5 comments about Christmas.

1. Awesome! 2 yrs ago I found the Low Christmas CD in a store called Secret Sounds. I have a decent Christmas music collection, but wasn't familiar with Low. Now I have a few of their CDs.

   Great songs like "If You Were Born Today", "Long Way Around the Sea" (made me feel like I was there with the wisemen), "Just Like Christmas", "Taking Down the Tree" and "One Special Gift". A must have and a great gift because most of your friends or family won't have it or even know about it.

   One question, in the song "If You Were Born Today", I can't make out one word, "We would kill you by a 'jade or gate'". Sorry, can't make it out nor can anyone else I played it for. Still, I think it's my favorite.




2. Anyone wondering why Christmas has become a spiritual wasteland should perhaps hear this a few times. Listen to "Little Drummer Boy" or "If You Were Born Today" as you drive past a shopping mall on a cold and lousy winter day- -say, after Christmas shopping. And keep going until you get home, or wherever your heart is.



3. And I mean that as a compliment. Extremely mellow and mind-bogglingly minimalist, Low stays in form with Christmas. Low performs Little Drummer Boy in such a way as only Low could envision it and make it sound not just nice, but actually cool. Sparhawk's vocals make the words sound as meaningful as I am sure they were intended to be. The sound of Drummer Boy is not indicative of the overall sound of the CD, as Drummer Boy features a Mazzy Star or possibly Slowdive-ish fuzzy drone and the rest of the songs are acoustic guitar-based, like most of Low's other works.
   It's nearly Christmas as I write this, and I realized that I haven't listened to this CD since last winter. The title, cover art and some of the songs may be about Christmas, or just winter in general, but the music itself is inviting any time of year (something I will have to remember myself).
   If you are a fan of Low, and you appreciate their sparse sound and the incredibly slow pace of their music, then you should like Christmas.
   Other great songs include the cover Blue Christmas, Long Way Around the Sea and If You Were Born Today, which is as depressing a song as I have ever heard possibly outside Leonard Cohen or Arab Strap, but is unquestioningly beautiful.
   By the way, to the reviewer from Shelton, I believe the lyric which you were wondering about was "by age eight." Like I said -- depressing, but beautiful.



4. but the line is - If you were born today - they'd kill you by age eight.
   
   do yourself a favor and get your hands on their music and let it whisper into your soul



5. My favorite of Low's albums. I do not celebrate Christmas, but can still appreciate their renditions of timeless classics. It also contains a few non-secular songs that are beautiful and have become classics of my holiday music collection.

5 comments about Handel - Messiah / Les Musiciens du Louvre-Grenoble · Minkowski.

