No comments about Ultimate Soulful Christmas Album.

5 comments about On Holiday.

1. Although not one of Tony's greatest albums, this still makes for good listening. The songs of course, are all wonderful, and even though Tony's voice is a little off at times, a little raspy or slightly off-key, well, we must remember, that Billie's voice wasn't always at it's best either. The arrangements are well done, some with just Ralph Sharon on piano, and some with orchestra. Tony doesn't try to imitate Billie, he uses his own styling and phrasing, and for the most part, I think he's done a good job. 19 beautiful songs .. a fitting tribute to Lady Day.



2. People who want to discuss Tony's age better hope they're doing half as well by the time they get there. I've had this CD for several years (I'm much younger than Tony) and it's one of my favorites; there's no denying his magic. Beauty is in the eye of the beholder - though "creaking" isn't what I hear when I listen to this CD, as far as that goes, no better example than Janis Joplin exists to attest to the fact that great artistic expression, like many other human experiences, is difficult to define in those sorts of terms.



3. I agree with the reviewer who enjoyed the maturity in Bennett's voice. I'm not a HUGE Bennett fan -- I listen widely to jazz singers, and there are others I like better -- but I was moved by several of the renditions here, particularly "Willow Weep for Me," "Good Morning Heartache," and "Some Other Spring."
   
   Now, I think that Billie Holiday OWNS these songs -- particularly the latter two -- but the age in Bennett's still-strong voice made these versions seem rich to me, especially given the exceptional way he phrases the lyrics.
   
   I too like trio settings, but the string accompaniments here are tasteful.



4. Geoffrey Himes really missed the mark in his editorial review. So many gems in this album. Every breath, every word and lyric is expressed with the utmost heartfelt emotion, precise timing and feeling and Tony's voice is wonderfully soothing and reflective ... it couldn't sound more perfect. Have a listen and decide what's *sounds* right to you, don't ever take anyone's word for it. It's art! This album inspired me to fall in love with Jazz. Vocal jazz, classic jazz, bop, all jazz ...



5. I've heard enough bad, misguided, exploitive Billie Holiday "tributes" to know better than to pick one up by a male singer standing in front of an image of a stern, jut-jawed black woman who barely resembles Billie Holiday and with a program including a Phil Ramone-produced duet between the featured artist and the deceased. But curiosity won out over my better judgment, leading to the discovery of a simply magnificent album. The project is at once a heartfelt and touching performance by Bennett, a remarkably empathetic and supportive one by his pianist (Ralph Sharon), and above all the most convincing, respectful tribute to, and evocation of, the music of Billie Holiday that I have ever heard.
   
   Ignore the last track, if you prefer (though the similarity in the voices is telling). This album is as generous in song selection (19 tunes altogether) as it is in spirit. Bennett frequently strikes me as somewhat of an "overachiever," trying to attain a gravitas or grandeur that really is more Sinatra's domain than his. Lady Day's art, on the other hand, calls for a singer who can hold his own in spare, lean and intimate settings. Although the album indeed does employ strings, it's always Ralph Sharon's stride-style piano that, like Teddy Wilson's in the case of Billie, is in the foreground, often supplying a tune's only accompaniment. What a refreshing change not to hear Bennett smothered by strings, his voice doctored by excessive reverb. The absence, moreover, of a booming walking bass works to evoke the historical musical context in which these songs first took flight.
   
   This is not Billie Holiday the icon, or Billie the tragic victim of society's or her own excesses, or the faded, decrepit diva who became a ghoulish preoccupation of the latter-day groupies drawn to the "Lady in Satin" album. This is the Billie Holiday whom most listeners have never heard--or simply cannot hear. "I didn't know she sounded like that!"--a typical reaction upon first hearing those inexhaustible miniature masterpieces of the Columbia years in the 1930s or the Commodores in the 1940s.
   
   But the Lady Day who is one of the two greatest female singers of American popular song was "that" Billie Holiday rather than the later one of which sensational stories and movies are made. From now on, before I loan out my copy of "Lady Day: The Best of Billie Holiday" (an absolutely essential two-disc collection on Columbia), I may first give to the curious a copy of Bennett's tribute as a sort of preparation.
   
