jguyreview: "Great Songs of Christmas (Album Five)" review

You may have heard this yuletide oldie before in another life. Piping from a hi fi console at your grandparents' house back in the days when Christmas was Christmas. Maybe your grandpa got the album with a purchase of Good Year snow tires for his Buick.

For years, Good Year and Firestone had an annual rivalry. They both released Christmas albums during the holiday season, and each year's offering was a star-studded event. The tire companies and the record companies - Firestone (RCA), Good Year (Columbia) - brought out the big guns recorded Christmas carols - Bing Crosby, Mahalia Jackson, the Mormon Tabernacle Choir, Robert Goulet, Isaac Stern, Barbara Streisand...

Somewhere around the early '70s, there were no more records. No more albums at your mechanic and tire dealerships the way Starbucks carries CD's today. A more cynical age was taking shape. Christmas carols. TV variety shows full of singing, dancing and cornball humor - that was okay for Don Draper and Roger Sterling's cocktail lounge lives, but the roach smokin', rock generation was graduating from college, joining the workforce and starting families. They didn't care that Maurice Chevalier made a heartwarming comedy movie in 1932.

Perhaps Good Year's Great Songs of Christmas, that album I picked up from the bargain bin at the used record store is carrying the ghost of that man who picked it up with a lube job. Maybe he wore a fedora hat and kept his Pal Malls in a silver-plated cigarette case, who knows? What if that 33 rpm record is the portal? If within its groves, I would slip into the black hole that is the ghost of Christmas Past? .

Album Five, the words on the record sleeve say. That means it was released in 1965. The album sleeve is a Christmas red with images of cute little Christmas cookie angels. Below are pictures of the singers and musicians featured in the album.

O' Holy Night sung by Andy Williams is easily the best recording on the album, not only because it is the greatest Christmas song ever written, but for the way its carried by Williams's velvet-like voice. His stirring vocals give this classic carol the drama and reverence it deserves. I can envision the manger, the illustrious star, grasp the holiness of the scene. Near the end of the song, Williams's voice registers to a falsetto, accentuating its holiness.

With a top-rated TV variety show and hit records coming from all sides, Williams was a smart choice for this album. He may not have been as Christmasy as Perry Como, but he was huge deal in entertainment-at-large.

Williams's recording fittingly begins the album. First cut on side one. The second best track, appropriately enough, is the last one on side two - "Jingle Bells", sung by the swingest cat, Mr. Showbiz, Sammy Davis, Jr. and here, Mr. Davis shows why he is a consummate professional. He takes the most ordinary, cliched of Christmas songs and turns it into a hip, swingin' affair.

But Davis's "Jingle Bells" is only a medley. It leads into the only original composition on the album, "It's Christmas Time All Over the World," written by Hugh Martin, who also wrote such classics as "Meet Me in St. Louis" and "Have Yourself a Merry Little Christmas." In Davis's hands, this new (for 1965) song takes on a Sinatra-like "Come Fly With Me" vibe. The children's chorus calls to mind Sinatra's "High Hopes," while giving a glimpse of what's to come seven years later when Davis will record that perennial childlike favorite, "The Candy Man."

Naturally, I would prefer that this whole album be in a ballad and swingin' mold, something along the lines of that tradition Michael Buble is keeping alive today. This is not that album. I have, however, come to appreciate what it is - and this is the point at which the time portal works its educational magic. The Great Songs of Christmas (Album Five) is a product of those days when Broadway show tunes, opera and classical orchestras constituted hit album sales.

Take Eugene Ormandy and the Philadelphia Orchestra. Can we ever have enough Eugene Ormandy Orchestra? Don't be so cavalier. I'd say he's worthy of respect. The man conducted the Philadelphia Orchestra for 44 years and he had directed the Minneapolis Symphony Orchestra for five years before that.

