulled so far away from Christ that all that is left is the superficial shell, and that hole in the hearts of many can only be filled by Christ, not by the shallow traditions highlighted in the holiday's current state. 

Not that they aren't appreciated, but I digress.

There has been a rise in the amount of covers of "Christmastime is Here" in the last few years, and this one is decent enough. I prefer the originals over the reinterpretations because most are stale before the first note, due to the copious amount of covers prior. 

However, Switchfoot's covers of the aforementioned and other canon classics with a higher reinterpretation count are distinct and dreamy enough set them apart. Some of them give the feeling of being phoned in yet add minute details to contradict themselves.

"Scrappy Little Christmas Tree" was the rebellious runt of the tree lot which inspired the sentiment of verse three and did remind me of the saying "it is not the size of the dog in the fight, but the size of the fight in the dog." Cliche, I know, but it is relevant.

Exchange the second word of "Midlife Christmas" with another and you have an idea where this song is going; that the doldrums are as inevitable as the yearly postcards from the relatives you miss and the others you may forget. Affective, thought-provoking, and an appropriate anthem for pre-piphany Grinch or current member of the disenchanted.

 I know a lot of this record had a dream-like quality but why sing an auld song and tired cover option when you can write a new song about "New Year's Day?" Although it is seven years old, it was new to me, and that feeling described is a retread for more than just Foreman. High hopes for the future? When euphoria's gone it's essential to find faith.

The final original on the version I heard is not off the original album but was an Amazon exclusive collaboration with NEEDTOBREATHE's Bear Rinehart, and a lion-less Judah. The song includes all the sentimentality one can expect from a "Hometown Christmas," and the bond between these bands bolsters the believability in their brotherhood, transcendent of blood ties.

Darren Criss "A Very Darren Crissmas"

Not many would appreciate the pundt cake on the word plate, but would be fine saying "Happy Holidays/The Holiday Season" sure brings about some magical moments, this version? Yeah, it's nice.

If I had any relevancy, this next notion might render what is present "Dead!" but "Christmas Dance" (accurately spelled, although he could share this hit on another word playte) marches to a similar beat, with a vibrancy and harmonies that the black parade utilizes, which in turn energizes.

We'll skip the two pleasant covers that follow to focus on a one two punch that really surprised me, "St. Patrick's Day" and "River," respectively. I knew the latter, but didn't realize right away that it was John Mayer's lament on holidays and heartbreak; which one would be best to end the savior from winter loneliness? His performance and emotional impact parallels that of Mayer's, utilizing his own strengths to make it his own.

Circumstance not only brought me my favorite version of the latter, but my second favorite version of the latter. Rachel Yamagata's version was the first version I heard on a compilation album and it cemented my belief in how it should sound, everything else paled in comparison. Criss was a little more Darren when he chose to present the song in a more upbeat and lively fashion, which made it memorable

Darren trades in the Crisskates, for a guitar full of heartstrings to tug on in the sentimental "Welcome Home" that reads like another version of Goodnight Moon; to me anyway.

 He loosens the strings to sing about "All Those Christmas Cliches" that in spite of their status still make the holidays more special, but not as effective as family. I did not realize this was a cover of Nancy LaMott's original, nor did I know of her existence, but maybe I will learn more about her music in the future, but I am not making any promises.

Then before tugging on the strings of the heart-ar again, he sings a song that includes one of the common associations with the holiday that sounds better in song than in practice.

 "Somewhere in My Memory" has been a song without a name for over twenty years, until I started to hear more covers of this gold coin from the treasure chest of memories this movie seems to present to some people. I will continually associate the first sequel with a family reunion (and sleepover where it was watched) because that was the first time I saw it, and it does present "precious moments, special people, and happy faces," just none I can see clearly; it's been almost three decades.

His duet with Lainey Wilson is a nice wobbly step into Santa's Pub, or another honkey tonk when "Drunk On Christmas," or during the holidays. It never said it had to be alcohol, you can be drunk on spirits (good spirits, not necessarily the liquid kind) (or not)

Darren suggests that you "Have Yourself a Merry Little Christmas" before presenting an original to celebrate the new year, and the fact that anyone reading this, or not, has been blessed with another chance to elevate their lives. We made it through another year full of various experiences that have given us more than we know because most see things at face value, or believe they have to wait until the 1st of January to initiate that change. Also, a "New Year" cannot merely erase old feelings; the song is a beautiful nod to the holiday.