   It's instructive to listen to "Willow Weep for Me," comparing the Bennett with the Sinatra reading. Whereas Sinatra goes straight after the drama--the emotion, the loneliness and despair--suggested by the lyric, Bennett emulates the image of a willow, "personifying" through the use of dynamics and the onomatopoeic qualities of the lyric, the sound of a willow weeping. The approach is equally valid and effective, setting up an aesthetic "buffer" between the emotion and its artistic expression. Moreover, it captures the very essence of Holiday's art--the antithesis of anything introspective or ponderous--before the breakdown in her voice all but obliterated the line between art and life.
   
   As for that Amazon "expert" who offers the introductory review panning the album, he probably had the same biases as this writer, but it's clear he's never heard the music on this album--even if he listened to it. Especially puzzling is the characterization of Bennett's voice as a relic of itself, barely able to make some of the notes (maybe he didn't bother to listen to the album after all). The singer is in excellent, if vintage, voice--in fact, I don't hear a single "bad" note. More to the point, music is about "play," and Billie knew how to keep the music in play with every note, inflection, and unexpected turn. So do Tony Bennett and Ralph Sharon.

5 comments about Festival of the Heart.

1. I have had this CD for years, and it remains my favorite Christmas collection of music. It is the first CD that I play during the holidays. It was a happy accident that I bought this recording.



2. I, too, have played this CD every Christmas for years, and it is my all-time favorite Christmas CD. It's beyond description in terms of its beauty and various arrangements.



3. My sister gave me this cd for Christmas several years ago and it remains one of my very favorite. I like to give this cd as gifts to friends when giving Christmas music.



4. It was my good fortune to hear this disc playing during it's inaugural season while shopping in the studio of an artist who was also a Hearts Of Space dealer. The shop owner was kind enough to let me sample all of the tracks knowing full well that I would purchase it and other discs even if I didn't by one photo or piece of pottery. It has been my favorite Christmas album ever since and I have given it as a Christmas present on numerous occasions. For Christmas music I like The Carpenters, Mannheim Steamroller, Handel's Messiah (various performers), the original "Now That's What I Call Christmas" (haven't listened to/purchased the others) and Mariah Carey so my tastes are probably a little stuffy for some.
   
   As this album is sacred music with an acoustic piano as the primary instrument, it tends (with some exceptions) toward the mellow side. It is wonderful to listen to while decorating the tree or sipping a hot drink (or shopping for art and photography gifts) but the performances are so fine that you can easily become absorbed in them when there are no other distractions.
   
   Fortunately for you, you can listen to samples of the tracks at Amazon and not have to rely on whatever feeble descriptions I might concoct. I recommend listening at minimum to the samples of "O Come All Ye Faithful" and "Little Drummer Boy" to get a sense for the variety on this disc. Of course, if you have the time, listen to all of the samples.
   
   If you want choirs, orchestras, pop, rock, R&B, or Christmas love songs, look elsewhere. If you like "traditional" Christmas melodies and fine keyboard performance, you won't be disappointed in this selection,it might even become your favorite Christmas album.



5. Like the other reviewers, I am a true believer in this album. It is a hidden gem - unknown to many, but a favorite of those who own it. I recieved this CD as a gift many years ago, right around the time of its release, and I have to this day never found an album that so tastefully captures all that is Christmas. The arrangements, all piano-centered, are intimate and intuitive - an appropriate array of instruments serve the pieces they accompany, whether it be a rustic recorder for "O Come, O Come Emmanuel", a lilting guitar for "O Holy Night", or the utterly brilliant percussion section of "Little Drummer Boy". Boswell's simple, unobtrusive idiom provides the perfect complement to the holiday season, leaving plenty of room for the listener to live and/or reminisce in his or her own Christmas traditions.

3 comments about Christmas Album.

1. This album is a gorgeous collection Christmas songs, all played on the piano, David Lanz's key instrument. Some of the best are The Dreamer's Waltz, It Came Upon A Midnight Clear, and In A Holy Place. This is truly one of the best Christmas albums out there, and I would recommend it to anyone.



2. David Lanz's solo piano stylings have always been characterized by a sense of elegance and intimacy. This collection of mostly previously released material is no exception. Just over half the songs are familiar seasonal favorites ("Silent Night," "O Holy Night" and others); the rest our original compositions like "In a Holy Place" from his 1983 debut HEARTSOUNDS and "Dreamer's Waltz" from 1996's SACRED ROAD. What makes this album special are three previously unreleased live recordings from 1989: Two solo pieces ("What Child Is This" and "Variations on a Theme from Pachelbel's Canon in D Major") and the ensemble recording of "It Came Upon a Midnight Clear," featuring Eric Tingstad (guitar), Nancy Rumble (oboe) and David Arkenstone (synth). If you like your Christmas music peaceful and reflective, this album is perfect. RECOMMENDED



3. Great Christmas Album although I would have liked to have Lanz branch out and refine his musical voice. He, at times, is hard to differentiate from other players. He needs to make some less safe choices than these old standards.