1. Yet another "Messiah"? Well, why not? I would be the last person to complain, and the last to complain too about bringing drama and excitement to this much recorded work. But sadly I can't find anything to recommend in this new version. Handel's music is so full of drama anyway that it certainly doesn't have to be performed like a 'soap-opera' (to use another reviewer's words). But that's exactly where Minkowski takes us in his 'adventures' with "The Messiah"- to the flashy world of the `soap'.
   His performance is vulgar and self-indulgent, with no respect for the music and the drama behind it (and often for the text itself). And yet, it is Minkowski himself who tells us that we are getting a 'more joyous, more sorrowful, more passionate (Messiah) than usual'- and that is a real insult to almost everybody who performed this work in the past.
   Minkowski tries so hard to make it sound like nothing else before that the overall effect is often simply comical (there are, of course, some some good moments - all too few, I should add - one of them being the chorus "He trusted in God" (CD 2/5) effectively illustrating the crowd 'shouting out their lips' mentioned in the preceding recitative).
   As for the soloists, they are probably trying their best, but before we start judging them, another excerpt from the liner notes might not be out of place. Minkowski tells us about the circumstances of the recording, about his how love affair with cinema was finally fulfilled in his collaboration with film director William Klein, which led to this recording. He also tells us that he worried about the working conditions and the format imposed by the film, the factors that were "paralyzing the singers and the orchestra". Indeed - that's exactly what they sound like: paralyzed. That's why they are so cold in spite of making every effort to be very expressive, even to the point of pain. Among them, John Mark Ainsley is certainly the most successful, bringing not only effective singing but also effective understatement that is missing almost everywhere else. What ever happened to Lynne Dawson? Her "I know that my Redeemer liveth" sounds so tired! When she finally relaxes a bit towards the end and produces some touching moments, it is too late to leave the impression of a memorable contribution (and she has left so many of them on her previous recordings, e.g. Ginevra for Minkowski in his "Ariodante", to name just one). The important solo trumpet in "The trumpet shall sound' is rather pathetic, so is the orchestral playing, which has only one thing in mind - to help the singer get through this aria as quickly as possible. Commenting on the singing of Brian Bannatyne-Scott would probably be impolite, just as it was impolite to record him in the first place.
   Magdalena Kozena's first solo almost brings tears to my eyes but then has me confronting the booklet. Is that what this passage from Malachi is about? That's the general problem with Kozena - the all-purpose melancholy in her voice, tinged with eroticism, doesn't always work though it always seems to leave the impression of deep involvement. On closer scrutiny, however, she rarely reveals a full understanding of the text. Charlotte Hellekant's "He was despised" starts promisingly enough but then turns into a really painful chore. You can hear how hard she tries to achieve the requisite mourning effect and how heavily it drags along. To call this performance of the aria 'the best in the whole discography' (Opera International 265 p. 75) is an offence to von Otter (Pinnock), Fink (McCreesh) or even to the much cooler Scholl (Christie) and to so many glorious singers of the past who have recorded this work. True, they did a much subtler job and in our 'excitable' times subtlety is hardly a fashionable virtue.
   Like every great piece of music, "The Messiah" is hard to spoil even in the worst performance. I find this recording truly tasteless and vulgar - much as it hurts me to say that about the work of a conductor whose recordings I usually enjoy a great deal (his "Iphigenie en Tauride" was a true revelation and my best recording of 2001). It is also a warning to any musician who tries to outdo his/her colleagues in a competition for originality at any price. To me this certainly is the worst recording of 2001 and it also happens to be the worst Messiah I've ever heard. I so much prefer my "Messiahs" less joyous, less sorrowful and less passionate if that means they are done with a true understanding of the drama, something that Minkowski is very, very far from achieving. But then again, I can't blame him for having tried - who could resist the temptation of recording this great work?
   Incidentally, there is a funny minor error in the booklet: the singing on track 9 on CD 2 is erroneously attributed to Ainsley, while in fact the aria is sung by Kozena. Not that it matters a lot but it is confusing; even a few professional reviewers have been caught out by it. That Gramophone's Stanley Sadie might not have had the patience to hear the whole recording can be easily understood since he was rather impatient with this "Messiah" in any case (but he did notice that the track is sung by a female voice though he didn't recognize the voice itself). Drew Minter, in his extremely thoughtful review for "Opera News", didn't avoid this error either but again, I have nothing but sympathy for him. But why didn't the enthusiastic critic in "Opera International" (Feb 2002, p. 75) find enough enthusiasm to sit through the whole of a recording he so warmly recommended to his readers? And that summarizes it well - even at these crazy tempi, Minkowski's "Messiah" is far far too long and drags like a flight in a supersonic plane on a trip to nowhere.



2. This one sure is different. Minkowski says he's never conducted Messiah before because he felt that everything that could be done with it has already been done. When he finally set out to do it, his approach was to ignore all that's been done before and take a totally fresh look. He succeeds in doing that, with mixed results.

   Generally his philosophy is to do things fast, very fast. In some cases this works; in others (notably "Let us break their bonds asunder") it doesn't. The French Choeur des Musicians de Louvre sings very well and is very well recorded, with each of the four voices distinct in character and the counterpoint exceptionally clear. Their non-native English is noticeable only rarely, usually in pronouncing "the" as "theh" rather than the more musical "thuh". The orchestra is also fine, except for the allegedly-historical vavleless trumpets which are even worse than most attempts on this justifiably-extinct instrument.

   The solo cast is huge: In addition to the usual SATB there is a second soprano, a mezzo-soprano, a countertenor, and a baritone. The shining stars of the cast, by far, are alto Charlotte Hellekant and tenor John Mark Ainsley.

