Two Faces Of Christmas

I guess it's that time of the year again. The new Christmas recordings have started to come out, and of course I come and report on two of them: Mariah Carey's MERRY CHRISTMAS II YOU, and Shelby Lynnes' MERRY CHRISTMAS. I cannot think of two more distinct albums celebrating the same thing. 


I was prepared to hate Mariah's disc. It's her follow up to her hugely successful Christmas disc, which I read is third only to Bing Crosby and Nat King Cole in sales. I don't remember much about that disc, although I must say that "All I Want For Christmas Is You" has become a latter-day classic - heck, I have even memorized the song. I thought this new one would be as bombastic and over-produced. Well, the verdict is that indeed, it is as colossal in production - does this woman do anything small?  Yet, I found myself responding to it, surprising myself most of all. The album comes in diva stockings, of course: the great voice is as strong as ever. Those waiting for her whistle notes will not be disappointed. It's modern, it's current, and darn it, I found myself groovin' to her hip-hop infused "Here Comes Santa Claus."  It's gospel infused, too, as you can imagine. You could almost see the all-black choir backing her up in "The First Noel/Born Is The King." And there's a great original song there, too. "Christmastime Is In The Air Again" caught me at first note, and no wonder, I just found out that it was produced by Marc Shaiman, 'Hairspray' composer himself, and Bette Midler's frequent collaborator. If only for that song, I will give this album two great thumbs up. I wonder if this album will last the test of time, though. I wonder if I can listen to it five years from now and feel the same way. 

I do know, though, that I will always want to listen to Shelby Lynne's "Merry Christmas," since it is one of the best holiday albums I have heard in a while. Most yuletide discs are basically karaoke records - the singers' voices give it personality, or they don't. Shelby's album sounds like her, for sure, but even the most popular Christmas songs sound like new tunes in her hands. Listen to her Southern-fried version of "White Christmas," and its message has never been more personal. I can imagine Shelby sitting by a bayou on a muggy December night, reminiscing of wintery, snowy days gone by. And while everyone and their mother will out strain their vocal chords shouting "O Holy Night" out with abandon, Shelby takes the quiet route: O night divine, indeed. Its plaintive message almost shocked me. I thought to myself - is this the same song I have been hearing all my life? And her original compositions are fantastic. On "Ain't Nothing Like Christmas," she recreates the atmosphere of a honky tonk bar Christmas party, and "Xmas" is heartbreaking, about someone who sings that Christmas is sad because everyone goes bad. I think she has been on record about having a difficult childhood, and the autobiographical tone of this song strikes a truly melancholy note. 


Ultimately, both albums serve specific Holiday music purposes. Mariah's is a circuit party album. I can imagine playing it while exchanging gifts with friends, with everyone exclaiming, "Girl - just listen to that bitch Mariah hit those notes," as go go boys take their shirts off and everyone is shimmying. It's a fun, fun, bitchfest: slightly tacky, slightly serious, all Mariah. Then after everyone leaves, and the merriment is gone, I will be playing Shelby's album and be on "contemplative" mode. You think about the times, you think about your life, and if there is someone there to hold your hand, you squeeze it back and look into their eyes and smile as you make your way to slumber. 


And then I'll wake up and Christmas will be over.