5 comments about Venetian Christmas.

1. I find myself agreeing more or less with the last reviwer regarding this CD. There has been a tendency with the Gabrieli Singers towards a certain roughness and lack of "line", which is again demonstrated on this recording. The first couple of recordings of Venetian liturgy were superb (Venetian Coronation and Venetian Easter Mass), but I wonder if they are becoming complacent.

   As mentioned before, there is a lack of real "atmosphere" which marks those two aforementioned earlier discs as outstanding (and which also makes their Prateorius and Sheppard recordings stand out).

   Obviously this group are still at the very top of the league when it comes to this repertoire, but the fact that we know what they can do when at their very best means only 4/5 for this release.

   Interesting, awesome even, but strangely uncaptivating.




2. Don't listen to the music experts and their hair-splitting arguments: as a lover of Renaissance music I can tell you that this more than 80 minutes long recording by an all-male choir is simply wonderful and gives you the best of Western sacred music: virile Gregorian chant, exuberant but still deeply religious Late Medieval polyphony a la Desprez by Cipriano Rore and Italian Baroque by Giovanni Gabrieli, which is more mundane in tone but nevertheless very beautiful.

   There is a striking but beautiful contrast between the low, almost cavernous plainchant resonating under the church vaults-the performance was recorded in a Northumbrian priory-and the high triumphant tones of the Renaissance contrapuntal pieces in which male altos play a prominent role. Short but gorgeous instrumental pieces alternate with chant and psalmody.

   Psalmody? Yes, contrary to most Mass cds, this one contains not only the usual sequence of Kyrie, Gloria, Credo, Sanctus and Agnus but also all the Latin readings sung on a very simple melody (the text and the translation are available in the accompanyng booklet, thank God!): the Epistle, the Gospel, the Eucharist prayers, etc.

   The psalmody, specially the rather long Gospel reading, may sound monotonous at first but you will quickly get used to it and it will provide a welcome interlude during which your ears can take a rest and recover from the all powerful, almost overwhelming stimuli of polyphonic chant.

   The reconstruction does not omit any detail: at the sacred moment of consecration, for example, when the priest invokes in a low voice the power of the Holy Spirit to come on the bread and wine, you hear the tremedously stirring sound of cathedral bells accompanied by the organ.

   The traditional Mass chants by Rore with high-pitched countertenors (male altos) are stunningly beautiful and are the highlight of this cd. They are imitations (parodies) of Desprez's style but this does not mean that they are inferior in quality. If anything, they are more brilliant since they feature seven voices, instead of just six. The Sanctus is simply not of this world! If you like Desprez and Ockeghem, you will be thrilled by Rore.

   The whole atmosphere of the performance is one of dignified exultation, as befits a real liturgy... Not a single atom of gloominess as one reviewer below said but if you are looking for ligt music you will not find it here. This is San Marco and majesty is the key note.

   I cannot imagine a better cd in this kind of music.




3. On the scale of favorite music for the Christmas Season for this listener it is often a toss up among Britten's 'A Ceremony of Carols', carols form the Kings College Chapel, and music composed for the midnight mass on Christmas Eve. This recording by the Gabrieli Consort and Players conducted by Paul McCreesh is about as authentic as they come. The works are by Giovanni Gabrieli and Cipriano de Rore (with one organ Toccata improvised after Girolamo Frescobaldi by Timothy Roberts) but the majority of the music is Gregorian Chant. The listener is transported to the vast spaces of San Marco which not only adds a holy resonance to the chants but also provides the perfect response time and setting for the polyphony of the Gabrieli works.
   
   Performed on ancient instruments and organ, the recording captures all the mystery and candlelit hush of the period. The singing by the Gabrieli Singers is exceptionally fine. There may be more interesting works by Gabrieli on other recordings, but for creating a Venetian Christmas Eve Mass mood, few other recordings can top this one. Highly Recommended. Grady Harp, October 05



4. An excellent CD of Venetian Christmas music. The Missa "Præter rerum serium" by Cipriano de Rore is excellent. The works of Gabrieli are good, too. Nice to have new recordings of Salvator noster and Audite principes!
   