   Hellekant is a true alto, not the usual mezzo-soprano in drag. Her voice is phenomenally warm, dark and deep, with immense dynamic range. Her vibrato is a bit tight but after a few notes you forget that. She sings "He was despised" with incredible intensity, redefining what this piece is. The first section is tragic, very slow, mournful, piano to pianissmo and very emotional. The middle section is a dramatic switch to forte spitting and snarling that exceeds even Anne-Sophie von Otter's excellent rendition (with Marriner 2). Then she builds even further intensity in the repeat, an incredible tragic full-voice triple-piano, with fine ornamentation added. She lives in Handel's house. She puts more thought and feeling into this section than anyone I've ever heard, and I have more than 30 Messiah CDs. Her sense of baroque music is perfect, remarkable in that most of her other performing and recording seems to be romantic and modern stuff. The only problem is -- this one piece is all she does! Minkowski erred in giving the other alto sections to the mezzo and countertenor, who are not in her league.

   Unlike Hellekant Ainsely doesn't break new ground. His conception is fairly conventional, but it's done to perfection. He is musical and sincere throughout: warm and lyrical in the slow parts, exceptionally fast and clean in the running sixteenth notes. IMO he's about tied with Phillip Langridge (on Marriner 1) for best Messiah tenor.

   As to the other soloists, I could take them or leave them. Nothing really bad, but nothing memorable either. I was particularly disappointed in soprano Lynne Dawson. In her earlier recording with Christophers she is magnificent. But here she is darker, tighter, and somehow seems too rushed to live here. I hope this is just incompability with Minkowski and not time taking its toll.

   Westenberg remains my favorite Messiah, but this one also is a must-have.




3. Although Minkowski and his Musiciens du Louvre are one of my favourite performers of Baroque Music, I really have difficulties with this recording.

   These difficulties are caused by the unusual tempi, which are - as some other reviewers have already indicated - quite fast in some of the passages. With such fastly performed passages, for instance the famous Halleluja-Chorus, one has the feeling that Minkowski just wanted to get them over and done with, so that he could get to those passages that he really likes to work on.

   For my taste, Handels magnificient music needs a bit more time to develop its majestic sound. I also got Minkowski's recording of Charpentier's Te Deum. There I had the same "problem" with the famous Prélude. In both cases I have talked with some friends of mine. They also listened to the recordings, and all of us agreed that the tempi are just to quick.

   There are, however, also some splendidly performed passages in this recording, such as for instance the Chorus "For unto us a Child is born". Nevertheless, my favourite recording is still Trevor Pinnock's version from the year 1990.

   In my eyes, Pinnock's is the Messiah to have, whereas I would recommend Minkowski's only to those who like to compare different versions of a single piece of music.




4. I admire Marc Minkowski and his excellent Louvre ensemble, but what was he thinking here? Except for a few numbers taken slower thn usual, his tempos race madly, to the point of freahishness. If you don't know what you're getting in for, every number will make you blink tiwce--it doesn't seem conceivable that a good musician would commit this kind of bizarre distortion on Handel, even in the name of authenticity. I guess the amazon reviewer considers 'radical' a word of praise, but not in this case. It's a shame that Minkowski's chorus and soloists are generally superior since they are asked to sing while chasing after a fire truck.
   
   I doubt that my opinion will be popular here, but newcomers might welcome the warning. To my ears, this Messiah is unlistenable.



5. This is a typical Minowski high-energy performance. Indeed, often too high energy - some of the choruses are taken at such a pace that the choir has difficulty articulating the words. So, while there are good parts, I find that I rarely play this one any more. For me, Pinnock is the tops for the original instruments version, the old Charles Mackerras/Basil Lam version for modern instruments, and for something different and enjoyable, the Handel/Mozart of Hermann Max and the Rheinische Kantorei/Kleine Konzert.

5 comments about A Jolly Christmas from Frank Sinatra.

1. If you are putting together a collection of Christmas albums that you'll enjoy for years to come; be sure to include this classic album from Frank Sinatra. An absolute must; whether or not you are a true Sinatra fan. Enjoy!!!



