REPOST: 77 Santas

We received a special request yesterday about “77 Santas,” the song we’re named after. Naturally, we jump at any chance to post a Christmas tune, but we also strive to please our readers. Lorilei, I tried to find your profile and send this to you, but couldn’t get to your blog. So, I hope you stop back to read this post, originally posted last November.

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For the first post, it’s only fitting that I begin with our namesake. “77 Santas” by Gayla Peevey.Peevey is probably most famous for the novelty song “I Want a Hippopotamus for Christmas,” a 1953 regional hit in Oklahoma City. Peevey was only ten at the time. The exact origins of the song seem unclear. One version says that the Oklahoma City Zoo had no hippo at the time and that Peevey sang this song as a fundraiser. Another version, one claimed to have been corrected by Peevey. This comes from Wikipedia: “The record was released nationally by Columbia Records and because the Oklahoma City Zoo needed a hippo at the time, the song gave them the idea of putting together a major media blitz asking kids to send in nickels and dimes to raise money to buy Gayla a hippopotamus for Christmas. Matilda, a baby hippo, was presented to me, and I donated her to the zoo. In a roundabout way the song indeed helped the zoo acquire a hippopotamus, but the song was not recorded for that purpose.”Peevey recorded a few other hits, including “77 Santas.” This song probably dates to the mid-to-late 50s. She recorded several Christmas songs during this era—this is the only other song that I’ve heard. Her voice is distinct, precocious and childlike that captures that exuberance for all things Christmas that kids feel during December.Around 1960, Peevey recorded pop songs under a pseudonym but none achieved much success. Still, “I Want a Hippopotamus for Christmas” remains popular on Christmas radio stations and collectors of novelty records. The last known fact about Peevey, at least according to one website, is that she lived in San Diego in 1999. We wish her well and would love to know the real story about these songs. So Gayla, if you happen to read this, let us know.

77 Santas – Gayla Peevey

Or, read the book!

Girls, Girls, Girls!

This week, the Sunday EP and Retro Friday overlap—so I’m posting them on Saturday. Thanks to PC for the kind words in the last post!

Say what you will, but I’ve been on a serious girl group kick the past few days. The following songs are primarily culled from two fantastic compilations—the single disc Girls! Girls! Girls! 25 All-Time Classics of the Girl Group Sound (Varese Vintage) and the box set One Kiss Can Lead to Another: Girl Group Sounds Lost and Found (Rhino). The first disc is a fantastic introduction for anyone just getting into this period, a broad perspective of the bands and their sounds, complete with a nice essay inside; the four-disc box set is one of the best box sets I’ve ever seen, complete with fantastic packaging and detailed liner notes.

Since I love this period so much, it was hard to whittle down my list to just a few songs—you’ll get a baker’s dozen instead.

Needle in a Haystack – The Velvettes
A great way to kick-off this set. The back-ground vocals, the handclaps, the horns, and bad-mouthing both boys and girls—yeah, this is a classic.

Nothing but a Heartache – The Flirtations
My mother always says that if a song has a good beat, she’ll like it. This song has one hell of a good beat that builds to an incredible crescendo down the stretch.

Give Him a Great Big Kiss – The Shangi-La’s
Bonus points to anyone who can name what seminal New York punk band pays tribute to the opening words of this song.

Bobby’s Girl – Marcie Blaine
She’s not a kid anymore, and she has but one goal—to be Bobby’s girl.

Soldier Boy – The Shirelles
A 1962 number one hit, the minor chords are unapologetically saccharine, but damned if it doesn’t work perfectly. By the time the soaring chorus comes back at the end of the song, it gives me chills.

One Fine Day – The Chiffons
This song was co-written by Carole King, who was part of the girl group sound before branching out. The off-key piano could probably never be replicated to its glory.

I’m Into Somethin’ Good – Earl-Jean
Another Carole King songwriting credit, Earl-Jean sang this song in 1964, taking it to number 38. However, not long after, Herman’s Hermits remade it and the song went to number one.

You’re No Good – Dee Dee Warwick
Here’s original, though most probably know Linda Ronstadt’s 1975 version. The Warwick single came out over a full decade earlier. The overlapping vocals sound amazing.

Love’s Gone Bad – Chris Clark
A blue-eyed, platinum blonde on the Motown label—kind of unusual. Considered the U.S. answer to Dusty Springfield.

Yes I’m Ready – Barbara Mason
Not much info on Mason, but I do know that if you have La Toya Jackson’s Japanese single of this song, you’d have something that’ unbelievable valuable and also painful to listen to.

Popsicles and Icicles – The Murmaids
In 1963 this song climbed to number three. David Gates, the future lead-singer of Bread, wrote the song. The perfect light pop song for a hot summer day.

Make the Night A Little Longer – Palisades
The sweeping strings, the weepy melody, the pleas to make the night just a little longer—you can’t imagine how anyone would want to make the short.

Be My Baby – The Ronettes
For me, no list of girl group songs would be complete without The Ronettes. One of producer Phil Spector’s many masterpieces—anytime I hear this song, I stop and listen. Unfortunately, last year, that including a pharmaceutical commercial for hard-on medication, which was unfortunate for all involved.