   The use of tenor cornetts on this recording was a highlight for me. I bought one a few years ago, and it is nice to hear them so well played here.
   
   The arrangement of Quem vidistis pastores is interesting. Hugh Keyte has certainly filled the score out. However, I have never found the score as it stands inadequate.
   
   Anyway, a wonderful Christmas album and one to enjoy all year round.



5. 'FIRST MASS OF CHRISTMAS AT ST.MARKS'
   
   For the Doge and the Venetian nobility, Christmas Eve began with a series of attendances in the Basilica that were celebrated with great ceremony. Two hours before sunset, the Doge and the privileged political advisers came to San Marco, where they heard Vespers celebrated by a large group of musicians, vocal and instrumental; the musical settings were in 8,10,12 and 16 parts. As soon as Matins concluded, about 2 hours after Sunset, the first Mass of Christmas began. As it began, the Doge ,resplendent in the insignia of his office, left his throne, and accompanied by the papal Legate, knelt on the first step in front of the High Altar to respond to the Legate's Confession.
   
   This distinctly Venetian symbiosis of religion and politics is epitomized in the first motet 'Audite principes'. Gabrieli's musical style in this motet makes use of a declamatory solo voice with supporting instruments, soon combining in an eloquent 16 part Tutti
   
   Cypriano de Rore's setting of the Mass Ordinary is a parody of Josquin's famous 6-part motet'Praeter rerum serium',which celebrates the miracle of the birth of God in human form by the untainted Virgin Mother. To Josquin's 6-part texture Rore adds a seventh part. The result reflects Rore's command of traditional compositional techniques.
   
   There is a great deal of clarifying information in the accompanying materials with the CD; it would be well for the listener to read it, as it is not particularly lengthy and easily comprehended.
   
   Paul McCreesh is one of the most talented directors in the field of early music ,and along with his Gabrielli Consort & Players , has gained an international reputation. One of the things he has done that has gained him critical acclaim ,is to recreate spectacular historic events, such as this CD "First Mass of Christmas in St. Mark's".
   
   This is truly a fine recording, and the first time I HEARD it, I simply listened and it was so beautiful!!Then, finally, I read about it,and it became even more meaningful. The singing is exquisitely etheral; perfect diction-perfect balance -chock full of emotional content. The accompanying instruments are played skillfully and provide not only accompaniments, but inspiring solo passages.
   
   All you early music lovers, don't miss this one!!!!

2 comments about Christmas With Leontyne Price (Dig).

1. The group of bored fifth grade boys are huddled into the public school library. The weeks drag on before we break for the holidays, of spending time at home with our families and the anticipated loot we'll get for Christmas. The librarian/teacher insists on playing Christmas music on the record player. We sit and giggle about the long-haired musical arrangements and the high soprano voice singing. The librarian tells us all to shut up and listen "to one of the greatest voices in the world". We do. And at that tender age I first heard the voice of Leontyne Price and this beautiful Christmas album that has been part of my holiday music ever since.
   
   Nothing is amiss in this collection. The Price instrument was young and spontaneous, the arrangements are spectacular and von Karajan is (for once) taking a back seat to his soloist. Thank you, Mrs. Farrell, for the introduction to this wonderful album. All I have to do is put this CD on and I'm transferred back to the public school library, my classmates eagerly waiting for Christmas to come, and to my family and Christmas home in Chicago.



2. This Christmas is THE Cd to own above all others, as most anyone who's heard it will tell you - critics worldwide included.
   
   Without a doubt, the singing of soprano Leontyne Price -"La Splendissima" - is incomparable here. There has never been a soprano with a timbre so incredibly distinctive & beautiful that also infuses her music with a rare humanity and humility. Every Christmas is inauguarated with this recording at my home, and those fortunate enough to receive this CD as a gift from me, are infinitely grateful & astounded by Ms. Price's gifts.(especially those not inclined to Opera singers!)
   Her collaboration here with Maestro Von Karajan is just as rewarding as all of the others including "Carmen", "Tosca", the Verdi "Requiem"(VHS/DVD), and a legendary "Il Trovatore". These (2) musical 'giants' seem to derive inspiration from each other that ignites a passionate response from each as well. Nowhere is this more evident than in their now 'classic' rendition of the Schubert "Ave Maria". Listen to the ethereal, voice-like intro of the orchestral strings that precedes Ms. Price's celestial vocalism. It's magical! The programme is diverse and deeply satisfying for the Season. Miss Price's singing, whether in this rep, singing Spirituals, the recital stage, or Grand Opera, is almost always an inveterately soulful experience. It is no less so here. Celebrate the Season (any Season you like) with "La Splendissima" Leontyne Price singing classical 'Soul' music at Christmas. Get this!!!!!!!! Note: This particular packaging includes the original picture and liner notes from the original 1960 Decca release. Its so nostalgic, and makes this collection all the more treasurable. Enjoy.