2. A great mix of contemporary and traditional Christmas songs sung by one of the great singers of our time: what more could one ask for? (I note that some of the reviews here appear to refer to albums other than this one, as they include references to songs not on this album.)



3. This has got to be the best christmas record ever made, sung by the greatest singer ever. Buy this cd, it is great!!!(not to be confused with The Sinatra Christmas albulm on the Reprise label, which I believe is what the two star review from New Zealand is refering to. No brady bunch here.)



4. A Jolly Christmas from Frank Sinatra is an essential record to add to your Christmas collection. Trust me .... it doesn't get any better than this ! Happy Holidays !



5. Digitally remastered and re-released, this Christmas album, arranged and directed by Gordon Jenkins, is one of the very best musical celebrations of the holiday season. Throughout, Sinatra's sounds are accompanied and enhanced by the Ralph Brewster Singers, whose unusually sweet voices and wonderful soprano high notes add warmth and holiday cheer as they echo Sinatra, provide choral variations between stanzas, and sometimes even harmonize with him.
   
   Six modern Christmas songs begins the CD, including a swingy "Jingle Bells" ("I love those J-I-N-G-L-E Bells"), Mel Torme's "Christmas Song," and a song Sinatra has made his own, "Have Yourself a Merry Little Christmas." He follows these with six traditional carols. In "The First Noel," the Ralph Brewster Singers' large chorus sings behind him, featuring fine harmonies, expression, and counterpoint. Sinatra, with his trademark phrasing and sure sense of tempo, slightly changes some of the traditional lyrics on this song so that he escapes the standard phrasing and the lyrics flow more gracefully, something he also does on "Little Town of Bethlehem," resulting in new appreciation of the words and meanings.
   
   Two bonus tracks, both directed by Nelson Riddle, include Irving Berlin's "White Christmas" and Sinatra's original 1954 recording of "Christmas Waltz," which gets a different tempo from the Jenkins arrangement, which is also presented on the CD. With style and panache, leavened with holiday emotion, Sinatra, the Ralph Brewster Singers, and Gordon Jenkins present Christmas favorites, many of which (like "Have Yourself a Merry Little Christmas") have become forever identified with Frank Sinatra. If I could have only one Christmas CD, this one would be high on the list of choices. Mary Whipple

5 comments about Veggie Tales: A Very Veggie Christmas.

1. A great and different way to hear and learn some classic christmas songs. Our whole family from 2-66 laughs and sings its way through the tape/cd. The recordings are of a similar (good) quality to the silly songs and other songs in the Veggie Tales video tapes. The chatter between songs is hilarious. There is direct mention of Jesus Christ and his birth. I don't think we'll be able to store it for next Christmas!



2. Working in a toy store at Christmas time, I can tell you that finding a Christmas album for children that will not drive you out of your head is next to impossible. But once again, Veggie Tales come to the rescue! The only songs from a VT video you will find here are from "The Toy That Saved Christmas", including the Silly Song "Oh Santa!" Unusual in that it presents itself as a Christmas party at Bob's house with talking between the songs, but, like all Veggie Tale productions, it is incredibly entertaining. I think my favortie song has to be "The 8 Polish Foods of Christmas" featuring Oscar the polish caterer (You remember, he was the one stung by a bee, right on the lip!)



3. I bought this CD expecting more cute veggie fun, and I wasn't disappointed. It doesn't have much of a storyline, but the music is great! The veggies sing a variety of fun Christmas carols, including some lesser-known ones from different countries. It's a lot of fun to listen to around Christmas time, but if you're looking for a plot don't look because it isn't there. If that doesn't bother you, then this CD is for you. I would recommend this CD to any Veggie Tales fan.



4. This is the first Christmas CD my girls (6&10) want to listen to!
   It helps that they are fans of Veggie Tales already. It has songs that they have never heard and are now singing constantly.



5. You really can listen to this and never get bored. Every song is entertaining and (as with every Veggie Tales song) extremely addictive. You will be singing the songs for the rest of the day once you've heard them initially. There are some good traditional tunes (with a Veggie Tales twist, of course) and some terribly amusing new little numbers. About 4 years ago I would listen to this with my family in the car when we drove long distances and all the kids (5-14) and the parents, too, would sing along. If you enjoy good old fashioned fun at all, you can't not like this CD. It incorporates Jesus into the Christmas season again, but it never preaches. I dare anyone to listen to even 2 songs on this CD without laughing. It is fun and good music, and worth every penny.