Please allow me a moment

To congratulate my dear friend JV, whose memoir, tentatively titled "Burn", was recently bought by Algonquin Books. The book will come out in Spring '09, and I can't wait. While I've read it already in various forms, I'm still excited to get my copy and read it again. He's humble (thank god), so I know he probably won't announce this himself. So, his delays in posting songs are quite understandable as he's been dealing with this tremendous news. I wish I had such a good excuse.
Here's to ya JV!
PC

Make-Up Post

That’s right. This is a post where I make-up to you for not posting in several days. So, I’m sorry. But I’ve been busy, lots of people visiting, lots of stuff going on. Anyway, here’s Neko, Eddie, and lots of others worth checking out. This is a down-on-your-luck, kicking-an-old-soda-can, walking-with-your-head-hanging-low kind of mix.

The Mirror Speaks – James Blackshaw

The Dark End of the Street – James Carr

In California – Neko Case

Goddamn Lonely Love – Drive-By Truckers

Girl in the War – Josh Ritter

For the Widows in Paradise; For The Fatherless In Ypsilanti – Sufjan Stevens

Blue Moon with Heartache – Rosanne Cash

$1,000 Wedding – Gram Parsons

Crazy Mary – Pearl Jam

Retro Friday: Blowing Through the Jasmine in My Mind

These are the dog days. All week, the temperature in Central Virginia has licked one-hundred degrees—and of course that meant the heat index registered at around Hell’s Eternal Fire. In short—it’s been hot, and many of you are suffering just like me. So, for Retro Friday, a few cool songs about summer.

Summer Breeze – Seals and Croft

Jim Seals and Dash Croft released this song in 1972. It remains their seminal song and one of the quintessential songs about songs in my book.

Turn Down Day – The Cyrkle

This band was discovered by Brian Epstein, better known as manager of The Beatles. In fact, John Lennon provided the unique spelling of the band’s name. In 1966, they scored two nice hits—this one and their better known “Red Rubber Ball.” However, the band disbanded the next year. However, band member Tom Dawes wasn’t done with fame—he went on to pen the famous “plop plop fizz fizz” jingle for Alka-Seltzer.

Palisades Park – Freddy Cannon

Game-show host Chuck Barris wrote this song. Barris of course hosted “The Gong Show” and wrote the infamous “Confessions of a Dangerous Mind,” in which he claimed to have been a CIA assassin. Check out George Clooney’s great film of the same name staring the supremely underrated Sam Rockwell as Barris. This song was originally a B-side for Freddy Cannon in 1962 but the song caught on in Flint, Michigan and took off from there.

California Sun – The Rivieras

No wonder The Rivieras dreamed of that warm California sun—they came from South Bend, Indiana. The band only released three albums before their split in 1966. However, they are most notable as being one of the last American rock acts to score a hit in 1964 before the British Invasion. When I was eight or so years old, my dad bought me a cassette of classic surf songs that included this song. I’ve loved it ever since.

I Live for the Sun – The Sunrays

This band was managed by Murray Wilson, father of Carl, Brian, and Dennis Wilson of The Beach Boys. Though this hit was their biggest, reaching #51, it remains a little-know gem with fantastic lead vocals and harmonies. Check out this surprisingly comprehensive site on the band.

Remember (Walking In the Sand) – The Shangri-Las

Little known fact: Billy Joel played piano on the original demo of this song. This was the Shangri-Las first hit in 1964, before their “Leader of the Pack.” The over-wrought drama of the lyrics fits perfectly with the stunning vocals.

Will You Love Me Tomorrow? – The Shirelles

The Shirelles were the very first girl group to score a hit on the Billboard Hot 100. They scored a string of hits—many of them covered too many times to count—in the 1960s. Truly one of the powerhouse groups from the era who remain as indelible today. Rolling Stone named them #76 on their list of the 100 Greatest Artists of All-Time and this song was named #125 on the magazines list of The 500 Greatest Songs of All-Time.

Did AT&T Censor Pearl Jam?

On Sunday night, like thousands of Pearl Jam fans unable to attend this year’s Lollapalooza where PJ headlined, I watched AT&T’s sponsored webcast of the event. The band played a perfect set for the crowd, delivering some of their most well-known hits, a rarity for the hardcore fans, and some tracks off the new album.

News broke yesterday that AT&T supposedly censored at least one of the songs. During “Daughter,” Ed tagged Pink Floyd’s “Another Brick in the Wall.” During this, he sang the following:
“George Bush, leave this world alone." (He sang this line twice, apparently; the first time aired uncensored.)“George Bush find yourself another home."

Problem is—I didn’t hear these. In fact, unless you were actually at the event, no one heard these. Johnny Censorship over at AT&T decided to cut it out. We didn’t need to hear such strong words about this shit-for-nothing president.

PJ released a statement on their website.
Entertainment Weekly wrote a little article about it.
Even the Wall Street Journal picked it up.
You can read what fans think over at the Message Pit.

You can read the articles there and decide what you think—it’s probably obvious what I think. Even though I have AT&T as my cell company, if the corporation had anything to do with this, then they would be grade-A motherfuckers in my book. They’re already just plain ole motherfuckers for willingly giving the NSA phone numbers and other information without a warrant.

In the meantime, here are a few songs that would probably piss off the people like AT&T and George Bush.