1 comments about Christmas Melodies.

1. You must has this CD for your Christmas music collection if you ever owned any of Percy Faith's three original Christmas albums.
   This is the only place that you can get some of these great Christmas songs in remastered form from the great Percy Faith and His Orchestra.
   THE best instrumental version "Silver Bells" is on this disk, as is the best instrumental version of "Do You Hear What I Hear".
   This disc is really hard to come by, so if you can get your hands on one - buy it - you won't be disappointed. This disc is way above average length for a Christmas CD, and takes music from all three of his Columbia holiday LP's (1958, 1965 and 1966). I can't say enough nice things about this great collection - the only song missing that needs to be here is his great "Good King Wenceslas" - which is MIA. -AND-
   IF there are any SONY / BMG / Legacy / COLUMBIA RECORDS executives out there - would you please remaster and release the 1958 stereo LP by Percy Faith and His Orchestra called "Music of Christmas" (volume 1)? Thanks!

3 comments about How the Grinch Stole Christmas & Other Christmas Songs.

1. This is a great CD. I foud the original Vinyl Record at a Library Book Sale. (The original recod was called "Songs From 'How The Grinch Stole Christmas' And Other Children's Christmas Songs" on the RCA Special Productions label.) It had Christmas Songs on it that I never heard of Before. I got it. I loved "Rags" from the first minute I heard it. it is about a poor boy selling Christmas trees and what Christmas is REALLY about. The Marty Gold Children's Chorus, who sing All the Songs, are really good singers. even the Grinch songs are the next best thing to the original if you want to hear slightly diffrent versions of the songs I thought it would be one of those great Children's Records that would be lost and forgotten in the archives, that I would never see again. I am glad that it was brought back on CD in Great quality for todays Children!!!! Buy it!!!!!!
   
   Track Listing:
   1. Trim Up the Tree
   2. Welcome Christmas
   3. You're a Mean One, Mr. Grinch
   4. Kitty Ate the Tinsel on the Christmas Tree
   5. Roaring Sam, The Snowmobile
   6. Elmer Elf
   7. Chipmunk Song (Christmas Don't Be Late)
   8. Rags
   9. Lullaby for Christmas Eve



2. This is not a good CD. The songs are sung by a group of children. It sounds as if the children made no effort and are not happy to sing the songs at all. Each song sounds like the last song. My children did not like this at all.



3. I grew up listening to these on a record as a child and to find them sounding even better on CD was amazing! I even bought one for another family member who charishes tem as much as I do.

5 comments about Bach: Sacred Masterpieces.

1. First of all, I don't own this box set but I do own each of the individual recordings it contains. The box would have been considerably cheaper and would take less precious space on my shelves.
   
   However, for each of the works presented here, Richter's versions are my favourite, and I have 40+ recordings of the Mass alone (ten or fewer of the other compositions). These aren't period instruments HIP recordings, but neither are they over-indulgent romantic slop. What they are are *supremely* musical readings. Even some HIP purists keep these in their collection. The very successful HIP conductor Suzuki even sings their praises, and every now and then I'll spot a trait of Richter's popping up in a Suzuki recording.
   
   Unless you really really need HIP performances and have already made up your mind against anything that isn't, this box is highly recommended.



2. I've owned all these recordings for years, first on the Archiv LPs - in fabric upholstered boxes with 4 x 6 library index cards enclosed - and the subsequent individual CD issuances. For those who have never heard them, I strongly advise you to seize the opportunity. I also have the cantata series mentioned in other postings, so my affection for Richter's achievement should be obvious.
   
   To get the negatives out of the way first, the sound isn't state of the art, but who cares? The choral sopranos can take on a metallic edge at times, but those passing faults do not undermine the achievement of this well rehearsed ensemble. I'm still not entirely happy with Richter's slow motion treatment of the Christmas Oratorio's Part II "Schlafe, mein liebster" but it doesn't bother me so much any more.
   