5 comments about Disney's Family Christmas Collection.

1. I BOUGHT THIS AND BABY SANTA AT THE SAME TIME AND MY DAUGHTER LIKES THIS BETTER THAN THE BABY SANTA. BABY SANTA HAS A LOT OF VERY SHORT SONGS, AND THESE HAVE MORE SONG TIMES. THEY ARE SO PEACEFUL AND GREAT TO LISTEN TOO ALL YEAR LONG!



2. I purchased this album expecting all songs to be sung by Mickey and co., but I was wrong. An overwelming majority of the songs are just by no name singers. Some of the arrangements are fun, but if they were all by Mickey it could have been even more fun.



3. Not all of the songs are sung by the disney characters but all the songs are really enjoyable. My girls ages 2, 4, 6 love to listen to it over and over in the car. I like the cd too.



4. It was in great shape. It was exactly the way it was supposed to be...



5. I purchased this CD for my 7 year old daughter. She loves music and singing. I thought she would play this cd a lot more during the holiday season. I even thought she'd use it with her karaoke cd player. She did not. I'm not sure why. I thought it was a nice sounding cd. I'm a Disney lover so I'm not disappointed. I just thought it would get a little more playtime.

No comments about A Country Christmas.

5 comments about Merry Christmas.

1. Feeling nostalgic for the Christmas mood of my childhood, I bought up several CD's from the late 50's, 60's and early 70's here on Amazon. I almost passed on "Al Martino's Merry Christmas" because I already had purchased about 15 versions of 9 of the 10 songs listed, but the CD being a rarity (I knew no one else who had it) I added it to my shopping cart sure it would be a superfluous but nice addition to my Christmas Music collection. Boy was I wrong! I believe Al's versions of these Christmas Classics rank amongst the best versions of all time, and each and every one of them found their way right to the top of my favorites! The opening track, "You're All I Want for Christmas", is a song I know I've never heard before yet at the same time FEELS like I've heard it my entire life. A true find for those who want to bring back a Nostalgic Christmas when there WERE still Christmas songs we were hearing for the very first time. Next up are very good versions of "Rudolph" and "White Christmas", which, though very good, are the least memorable songs on this CD. But the four songs that follow are so spectacular in their execution that I found myself literally holding my breath as I listened to them. The Medley of "We Wish You a Merry Christmas/Silver Bells" has to be the DEFINITIVE version of "Silver Bells" ever released. Yup, here on Al Martino's album and not Frank Sinatra's, Bings, or any modern Christmas collection. THIS IS THE ONE THAT COUNTS! No other version will give you quite the same goosebumps or conjure the Christmas/Wintertime images. Then, lightening strikes again, and we're given the definitive version of "I'll be Home for Christmas". All other versions of this song have slipped from memory after one listening of Al's. He has the sort of voice which is both strong and smooth/mellow all at the same time and it has never been more effective than on this old war song about a soldier overseas missing his lover at Christmastime. Pure, unaffected schmaltz, but it's not hokey for a minute, it's all feels very real when Martino performs it. Al's version of "The Little Drummer Boy" is next and is among the finest ever with it's resounding drum and bass line. Only two contenders that come to mind for the top spot of this much loved tune are Anne Murray and Bing Crosby's version. The song next, "What Child is This", is once again, absolutely among the finest ever recorded, only Julie Andrew's is more mesmerizing, but Al's final chorus is actually more unique being both moving yet rousing at the same time, an odd but very brilliant and welcome contrast from the usual religiously sanctified versions. "Silent Night" "Oh Holy Night", and "Come All ye Faithful" close out the CD with seemingly "adequate" arrangements that can't quite live up to the excellence of the previous four songs but, it only seems that way. After comparing Al's versions of these songs to those of his competition: Frank Sinatra, Perry Como, or Mario Lanza, Al Martino does as excellent a job on these songs, his versions holding their own or surpassing Nat King Cole. But nothing can quite live up to those 4 songs, "Silver Bells" through "What Child is This" on any Chirstmas CD that I have. Now for the one sour note, this CD version closes with a rather tinny mix of the aforementioned "Silver Bells" minus "We Wish you a Merry Christmas" which does the song and performer an injustice. The sound quality lacks both depth and resonance. Something is wrong in the mix with the bass, and further releases should fix this version or leave it off the CD entirely. It ruins an otherwise superlative Christmas CD. So there it is, my choice for the best nostalgic Christmas Album of all time. Neither too fast nor too slow, neither too loud or too soft, not too schmaltzy or too indifferent and cold, Al Martino's Merry Christmas comes across as "just right" for that Silent Night in your Holiday Season and will be a welcome addition to any Christmas Music Collection. It'll move you with all the magic and wonder of your childhood, charging your emotions by tinkling the little bells that haven't wrung for you for a long while, bells that I had completely forgotten even existed and had ever rung at all. It was terrific to hear their sounds again! Truly, Al Martino's "Merry Christmas" is THAT MAGICAL and THAT GOOD for bringing back all that Christmas Magic with mile-a-minute memories and cheer. Please take my word for it, this is as essential to your Music Collection as Bing Crosby's White Christmas! May the smile that crosses your face while listening to it last you throughout the entire year.