Lindsey Stirling "Snow Waltz"

So, it is safe to say that I did not expect a second seasonal offering from Stirling, but it is a trend that I have noticed in the past several years that artists, who have already released a solid holiday themed album return to the fold to wrap their sound with the magic that this season alludes to. Some of these sequels surpass their predecessor, the brightest star of these to me would have to be Kelly Clarkson's When Christmas Comes Around.

Wait a second here, what about Stirling? You're right, while this review is not made to compare her first seasonal strut with her Snow Waltz, people may do so regardless. I will say that I liked the numbers with the vocal accompaniment more on her first record than this one, for now; especially the Sabrina Carpenter assisted "You're a Mean One, Mr. Grinch" or Becky G's beckoning in "Christmas C'mon," and the title track is another one of my favorites.

 

No, I do not disagree that Christmas is a "Time to Fall in Love," any time can be, but I like it a wee bit less than the rest. "Crazy for Christmas" is currently at the same level as the aforementioned, but it is growing on me, and with Archuleta singing about "Magic," I am convinced that it is only a matter of time before they reach the status. "Christmas Time With You" will not be forgotten either, and the vocals at the conclusion of "God Rest Ye Merry Gentlemen" were sufficient.

While I did like the instrumentals and her renditions from her first outing, even Mariah Carey's stamp on Christmas, I think I may like some of the instrumentals on this record more. Specifically, Stirling's winter well wishes of "Feliz Navidad" which can score a different type of dance if you will it. I also thought the eponymous instrumental original and "Ice Storm" were aptly titled, both synthesizing the alluded experience through sound.

To finalize my initial point, I do believe this record is a testament to the improvement of her craft.

Kelly Clarkson "When Christmas Comes Around"

 I wrote this over a year ago, and while some of my feelings for this holiday may have changed, I really like this review and wanted to share it.

The Mavericks "Hey! Merry Christmas"

 Hey! Merry Christmas! I typed it because I believe I am in a safe space because people know what they are getting into when they peep this review, and it may be several years overdue, but I just listened to it two years ago and I like the music to stew to produce a better review for me and you. 

Was it successful? Was it worth the wait? Are you still here? Thank you. 

The album is eponymous in approach because it only features two covers while most feature four or more songs. While I cannot declare dislike for their tidings of a "Happy Holiday," I cannot deny that it does not feature the energy, singability, and excitement of the original. It is a dreamier, yet pleasant rendition of Williams' classic. Their version of "Christmas (Baby Please Come Home)" can light a candle to any cover.

The album itself starts with the fun-two punch of "Christmas Time (Is Coming Round Again)" and "Santa Does." Both of which can sleigh the bah-humbugs, or at least may beckon a bop of the head that leads to a smile, or vice versa; the former more likely, but I digress.

"I Have Wanted You (For Christmas)" may indicate their beliefs on past lives and reincarnation, or was merely written for sentimentality's sake, but it is about an ever-present and everlasting love. While the song that follows also shares a similar sentiment in "Christmas For Me (Is You)," and reminds me of the song "As Time Goes By" from Casablanca, not for sonic, but thematic reasons.

It wouldn't be realistic without some cooler color Christmas vibes emanating from "It's Christmas Without You" and the afore-mentioned cover of "Christmas (Baby Please Come Home)." 

If this were a narrative, it could be said that his love returned in time to say "Hey! Merry Christmas." It's the song that may not set off the party right, but can keep the glee from glooming, or the dance party from dying down. 

While "One More Christmas" sounds upbeat, and generally is, the song refers to a one last holiday ditch effort to convince the subject of affection that they are meant to be together. Which can be a tall order, but I have come to realize that if one has to convince another they are meant to be together, then maybe they are not.

To continue the narrative, it looks as if it was a success because the final song scores a late-night reflection on the events that preceded it. There is the protagonist with a silent smile, yet not entirely convinced he had persuaded his eternal love. The slower pace and dreamier approach are suitable for this ending. She has said she was too tired to sleep over, so the narrative ends with the protagonist  slowly laying his head on the pillow as "Santa Wants To Take You For A Ride" plays as he enters dreamland.