Bu$hleaguer

Satan’s Bed

Do the Evolution

Remembering Lee Hazlewood

Lee Hazlewood: 1929 - 2007

It’s Nothing to Me – Lee Hazlewood

Pour Man – Lee Hazlewood

Been Down So Long – Lee Hazlewood & Nancy Sinatra

Some Velvet Morning – Lee Hazlewood & Nancy Sinatra

These Boots Are Made for Walkin’ – Nancy Sinatra

The Sunday EP: Neotraditionalist Country

Before we get to the mix, let me just urge anyone who hasn’t yet had the chance to see Once to run to their nearest independent theater and watch this beautiful film. It’s one of the best movies of the year (maybe the best?) that features an aching love story and some amazing music. Here’s a song from the film.

If You Want Me – Glen Hansard & Marketa Irglova

Now, what all you came here for—country music! Yes, yes, I know. But I think country has gotten a terrible name in recent years, mainly from horrible mainstream country radio stations. Disco country in the seventies didn’t sound as bad as today’s slickly produced schlock about “real” rednecks, faux-American patriotism, and beach bums. Not long ago, in the 80s and 90s, country music was actually about something. Most of my favorites from this movement could best be described as Neotraditionalist Country, a movement in country that harkened back on the musical and fashion stylings of the 1940s and 1950s.

In fact, for about six or so years of my adolescence, I only listened to country music. Believe me, it’s taken me a while to admit this (thanks Jake!). Over the past week, I’ve been working on an essay about this experience. Hopefully in a few months, you’ll be able to read it in a magazine. But until then, here’s a few of the songs I discuss in the article.

Seminole Wind – John Anderson

Before global warming and environmental concerns became a political issue (yes, there was a time when it was a human, not corporate, concern), John Anderson sang his ode preserve the Florida Everglades. The song was a smash, reaching #2 on the country charts in 1992. Anderson, who just released a great album of new material, possesses one of those voices you can never forget and impossible to describe. A plaintive piano opens the song before the drums and fiddles kick in. Ironically, in the novel I’m writing, one of the plots involves the main character joining a band that covers country songs from this period. One of the first songs they perform is Seminole Wind.

Ships That Don’t Come In – Joe Diffie

There was a time when country artists looked like country artists—Joe Diffie exemplifies this. With a beer-gut and a mullet, Diffie was the type of guy who knew how to sell a haunting ballad like this one or a rocker that you wanted to hear at a juke joint on Saturday night. In later years, he verged too much into novelty songs, but “Ships That Don’t Come In” remains one of his masterpieces.

Set ‘Em Up Joe – Vern Gosdin

A direct reference to Ernest Tubb’s “Walking the Floor Over You,” Gosdin loved the classics. Known as “The Voice,” Gosdin scored a huge hit with this song in 1988. (Check out the very good Some Velvet Blog, who coincidentally posted Tubb’s original today.)

Ain’t Nothing Wrong with the Radio – Aaron Tippin

Much of that essay I’m writing is about this song—at the time, my mother and I felt as if the radio was the only thing in our lives that actually worked. Tippin’s nasally drawl is distinctive and unique, propelling him through a string of hits in the 90s. How unfortunate that he chose to cash-in on the 9/11 music of his lesser, younger peers.

I’m No Stranger to the Rain – Keith Whitley

For me, Whitley’s voice the pinnacle of country music, just as Roy Orbison is one of the pinnacles of rock. Tragically, Whitley battled alcoholism for years. In 1989, he drank himself to death. This song was a number one hit that year, and is maybe the best country song of the 1980s. Sure, perhaps the lyrics are bit clichéd, but when delivered by Whitley’s aching vocals, it hardly matters.

Past the Point of Rescue – Hal Ketchum

Ketchum’s crisp vocals and that untypical electric guitar made this song reached number two on the charts in 1992.

Famous In a Small Town – Miranda Lambert

In the past few years, country has seen hope by way of Shooter Jennings (his album, Let’s Put the O Back In Country is dead-on about the genre’s current state), Hank Williams III, and Miranda Lambert, the only one of the three who really gets much radio airplay. Lambert, only 24, writes many of her songs and swerves all over the map, pulling from traditional country, rock, and folk. She’s got a distinctive voice and a point of view, something so many artists today lack.

See you back here next week. I’m willing to bet that this is the least viewed post ever. People just don’t like country anymore. But I’m not ashamed.

13 ways of looking at heat exhuastion

Been away awhile, working my ass off, writing when I can, sweating, and growing grumpier with each long day of summer. I'm a fall person, so I can't wait. Gonna keep my blabbin' to a minimum and my songin' to a maximum.

Talked with Jay V about posting each original and then its cover off of Bonnie 'Prince' Billy's "Greatest Palace Music" and while I'd like to do that, I don't have that kind of time. Plus, everyone should own all (or at least most) of his material from his many manifestations. Good ideas are as regular as shitting to him. Covering himself being only one of such instances. In addition to this, I want to throw up some other covers/originals. Also, some new (or older, but in heavy rotation) tunes that have been doing it for me. Consider this 3 EPs album by the PC Band.

For all of the covers, I will put the original first.