   Overall, Richter strikes a good balance between performance practice sensibilities and his personal interpretative point of view. With playing and singing of this quality, the absence of period instruments and the use of a medium sized choir doesn't bother me. Hearing these operatic soloists apply their well schooled vocal resources and emotional sensibilities to the music is a treat indeed.
   
   While it would be nice to hear Richter's second St. Matthew again - the CD reissue has disappeared - I prefer the 1958 version. Haefliger's Evangelist is one of the great assumptions of the part. Seefried was outclassed by Mathis in the second version, but Engen's Jesus in the earlier version stands up very well indeed, as do Hertha Topper, Fischer-Dieskau and Haefligher in the tenor arias. The organ continuo of 1958 can get screechy at times but it's preferable to the harpsichord of the 1970s.
   
   The St. John holds its own with the competition and is one of the few examples we have of Evelyn Lear singing Bach. In the Christmas Oratorio, Wunderlich's Evangelist is another example of our great loss in his untimely death. Janowitz, Ludwig and Crass complete an unbeatable solo quartet.
   
   If you like your B-Minors "massive" this is the recording for you. It has a satisfyingly grand sound without being overblown. The soloists are again a distinguished group and Adolf Scherbaum leads the trumpets. Be prepared for the umlaut shift in latin words like "coeli". I don't think the Magnificat has held up quite as well after 45 years, but it's no clinker.
   
   I am also very satisfied by more recent historically informed period instrument performances, but Richter was one of the last great representatives of an older performance tradition. Few conductors have done these works so well with such performing forces, particularly the vocal soloists.



3. The performance of the B-minor Mass in this set is NOT the famous one in the boxed set of LPs, contrary to what other reviewers have implied. Sorry, but it is not as good, plus it was recorded in front of a live audience, meaning coughs etc. Why would DGG do this? I feel duped.



4. The notion that to be "authentic," a Bach performance must be on period instruments and in precisely the style of the day makes as much sense as a claim that the Hammerklavier must be played only on Beethoven's Broadwood and not on a Bosendorfer.
   
   This is not to say that the Romantic, ponderous, 19th-century performance style epitomized by Klemperer wasn't due for an overhaul by Gardiner, Harnoncourt, et al. But our 21st-century ears have heard the modern instruments, and we've heard the music that came after Bach. We can never truly hear his music exactly as the people of the 18th-century perceived it. And the people of the 22nd century will perceive it differently from the way we do.
   
   So let's be glad we have the various interpretations, appreciate the insights they provide, and not worry about whether Professor Authentico would approve.
   
   That being said, Richter's conception of these masterpieces is akin to that of Colin Davis in his 1966 "Messiah": hardly "authentic" in the narrow sense, but superbly authentic in that it conveys the music deep into the listener's heart and soul. This to me is the true gauge. I would add that, somewhat surprisingly, the polyphonic nature of the choruses is more evident with Richter than with any other conductor I have heard. Perhaps this was Richter's intent; perhaps it's just the recording. But repeated listenings have borne this out.
   
   This 10-disc set costs less per disc than the "Greatest Hits" garbage on the no-label CDs in the $4.99 bin at Wal-Mart. I cannot imagine that anyone would ever regret purchasing it.



5. Just look at this set, you can't beat a set like this! All with the great Karl Richter! Thanks DG!

5 comments about Let It Snow.

1. Michael Buble just has the most wonderful voice and I was really glad that he was coming out with a Christmas album, but this one is so ridiculously short! It's good... but it's so short. Still a must for your Buble collection.



2. thank you for this wonderful c.d. It is what xmas is all about. For anyone who enjoys a pure voice that gives you goose-bumps this is one disc you must own



3. This cd is amazing, but I would have loved to hear "Baby It's Cold Outside" in addition to these classics!



4. Before you think about shelling out the big bucks that some sellers are asking for this rare five-track Xmas EP it is worth noting that this EP is now also available as an Import 2 CD set bundled together with his first album, just search for "Michael Buble Christmas" on here.



5. Beautiful voice up there with Frank Sinatra, Dean Martin,Andy Williams, Well you get my drift. My ONLY complaint is there aren't enough holiday songs! Come on Michael with a voice like that you could really start a new holiday tradition!