Goo Goo Dolls "It's Christmas All Over"

 I aim to avoid petty, but not when it comes to music. I am a casual fan I will admit, but he was write, "Christmas is a rockin' time" and this enthralling missletune is a worthy addition to the Christmas Canon (Rock). The Goos manage to give this song a new energy, albeit staying true to the original, which I can say accounts for most of the covers but is not always a bad thing; the best being "Shake Hands with Santa Claus."

Robby sings with the Chipmunks in their version of "Christmas Don't Be Late," which is an oddly charming rendition; they both write good songs, but songs that Takac lends vocals for tend to stray from the bottle of "pop."

While "This Is Christmas" tends to bring visions of an angel city and a rush of endorphins for some, "You Ain't Gettin Nothin" features visions of presents instead of a sugar plum. The former song and its referential counterpart sing about the gravity of love, and the lengths they would take to see, or be the reason for, their smile. Their other original tune incorporates tough love for a kid, with a middle name of chaos, and may mirror the fun he has (without any of the trouble he causes). 

If original version praying for "Better Days", sung by Sydney McGorman in this version, was beckoning eye sweat, this one also will punch you in the gut. It straddles between sincerity and those poignant ads asking for donations; that is not to say it is not of good quality, it's just an observation.

The trio of traditional covers that precede "The Christmas Party" remind me of Scott Weiland's holiday declaration that it's The Most Wonderful Time of Year, and I would say that it can be, but their renditions never reach their potential of cool; like Weiland, they played it safe, yet sounded good enough doing it. Their collaboration with Union Square 5 was like hearing a different band, with a renewed vigor, and would have made the other covers more than good enough.

One last (original) tune about Christmas is one last acoustic number that continually states, "we don't need a reason to love one another again." It's enough for the Goos and Kudian Kai, and accompaniment to perform "I've Got My Love To Keep Me Warm" in a brassy fashion.

The Monkees "Christmas Party"

 What kind of jerk invites himself to a Christmas Party uninvited just to criticize the hosts? I can be a jerk, but I am merely critiquing what I heard. I'm going to keep it short and sweet and start with one of the best compliments I can give. This may be the closest to a proper full-length Beatles (lite) Christmas record you are going to receive. 

I look forward to the original, or songs rarely covered, the most on a Christmas record because how many times has "The Christmas Song" or "Silver Bells" been reinterpreted? Roughly 13,208 for the former and 8,451 for the latter, respectively (information brought to you by Spotify)

While the cover of "I Wish It Could Be Christmas Everyday" did not have as much energy, or generate as much enthusiasm, as other versions I have heard prior to this it was pleasant enough. The same goes for their rendition of "Mele Kalikimaka." "Wonderful Christmastime" was my favorite in this tier of covers. The triplicate of covers ending the album were tied for my favorite. 

It was cool that they not only name-dropped, but then also played the King of Soul at their "Christmas Party," and I would surmise the songs would be selections from his Christmas album, which is a worthwhile addition to the Christmas Canon. 

While I like both songs, I find it peculiar that the second song replaces Jesus in the song that is inspired by the ever-present query that guides us to follow our better angels in "What Would Santa Do?" yet they have a song called "Jesus Christ." Both worthy of multiple listens, even if the latter can be repetitive, and stress the wrong date of birth.

Brett Eldredge "Mr. Christmas"

 While there is a generally accepted queen of Christmas, the title of Mr. Christmas is still vacant, or was.  Call it a self- fulfilling prophecy, but I cannot see another artist using this moniker, other than Brett Eldredge. 

While there are a lot of pleasant original tunes in his canon, and he has a good track record when it comes to his full-length albums, I wasn't the biggest fan of his debut holiday record. However, I appreciated the album for what it was. There was this Glow that seemed to surround him when he performed these classic songs, as well as the eponymous original. You could tell that he was enjoying every bit of it....

...so much that he compiled another collection of yuletide covers, with some new audio ornaments, to adorn this tree to support his case as Mr. Christmas. While I don't believe another record was necessary, I happened to appreciate this one more than its predecessor, and somehow forgot of his main competitor, Michael Buble, and his firm stamp on the genre with his pleasant covers and even better holiday originals.

Aloe Blacc "Christmas Funk (2019)"

 Are you in a post-Christmas Funk? Maybe this gift to the ears can convince solace to meet you at your record player, streaming service or headphones, instead of that bottle half-full of empty promises.