Palace Brothers: No More Workhorse Blues

BPB: No More Workhorse Blues

Palace Music: Ohio River Boat Song

BPB: Ohio River Boat Song

Palace Music: Gulf Shores

BPB: Gulf Shores

Palace Songs: Agnes, Queen of Sorrow

BPB: Agnes, Queen of Sorrow

Bonus Covers:

Grateful Dead: Brokedown Palace

BPB: Brokedown Bounce

Bonus Studio/Live Versions:

Palace Music: A Sucker's Evening

BPB: A Sucker's Evening (Live)

While it's impossible to cover a traditional tune, here's two versions of a great one. I just discovered Fern Jones. She's awesome. "She sounded like Saturday night on a Sunday morning." Her version, with the Gram Parsons blessed Byrds' version to follow.

Fern Jones: I am a Pilgrim and a Stranger

The Byrds: I am a Pilgrim

Bonus with ghost:

Fern Jones: I was There when it Happened

(I don't have the Johnny Cash version or it would be right here. Shame on me. Sam Phillips only let him put one gospel tune on his first album. This is the one he chose.)

And thus ends the covers version of our post. Let's move on to some tunes that I'm currently listening to, eh? Random rules here.

Got "Marry Me" by St. Vincent the other day, and I love it. Here's a few.

St. Vincent: Jesus Saves, I Spend

St. Vincent: Paris is Burning

St. Vincent: What Me Worry?

Astrud Gilberto's voice is so wonderful. Because of her (and her husband Joao, and Stan Getz) I've been a long time fan of Bossa Nova music. It's great in summer, even though summer sucks.

Astrud Gliberto: Corcovado (Quiet Nights of Quiet Stars)

I went to Jamaica in May for my brother's wedding, which only futhered my love of Reggae music. Here's some classics from Jimmy Cliff:

Jimmy Cliff: Wonderful World, Beautiful People

Jimmy Cliff: You Can Get it if You Really Want

Meg Baird (of Espers) put out a solo album on Drag City called "Dear Companion"... It's beautiful. Like swimming in a river very early in the morning. Here's the A Capella version of the title track.

Meg Baird: Dear Companion (A Capella)

I went of a slight Polvo kick last week. Their album "Exploded Drawing" fucking rocks. We used to listen to this at the end of our long shift at CD Alley (Wilmington branch) before retiring to The Blue Post. Ah, fuzzy memories.

Polvo: Fast Canoe

Polvo: Feather of Forgiveness

I'm usually a little leary of long solos in songs, but I love the guitar solo in this. The Allmans rule.
The Allman Brothers: Blue Sky

"Moments can be monuments to you/If your life is interesting and true/ It's just the same for a man or a girl/the meaning of the world lies outside the world" should be everyone's motto. Here's the tune from which these (and other equally brilliant) lyrics spring. Only from the mind of David Berman.

The Silver Jews: People

And that's where I want to end it. People. Good to be back. Hope to check in more often before the wonderful season of snow and cold is upon us. Of course we need to get to autumn first, the wonderful season in which everything turns beautiful and then dies and rots.

While posting and downloading songs is great, don't forget to go to your local Record store and spend some money.

PS: I took that picture on a ferris wheel, looking at a rival ferris wheel.

PC

Retro Friday: Fried Neck Bones and Some Homefries

Along with The Sunday EP, we’re introducing Retro Friday. PC—who is still out there, trust me; he’s just busy—and I both adore oldies. We have a venerable treasure trove of songs from the 60s and 70s, enough to start out own full-time radio station. But a cool radio station—so many oldies stations, the few that remain in this country, continually seem to play the some songs. Sure, some of them are classics and should still be heard, but there are hundreds, maybe thousands, of songs from the era that are just as amazing. Just as we like to do with our Christmas picks, we’re going to feature some songs you likely won’t hear anywhere else.

Fried Neck Bones and Some Homefries – Willie Bobo
The sly opening guitar chords seem to just chill your mood. By the time the horns kick in, you won’t even care what the lyrics are.

A Losing Game – James Carr
Classic R&B gem with a great groove.

Love Is a Losing Game – Amy Winehouse
Okay, we’re cheating—Obviously Amy Winehouse has done way more cocaine than any of these people. She’s also a current artist who strives for retro. But damned if don’t sound good!

Wine, Wine, Wine – The Renegades
A great long-forgotten garage band, the Renegades exploded with energy. And wine.

Scorpio Red – Holy Mackered
I know nothing about this band. A Google search pulls a band called Les Claypool and the Holy Mackered. No idea if that’s the correct band title or not.

Start All Over Again – Ida Sands
Oh, here’s a wonderful soul classic. Those background vocals, the horns, and of course Ms. Sands’ soaring and soothing voice.

And FYI about the page layout—we’re trying to find something that’s wide enough for our text yet also includes our map. Yes, we like to know where you’re at. At all times. Always. No, it just lightly strokes our ego to know someone in Russia reads the blog. So, from now until Sunday, the page might look different as we experiment.

Happy weekend. See you Sunday.

One Last Colortini

Many painful losses in the news today, including filmmaker Ingmar Bergman and football coach Bill Walsh. Two people who left indelible fingerprints in their field. Talk show host Tom Snyder also passed away. As someone on another site pointed out, Snyder was once in the front-runner to host both the NBC evening news and The Tonight Show—that’s something unheard of. But it speaks to Snyder’s remarkable versatility.

I was in high school when The Late, Late Show premiered on CBS in 1995. Having never seen The Tomorrow Show (it was canceled to make way for Letterman), I had no idea who Snyder was. Ironically, it was who Letterman hand-picked Snyder to host the program that followed Late Night. Because I had to wake up early to catch the school bus, I could only watch Snyder’s show on Friday nights or during the summers. Ever since the show went off the air, my Friday nights have not been the same.