2. I was 10 years old in 1964 when my mother ordered a copy of this 33rpm LP from a lady that she worked with named Viola! Ever since the first time I heard this outstanding work I was hooked.I now own the original Album that my family owned for many years and have purchased several more copies that were in better shape then mine in Good Will Stores and Used Record Shops.Over the years I have taped this record several different times on cassette tapes and now after seeing this record on CD form I am going to buy it ASAP.
   This work by Al Martino for Christmas is in my opinion the finest collection of Holiday music ever recorded. In my household it would not seem like Christmas if we didn't play these songs. Even my kids who are now grown and my grandchildren love hearing this special album. When the record starts with "Your all I want for Christmas",all you want to do is set back and begin to get in the yule-tide mood and begin to focus on the Great Celebration and birth of our Dear Lord and Savior (just wait until you hear "Oh come all ye Faithful").
   
   Enough said,Get a copy of this CD and hear some of the best Christmas music this side of Heaven.For 40 years it has been a staple in my house!
   
   "ENJOY" JFKopeck



3. Interestingly, the contents of this album were recorded the week of my parents' wedding.
   Al Martino's stylish, lovely, and often lighthearted sounding chart-topper consists of 11 carols and one bonus version of one, which are both secular and religious.
   Most of Martino's versions of these carols are ones with which I have only become familiar in recent years. But the whole reason I bought this CD from Amazon was because of the one that captured my fancy when I was ten: "What Child is This?".
   I first heard it as part of a compilation of carols on an 8-track tape(Remember those?), and then I didn't hear it for years afterwards until I heard it again on an oldies radio station. The trouble is that the station only played it about once per Christmas season. So I would just have to be lucky enough to be listening to the radio when it aired.
   The album kicks off with a wistful and sensuously sung ballad, "You're All I Want for Christmas"--to date, the only version of this song that I know of--then takes us through the most poignant version of "Rudolph the Red-Nosed Reindeer" I can confess to having heard. We are then treated to "White Christmas", then there is a medley of "We Wish You A Merry Christmas" and "Silver Bells", then a version of "I'll Be Home for Christmas", which, while lacking the depth of versions by Crosby, Sinatra, and Mathis, is still good. Then we hear "The Little Drummer Boy" , the aforementioned "What Child is This?", "Silent Night", "O Holy Night", "O Come All Ye Faithful", and a bonus track of "Silver Bells", all delivered with graceful, albeit dated-sounding orchestral and choral arrangements, and Martino's spirited squillo.
   I only wish that "What Child is This?", "Silent Night" and "O Holy Night" contained all the available stanzas. Not to mention that Al's handling of the Latin lyrics of "O Come All ye Faithful" would have been beautifully done.
   Perhaps it was Martino's hip and bold delivery of these carols that made this album fly off the shelves in 1964. I've decided simply that, in this instance, what was good enough for the audiences of four decades ago is good enough for me.