I particularly like the orchestra's performance of "We Three Kings of Orient Are" because it's so historical. Most of us know little about The Wise Men except that they're these figures in Nativity sets who brought the Christ child gold, frankincense and myrrh. According to the book of Matthew, the only Gospel account that mentions them, they did not meet Jesus until he was around two years old and in his home. The orient the song refers to is Persia and the wise men were mostly likely priests of the high caste of Zoroastrianism who were deep into astrology. Therefore, they followed the "star," possibly a comet. Biblical scholars have written that the wise men made the journey because they were aware of the prophecies in Daniel that foretold the birth of the messiah.

Back to Eugene Ormandy. Like Sammy Davis, Jr., he was Jewish, which is interesting since they're featured on a Christmas album. Although Ormandy was born into it and of Hungarian origin.

I recently listened to a segment on NPR, asking "What happened to classical Christmas music?" This album takes the listener back to the days when classical music was still a mainstay of the season's musical palate. Opera singers Andre Kostelanetz, Richard Tucker and Anna Mari Alberghetti are featured, performing The Great Songs of Christmas.

Anna Mari Alberghetti? you ask. She was only on "The Ed Sullivan Show" more than 50 times. A lot more times than Elvis. Her soprano voice in "Caroling, Caroling" captures the sing-along, skippity-skip lilt of the song. With her girlish voice and seasonal aura, one can envision caroling merry makers in a snow-capped gingerbread neighborhood.

Dinah Shore and Doris Day have similar voices - white, sweet and virginal. They are good voices, yet the types that today would not make it past the initial auditioning on "American Idol" or "The Voice" because they would not sound contemporary enough. All the more reason to give them a listen - and a chance. Figure out what made them such smashing stars in the '50s and '60s.

The best selection on this album by a female singer is Diahann Caroll's version of "Lo, How a Rose E'er Blooming," not only because her voice is the most original of the female voices on the album, but because the song - although it is more than 400 years old - the least known. Hence, it is the most original. The lyrics about a blooming flower are symbolic of Christ's birth.

Mrs. Webb, the music teacher at my kids's school, is good about bringing fresh songs into the elementary school Christmas concerts she directs. The kids have sang songs about diversity and caring for the earth. Neat, original stuff. "There are about five standard Christmas songs and I didn't want to be 'that teacher,'" she told me.

Overall, The Great Songs of Christmas is that album. Perhaps, it's appropriate, consistent with the album's title. True, "The Little Drummer Boy" and "The Twelve Days of Christmas" aren't my favorite songs. But their inclusion on this album is a window into a time when Christmas conventions were par for the course. The Golden Age of Christmas music lasted from around 1940 to 1965. This album, this culture, which for a time was coexisting with the Beatles was on the wane. In an era when the Beatles are taking their rightful place in history's archives, it is interesting to see the world as it was before.

One of my favorite songs on the album - remember I prefer the jumping tunes - is "Sleigh Ride," sung by Steve Lawrence and Eydie Gorme. Here's one that takes me back to the grandparent's house and the hi-fi console. From somewhere in the house, someone was jangling bells and it was proof positive to me that Santa was flying nearby on his sleigh. This yuletide classic pop song, sung by the swift, crisp as clean, swingin' voices of Steve and Eydie captures all that razmatazz.

"Giddyup, giddyup, giddyup, let's go." Steve Lawrence's voice coming in like a lashing whip. Listening, I can only think, "How cool is this guy?"

The somber religious selections by Kostelanetz and Ormandy do seem pedestrian and staid, but when I focus more closely, I think about why they were included here, why this holiday is what it is. It becomes clear in my mind as I hear opera tenor Richard Tucker's version of "The Lord's Prayer." Somber. Reverential. Along with the toy soldier Christmas merriment I felt as a kid at Christmas, I also recapture another holiday feeling I absorbed then - the religiosity.

The belief.

I'm just as jaded and cynical as anyone else. More so, probably. But I'll open the door, the window to that place as art dictates. You may not like every song on this album or every musical style represented, but I say open yourself up and see if you don't find Christmas spirit, real as Doscher's candy canes.