No talk show host has ever conducted better interviews that Snyder. When someone sat on his blackened stage, it felt like just two people talking. He would bring up hard questions, he would tell stories or jokes, and he would simply enjoy the medium of late-night television. Snyder always delivered his opening monologue with ease. And usually, it ended with his trademark laugh. Snyder seemed like a man who simply enjoyed life and he loved spending his time talking with his friends, many of whom often made appearances on the show.

His talk show was the last vestige of true news in late-night television. Though I will always love Dave and Conan, neither of them could touch Snyder in his ability to simply back, relax, and talk for an hour.

So, in honor of Tom, truly one of television’s finest and a one of my heroes, 77 Santas will “fire up a colortini, sit back, relax, and watch the pictures, now, as they fly through the air.”

The Sunday EP

With the site redesign, we’re going to start a new feature: The Sunday EP. No full-length mix, just five or so songs that have been playing this past week. We’ll do our best to stay on the schedule—in the past, these things always started strong and then died out in their third week.

Tonight – Sibylle Baier
This buried treasure was originally recorded in the early 1970s, after Sibylle Baier took a road trip with a friend. The song is melancholy and intimate, sounding like something that was never intended to be shared with the world. As one of the reviews on Amazon.com said, if Sylvia Plath had been a singer rather than a poet, it might have sounded something like this.

Pretty Voice – Cloud Cult
Chamber pop that any fan of The Decemberists would probably enjoy, The Village Voice described this band as “Modest Mouse on lithium.” I can hear some Neutral Milk Hotel in here as well. The band distributes their albums on their own album and work from a geothermal energy powered organic farm. That’s indie. This song is perfect for a Sunday afternoon drive—it’s loud and warm. By the end, you’ll be driving 90 mph.

Welcome Home, Son – Radical Face
Handclaps, beautiful vocals, and dreamy vocals. Ben Cooper, only 24 years old, is the mastermind behind this band and album. The stunning chorus feels as if it washes over you. Give it a listen—this band deserves an audiences.

The Temptation of Adam – Josh Ritter
Tapping into Elliot Smith and Bob Dylan, the prolific Josh Ritter delivers yet another stunning opening line: “If this was a Cold War we could keep each other warm.” I’ve loved some of Ritter’s songs—including this one—but have felt lukewarm about others. I don’t think he’s ever fully delivered the masterpiece he’s clearly capable of producing. I’m hopeful that this album will be the one I’ve been waiting for.

Valerie – The Zutons
I don’t know why America hasn’t embraced this band more. Take this song—a message to an ex-lover that tears ass and sounds like a band at the top of their game. It manages to sound retro yet completely original, resulting in a refreshing way to end The Sunday EP.


Lastly, the final three Simpsons tracks. I had meant to post these on Friday but had some errands to run and the movie to see. On Saturday, I had to battle the weather and mow the lawn and fire up the charcoal grill before a storm. So, apologies about being late, but the movie is fantastic. I laughed around every thirty seconds. Everything I wanted.

The Monorail Song

A Fish Called Selma (Medley) a.k.a The Planet of the Apes Musical

Talkin’ Softball

The Simpsons

Continuing a feature we started at our old site, a blog celebration of The Simpsons. Originally, the series started as very Bart-centric—in the early 90s, everyone wore their “Don’t Have Cow” or “Eat My Shorts” T-shirts. Over time however, while the show explored side characters, it also realigned and focused more on Homer. Without a doubt, Homer Simpson is my favorite cartoon character ever. Though at times he does some incredibly stupid things, deep down, he is still a blue-collar man trying to do what’s best for his family. Throughout it all, Homer might be the most consistently funny cartoon character every created. Some of the songs below highlight this.

Meet the Flinstones
It’s impossible Homer Simpson without the outstanding voice-work of Dan Castellaneta. A winking nod to The Flintstones, the last prime-time animated sitcom, is brilliant.

Underwater Wonderland
Unfortunately with the popularity of Family Guy (don’t get me started—I loathe everything about that show), The Simpsons was forced to cut back on fantasy sequences and flashbacks. Family Guy doesn’t have a plot, in fact it barely has scenes, and relies solely upon fantasies and flashbacks, while usually stealing some jokes The Simpsons.

In Marge We Trust (Medley)
Better known as Mr. Sparkle, the gags suffer a bit without the subtitles, such as the Japanese soap logo saying, “I am disrespectful to dirt! Can’t you see that I am serious?”

Mr. Plow
One of my very favorite episodes that pits Barney against Homer in a battle to conquer Springfield’s competitive driveway plowing business.

The Land of Chocolate
After a German company purchases the power plant, Homer must actually answer some questions about his job. One of my favorite sequences from the show—“That was ten minutes ago!”

Honey Roasted Peanuts
Twenty dollars can buy many peanuts!

Homer’s Barbershop Quartet
The Be Sharps reunited on the rooftop of Moe’s to perform “Baby on Board.” Also a classic episode, perfectly spoofing The Beatles.

TV Sucks!
How apt—Bart is dying to see the Itchy and Scratchy big-screen movie, yet Homer punishes the boy and forbids him to see it.

Tomorrow, our final post in the celebration, featuring the very best (think monorail and apes!) songs from the show.

