Blake Shelton's kind of Christmas is one shared with friends -- and same goes for his approach to Christmas carols. Duets with Miranda Lambert ("Jingle Bell Rock"), Reba ("Oklahoma Christmas") Kelly Clarkson ("There's a New Kid in Town") and the Pistol Annies ("Blue Christmas") are the ones that'll immediately put you in the holiday mood. But two songs here steal the show: "Home," where Shelton is joined by Michael Bublé, and which has been reprised with new lyrics written just for Christmas; and "Time for Me to Come Home," a Shelton original written about -- and guest-starring -- his mother.
The classic rock icon turned torch singer tries his hand at Christmas standards. Somewhat surprisingly, Merry Christmas, Baby is Stewart's first-ever Christmas record. While guest appearances from Mary J. Blige, Cee-Lo and a reanimated Ella Fitzgerald provide obvious highlights, it's Stewart's ability to hold his own on these classic songs (not to mention with Ella Fitzgerald) that is the real draw here. The consistently tasteful, soft-lit-and-warm arrangements don't hurt either.
Cee-Lo's Christmas spectacular is just like one of his Vegas shows. It's audacious and unabashedly cheesy, and bolstered by prodigious vocal talent. The best moments are the over-the-top ones, like when he duets with the Muppets on "All I Need Is Love," or plays tomcat to Christina Aguilera's shy kitty on "Baby It's Cold Outside." There's also an imaginative rewrite of Joni Mitchell's "River" as a holiday tune, and a heartwarming rendition of Donny Hathaway's "This Christmas." The overwrought gospel of "Mary, Did You Know?" might make Cee-Lo's secular fans cringe, but c'mon -- it's Christmas.
Sufjan Stevens has become indie pop's go-to Christmas man. His first batch of carols came with 2006's Songs for Christmas; now, he presents 58 more tracks, written and recorded since releasing that first set. Stevens covers the gamut of holiday emotions: Between charming, folky takes on classics, he gets reflective on originals like "The Midnight Clear" and "Barcarola," throws in goofy sing-alongs and even adds a bit of sarcasm. But for a truly interesting holiday, start with "Do You Hear What I Hear?" for some great, wacky electro experiments. (And even a cover of Prince's "Alphabet St."!)
Whether you're a surfer dude or a plowman from Buffalo, you're sure to find Colbie Caillat's Christmas in the Sand to be a charming little record. Interestingly, the music contains a touch more swagger than the singer-songwriter's "secular" fare. Boasting a punchy sound that recalls early-'80s Lindsey Buckingham, she bops from rockabilly ("Merry Christmas, Baby") to rhythm and blues ("Santa Baby") to jazzy jump blues ("Baby, It's Cold Outside"). But this doesn't mean Ms. Caillat isn't her usual dreamy self; she most certainly is on both "Silver Bells" and the timeless "The Christmas Song."
Lady Antebellum offer up a great holiday collection. "Christmas (Baby Please Come Home)" takes the Spector classic to spectacular heights, twisting it into a swinging number with an amazing horn section and piano. "Blue Christmas," also decked with horns and honky-tonk piano, creates an effervescent buzz. In contrast, Mariah Carey's "All I Want for Christmas Is You" gets slowed down, wrapped in Lady A's signature harmonies and adorned with strings and sleigh bells. "Have Yourself a Merry Little Christmas" is a lovely near-waltz, while "Silver Bells" entrances with gentle beats and whispers.
This isn't Steven Curtis Chapman's first Christmas album (or even his second), but it's special because it's his first since the loss of his daughter Maria and signifies the long road the family has walked to find a new kind of joy. Produced by Brent Milligan, Joy features some of Nashville's best session players and includes originals like "Christmas in Kentucky," an ode to Chapman's home state, and "Christmas Kiss," penned for his wife, Mary Beth. Old favorites also get the SCC treatment on this guitar-driven take on the holidays. Don't miss his rendition of "Christmas Time Is Here."
Metallic prog rock, classical elements and a little more Christmas than on their last album, Trans-Siberian Orchestra find a common ground between the sleigh-driving new-school holiday music of 1996's Christmas Eve and Other Stories and 2009's non-Christmasy Night Castle. The title cut will go well next to anything on your holiday music roster, while "Time You Should Be Sleeping" is one of the most relaxing songs ever.
That album title is more than just a cutesy play on Christina Perri's name. Nothing particularly "merry" here, but what else would you expect from the woman who won our hearts with a jar of them? She gets contemplative about Christmas on original "Something About December," pleads "Please Come Home for Christmas" with vintage whimsy, and yanks your heartstrings with the most melancholic of happy holiday songs ("Have Yourself A Merry Little Christmas"). Her thin voice can't quite pull off "Ave Maria," but it's charming on "Happy Xmas." Delicious stuff for ruminating over an eggnog or three.
How has this weird, flamboyant mega-choir not tackled holiday music yet? The Polyphonic Spree's life-affirming grandiosity seems a perfect fit for the snowy months, and they prove it here on the delightful Holidaydream. They show both reverence and restraint toward the classics, while adding just a touch of that flower-power magic through sparkling piano, strings and woodwinds. "Winter Wonderland," "Silver Bells," "Let It Snow" and "It's the Most Wonderful Time of the Year" get injected with a dreamy sedative (a must-have during the holidays!), and "White Christmas" is just plain adorable.
There's something for every country music lover on An Average Joe's Muddy Christmas. Colt Ford's country rap "Home for Christmas" is a great message for re-aligning priorities at home. Meanwhile, the Lacs turn in a humorous Santa-spotting account in "Santa In a 4-Wheel Drive," and Lauren Briant shows her roots on the rockin' "Texas Christmas." There are also a couple of former American Idol contestants here: Bo Bice brings some boogie-woogie with the Southern-fried "Very Merry Christmas," and Josh Gracin steals the show with the soulful and heartfelt "Do You Hear What I Hear."
The best thing about Kem's Christmas album is its allusions to '50s-styled cool jazz. He covers Vince Guaraldi's "Christmas Time Is Here" by subduing his voice until he sings in a hushed tone while throwing in plenty of "baby" and "girl" like a latter-day Chet Baker. There is "Be Mine for Christmas," where Ledisi sings of "A celebration of green and gold/ Sing along to Nat King Cole," and the a cappella "Doo Wop Christmas." Other songs like "What Christmas Means" cover more familiar territory for Kem, a blend of Al Jarreau's vocal pop whimsy and Sade's quiet storm drama.
What better way to combat holiday choir-music ennui than with a collection of music "for Advent, Christmas, Epiphany & Candlemas" mostly written in the 20th and 21st centuries -- thereby guaranteeing music that hasn't already been sung to death? These pieces are all service-minded, and thus unflinchingly joyous (even in the more contemplative moments). But still, there's not a touch of treacle. Some of the composers will be obscure, but Benjamin Britten makes an appearance ("Hymn to the Virgin"), as does Nico Muhly ("Bright Star Carol"). You might even pull this out during other seasons.
File under "the things we do for our kids." This album chock-full of Christmas covers performed by a nameless, faceless mix of children and adults won't stand up against those classic holiday discs in your collection, but that won't keep it from becoming junior's favorite. The appeal is twofold: 1) The karaoke feel practically insists you sing along, and 2) Next to the generic vocals, anyone with a decent voice will feel like a star. The standard holiday songs are well represented, with Rudolph, Frosty and Santa all making appearances. Resistance is futile, so just give in and crank it up.