4. My parents have this on record and it is good. However the sound quality is so much better on CD and me and my brother love the version of "You're All I Want For Christmas." Al Martino ranks up with Perry Como, Frank Sinatra and Bing Crosby with some of the best versions of Christmas music there are. Highly recommended in particular because the label does say "Collector's Choice."



5. In 1964, AL MARTINO and his christmas classic, A MERRY CHRISTMAS, was released. Arranged and conducted by PETER DE ANGELIS, this record has become a rare 'crooner' christmas classic that is pretty much up there with the best of the best of 'crooner' christmas albums. Even though AL MARTINO is pretty known in the 'crooner' world, try to find somebody who has this record or even heard it or even knows about it. Not too many do which is a shame becasue of how beautiful it is.
   
   One great highlight about this christmas classic is the chorus that backs up AL MARTINO. When the chorus and MR. MARTINO sing together (which is often, by the way), then combined with the wonderful orchestra music of PETER DE ANGELIS, you are taken to a most beautiful world of christmas music. This three-way combination is found in songs such as I'LL BE HOME FOR CHRISTMAS, THE LITTLE DRUMMER BOY, SILVER BELLS, O COME ALL YE FAITHFUL, and some more which all bring that perfect 'duet style' of singer, chorus, and orchestra performing together to a most highest and professional degree.
   
   From start to end, every song is a wonderful christmas mood setter in the traditional 'crooner' styles similar to PERRY COMO, BING CROSBY, DEAN MARTIN, FRANK SINATRA, etc....
   
   While not my absolute favorite christmas 'crooner' album, that belongs to various christmas albums by PERRY COMO, JOHNNY MATHIS, and a few others, this AL MARTINO classic is still way up there somewhere around the top and is a nice and different 'crooner' christmas recording that is fresh from the usual christmas music of PERRY COMO or BING CROSBY that usually fills the air at christmas time. With this whole review in mind, it easily receives my very high recommendation for it.

2 comments about Home for the Holidays.

1. This is yet another re-packaging of the 1970 edition of Elvis' Christmas album. His original Christmas album was released in 1957 and included 8 Christmas songs plus 4 Gospel songs from the Peace in the Valley EP. The album was re-packaged and re-released in 1970 with the 4 Gospel songs being replaced by Why Can't Everyday Be Like Christmas (which was originally released as a single in 1966) and the non-Christmas song Mama Liked the Roses.
   
   The songs on here are excellent and have become Christmas standards, still receiving radio air play around the Holidays. This is a nice collection if you do not already have one of the previous releases, however I think you can find the over releases for cheaper. I would recommend that you get the "If Everyday Was Like Christmas" CD instead. It includes every Christmas song Elvis recorded plus 4 alternate takes.
   
   The 1970 edition of Elvis' Christmas album was Elvis' biggest selling album, with sales in the US in exceeding 9 million copies, just shy of the 10 million required for Elvis' first DIAMOND award. It makes no sense to me why BMG/RCA decide to discountinue selling the 1970 edition, but instead sell it as a re-packed "new" album when they were so close to the 10 million sales milestone!!!



2. As another reviewer points out this is another repackage of Elvis' Christmas Album '70. So, if you already have the songs there's no point in buying this. Unless you, like I, were struck by the beautiful cover of the decorative collectors tin and are interested in the other collector goodies inside. A decorative holiday themed Elvis door hanger, A hand carved, guitar shaped candle replica of the one he used in the '68 special, and 5 very nice photo cards. Of course, it also contains the cd "It's Christmas Time."
   
   I bought twoo of these. One for myself and one to give as a Christmas gift to a big Elvis fan.
   
   If you have a big Elvis fan on your Christmas gift list who doesn't already have the music or would be interested in the other goodies, I highly recommend this item.

No comments about Heavenly Peace.

1 comments about Christmas Treasures.

1. This is my all time favorite Christmas Album. I recorded it from vinyl to cassette originally. And I play it every Christmas! It gives me that warm nostalgic feeling that I love this time of year. I am excited to be receiving it in CD format. If you are looking for a walk down memory lane with songs that tug at the heartstrings, then this is it. You will feel like you are sitting in the house on the cover.