Merry Christmas (In July)!

The big half-way day is finally here.

I’ll Be Home for Christmas – Tift Merritt
Any song that starts with an organ this cool deserves to be listened to. A wonderful version done by the beautiful Tift Merritt.

Christmas Card from a Hooker in Minneapolis – Neko Case
Okay, we can argue about whether this Tom Waits song is really about Christmas. Quite honestly, with someone like Neko Case covering it, I don’t really care. This is quintessential Waits material that has never sounded so sublime.

God Rest Ye Merry Gentlemen – Jigsaw Seen
Tapping into “Paint It Black,” Jigsaw Seen tear through a classic that I had previously never thought could rock so hard.

Christmas Will be Just Another Lonely Day – Brenda Lee
It wouldn’t be Christmas without Brenda Lee. This is one of my favorite Christmas songs by her, filled with her smoky, sexy voice and backed-up with melancholy strings.

Hard Candy Christmas – Dolly Parton
One of Dolly’s best, in my opinion. During the chorus, you believe she’s only repeating that things will be fine only to convince herself.

Santa Claus Is Watching You – Ray Stevens
A novelty classic. One year, during a visit to Hershey Park in Hershey, PA, my cousin Travis and I kept repeating, “Cause Santy Claus is watching you!” And then Travis would do, “He’s everywhere! He’s everywhere!” in a perfectly-pitched imitation of Ray Stevens. I should point out that this happened about six years ago, when we were both over twenty-years-old.

In the Bleak Mid-Winter – Sarah McLachlan
This song was written in 1872 by Christina Georgina Rossetti, though it wasn’t published until 1904, well after her death. One website claims that Rossetti wrote this poem in response to a call for Christmas poems in Schribner’s Magazine. Whatever the muse, she left us with a haunting and beautiful song perfectly

God Rest Ye Merry Gentlemen – Aimee Mann
Like Jigsaw Seen, Aimee Mann knows how to spice up a classic. The horns and marching drums make this sound like a whole new song.

Hardrock, Coco, and Joe – The Three Little Dwarfs
Hardrock, Coco, and Joe, a Chicago-land classic and, thanks to super station WGN, a national classic too? Must be because we grew up in Central Pennsylvania and love this little film. Every Christmas morning the short was played on Bozo. Though the films have copyright info, the video quality is so poor, it’s nearly impossible to read. IMDB dates the film to 1951. Wikipedia credits it to a company called Centaur Prodictions. It’s certainly unlike anything you’ve ever seen. Originally called “The Three Little Dwarfs,” most remember this song as simply “Hardrock, Coco, and Joe.” The three are Santa’s helpers and deliver an unforgettable chorus.

O Holy Night – Nat King Cole
The king of Christmas music, Nat King Cole’s stunning voice carries this beautiful version. By the end, his delivering is moving and passionate. Each time I hear this song, I get chills.

Have Yourself A Merry Little Christmas – Judy Garland
Not that I have anything against Entertainment Weekly (subscriber for twelve years—I love you, EW!), but last year, after 77 Santas posted a history of this song, EW printed a very similar article in their magazine. Probably no correlation, but I like to think so.

I’m going to call “Have Yourself a Merry Little Christmas” the most depressing Christmas song. In fact, it was originally even more somber than the version that we know today.The song was written by Hugh Martin and Ralph Blane. Judy Garland made the song famous in her 1944 film Meet Me in St. Louis. Garland found the original lyrics too sad for a Christmas song. There is a fatalistic view on the world—there is talk of everyone being together, of muddling through, friends once gone who will come back. It reminds me a hymn almost, that promises a great reward in Heaven, where all friends and family will one day meet each other again.In fact, the original version, which Hugh Martin didn’t want to rewrite, did include religious undertones.Have yourself a merry little ChristmasIt may be your lastNext year we may all be living in the pastHave yourself a merry little ChristmasPop that champagne corkNext year we may all be living in New York.No good times like the olden days,Happy golden days of yore,Faithful friends who were dear to usWill be near to us no more.But at least we all will be togetherIf the Lord allows.From now on we'll have to muddle through somehow.So have yourself a merry little Christmas now.

Garland’s version probably has the most recognizable lyrics. There is a tender delicateness to this version—that quiet, music box-like introduction that draws the listener into the word. It’s beautiful.

Happy Xmas (War Is Over) – John Lennon
I’ve always loved “Happy Xmas (War Is Over)” but probably never more so than in the past few years. While the song was topical on its initial release, the song has sadly remained as relevant as ever and will probably always be. But it’s the message of this song that remains with me—war is over, if you want it.

Christmas Baby (Please Come Home) – Darlene Love
No surprise that we’re closing out the summer season with this, one of my favorite songs ever. The best commentary I’ve read on the song appears here, and is reprinted below.

The lyrics in this song work so well because of their simple understatement. As in the title, the single word “Christmas” is repeated by the background choir to begin each line of the song. Darlene Love then describes, in the briefest of sketches, familiar elements of Christmas: “The snow's coming down,” “Lots of people around,” “Pretty lights on the trees,” etc. Each verse ends with the same line: “(Christmas) Baby, Please Come Home!”

The chorus fills in the sketchiest of details.

They're singing “Deck the Halls,”
But it's not like Christmas at all,
'Cause I remember when you were here,
And all the fun we had last year!

And that's all we're told really. Boy and girl together last Christmas. Boy and girl not together this Christmas. Girl misses boy. So the apparent conflict is in their separation.

But there's something else going on here. There is no happy ending. The boy never shows up. If we listen closely to the lyrics and their delivery, though, we can feel another kind of tension. There is another conflict occurring, and that is between the forced joy of the season and the singer's own personal feelings of being sad and lonely. Once we become aware of this implicit conflict, the pieces of the song fall into place. We realize that the background choir is a group of people singing the single word “Christmas” over and over in a monotone, the effect being almost oppressive. In contrast, Love's individual vocal is marvelously expressive, her voice caressing and playing with every word, every syllable.

In this new light, the details of the season can be seen as constant tugs to involve the singer in the traditional, social events of the season, to give up her feelings of loneliness and isolation, to “go with the flow.”

With this tension in mind, let's see how the conflict plays out and reaches resolution.The song opens quietly. Strings quaver in the background, foreshadowing the emotions to come. Christmas bells ring on the beat. A lonely, halting bass line climbs the scale and then descends repeatedly. We work our way through the simple chord structure for one verse. Then the drums accelerate and launch us into the first vocal verse.

The vocal verses are richly layered. Multiple percussion instruments play interlocking rhythms, strings play counterpoint to the vocal, what sounds like a saxophone is used to add to the rhythmic surge.

Darlene Love's magnificent vocal soars in and around the pounding rhythms, like a surfer working her way through heavy swells, just beyond the reach of the undertow, harnessing all that power, playing with it.

A saxophone solo serves as punctuation. It is rich and warm, reminding us of the intimacy lost, the closeness needed but no longer available.

Another chorus, then the final verse. Darlene Love's voice quivers on the final word of each line, as if on the verge of tears, near breakdown. “If there was a way, I'd hold back this tear, but it's Christmas Day, please...”

Now the background singers echo her plea, “Please...” The call and response continues, accelerates, trading this one word back and forth, faster and faster, a piano now building in the background, begging for release, gradually climbing the scale, the pounding of the drums accelerating, until Darlene finally explodes, “Baby, please come home!” The piano soars now. Darlene repeats her request. The drums run free, no longer just carrying the beat but improvising, as the power of the climax winds down into release. Conflict between seasonal reminders and personal feelings are resolved, as the singer expresses her emotions fully and completely. Liberated from all restraint, she pours her true emotions out, honestly and openly, without shame or remorse.

It's instructive to compare this recording to another belonging to a prior generation, but with very similar lyric and thematic content. “One For My Baby (And One More For The Road)” was one of Frank Sinatra's favorite songs. This is a similar tale. Boy meets girl. Boy loses girl. Boy misses girl. And similarly, the tension in this song is also between the need to control and suppress one's feelings and the need to express them. The setting for the Sinatra song, though, is in a quiet bar late at night. The singer is able to express his feelings only to the bartender, and only after several drinks. He expresses his feelings with great restraint, referring to them indirectly, saying that he has to tell someone, or he “soon might explode.”

Given all these similarities, what is interesting is how different the two recordings are. The resolution of the Sinatra song is in the bar closing, the singer getting himself under control, successfully suppressing his feelings. The resolution of the Spector song is in the singer completely expressing and releasing her feelings. Whereas Sinatra successfully avoids an explosion, Love successfully explodes. The lyrics to the Sinatra song are clever and ironic. The lyrics to the Spector song are direct and effective. Sinatra offers a wonderful interpretation of “One For My Baby,” playing the part almost as an actor might. Love simply uses the words and melody as a starting point, with the real effect coming in the arrangement and vocal delivery. Instrumental backing for the Sinatra song is spare and low-key, echoing the reserve of the singer, and emphasizing the understated irony of the lyrics. Instrumentation for the Spector song is rich and multi-layered, representing the powerful opposing forces at work in the song, and the ultimate emotional release of the singer.

All in all, this masterpiece from Spector and Love is a wonderful example of the new aesthetic offered by rock music.

Thanks for spending the holiday season with us—check back in during November and December for oodles of treats. Until then, check in regularly for regular updates.

T-Minute One Day to Christmas in July

Before we make it to the Christmas songs today, I’d like to point any readers who might be fans of The Simpsons to visit IDM, our sister site, for a celebration of songs from the television show. On Friday, we’re permanently shutting down IDM and are going to use 77 Santas as our main blog. But don’t worry—November and December will still be entirely devoted to Christmas music.

Tomorrow, 77 Santas is going to end the summer holiday season with a band, so be sure to check in—we have around twenty songs lined up. Today, enjoy eight morsels of Christmas goodness.

Silent Night – The London Philharmonic Orchestra
Anyone who has checked out the past few days knows how much I love classic versions of Christmas songs. This version of Silent Night might very well be my favorite off the London Philharmonic’s Christmas album. This sweet, soaring rendition will instill the Christmas spirit in anyone.

Silver Bells – Clint Walker
Another classic country song. I hadn’t heard Clint Walker’s soothing baritone before but this is a true rendition.

Merry Christmas Baby – Ike & Tina Turner
Nothing like Ike and Tina rocking around the Christmas tree. It sure sounds like they’re happy here—let’s hope so!

Blue Christmas – Webb Pierce
Another country version of an old standard. The nice background vocals add to the melancholy.

Santa Claus, Santa Claus – James Brown
The Godfather of Soul—this one is a classic. Those vocals are just incredible.

There’s Trouble Brewin’ – Jack Scott
An original take on Twas the Night Before Christmas, this song packs a great groove. Plus, it features handclaps, which make any song better.

Christmas (Baby Please Come Home) – U2
As anyone who was a regular reader of the blog knows, this is my all-time favorite Christmas song. We’ll feature Darlene Love’s masterful original tomorrow, but in the meantime enjoy U2’s very good cover.

O Little Town of Bethlehem – The London Philharmonic Orchestra
Yet another beautiful stunner from the orchestra.

Baby, It’s Hot Outside

It's pretty dang hot in most of the country. But we can pretend it's December. Here’s the third installment for Christmas in July.

Christmas In July: Day Three

God Rest Ye Merry Gentlemen – The London Philharmonic Orchestra
A gorgeous version of the old standard. Once again, I can’t get enough of these classical treatments.

Baby, It’s Cold Outside – Steve & Eydie
This version is nothing you haven’t heard before, but it remains a fun, jazzy song.

Please Come Home for Christmas – The Uniques
One of my favorites that I’ve heard this July. I’d guess that this song is from the early 60s. It’s amazing. For those only familiar with The Eagles version, do yourself a favor and download this.

Here Comes Santa Claus (Right Down Santa Claus Lane) – Jimmy Newman
Another country classic, this version features some nice organ and Newman’s nice vocals.

Christmas on the Plains – Roy Rogers and Dale Evans
Nothing Roy and Dale riding the plains and celebrating Christmas. Another favorite from this summer, this song is a treasure.

A Root’n Toot’n Santa Clause – Tennessee Ernie Ford
Love the delicate intro to this song before Ernie’s deep, round voice comes in—this is a great little song that’s hard to get out of your head.

Silent Night – from the A.V. Bornard Collection of Music Box Medley of Christmas Songs
Another music box song. Some of the songs, this one included, give me chills—I can’t decide if I’m kind of creeped out or if I love them.

I Wish It Could Be Christmas Everyday

Day Two of our Christmas in July special. While I doubt there are many people listening to Christmas today, I am happy to be doing it. Last winter, when I told some of my friends that I helped keep a blog with Christmas music, many people kind of nodded and asked why was I ever doing such a thing. They hate holiday music—it’s irritating, it’s grating, it’s about religion and stuff!

Well, yes, that’s true. Some of it is awfully irritating. PC and I devoted some time to just terrible Christmas songs last year, including the dreaded “Christmas Shoes” and “Wonderful Christmas Time.” Top 40 radio plays these songs incessantly during the holiday season and yeah, they suck. We don’t shy away from songs focused on the religious aspects of Christmas on 77 Santas. For me, if a song is good, it’s good, no matter what it’s about.

We make it a point to post songs that you probably won’t hear on the radio. If DJs played some of our songs, everyone would be craving Christmas songs year-round. Another round of goodies today.

Christmas in July: Day Two

Snowfall – LeRoy Holmes and His Orchestra
Another song that just oozes with cool, perfectly suited to play next to your swimming pool on a hot summer day.

Old-Fashioned Christmas – Jimmy Martin
This is a song that conjures up nostalgia for a period before I was born. It sure sounds like a lovely want to spend the season.

Christmas Is Just Another Day for Me – Ernest Tubb
Here’s something for the bah-humbugs in the crowd, sung by none other than Ernest Tubb, one of the greatest voices in classic country.

I Wish It Could Be Christmas Everyday – Roy Wood and Wizzard
Somehow this starts out with the cynical sound of a cash-register ringing up a sale but deliver is a great celebration of the season that’s a mix of Beach Boys melody and modern rock.

I’ll Be Home With Bells On – Dolly Parton and Kenny Rogers
Long one of my favorites. The warm harmony and the beat just charms you.

Nut Rocker – B Bumble and the Stingers
Stick with it. Yes, you’ll recognize the beginning and then this thing takes off.

Calling On Mary – Aimee Mann
My favorite off Aimee Mann’s Christmas album from last year. Never get tired of her voice.

Oh Baby It’s Christmas All Over Again!

Happy Christmas in July. As promised, 77 Santas will be doing a little feature over the next few days doing what we love—posting Christmas songs. PC is busy this summer so we’re only going to hear from his once, but it promises to be a killer full-album post of something special.

In the meantime, I’ll be posting some Christmas mix EP’s. Not quite as long as a full mix CD and better than just a few songs, you can expect six or seven songs a day until July 25, when I’ll pull all the stops and do something special. We’ve compiled a sleigh-full of goodies and I’m trying to save some of the best for November and December.

Enjoy Christmas in July kids! The real day ain’t too far away!


Christmas In July: Day One

Greensleeves – Eddie Layton
This slow-burn version of Greensleeves, or What Child Is This, features organs and bells, creating something as enchanting as it is haunting.

Hark the Herald Angels Sing – from the A.V. Bornard Collection of Music Box Medley of Christmas Songs
Yep, that’s an old-time music box playing this song. It reminds me of an amusement park. If only everyone loved Christmas as much as us, there would be a Six Flags North Pole.

Jolly Old Saint Nicholas – Roy Drusky
I’m quite a fan of classic country music. Drusky delivers a solid and bouncy rendition of this song, one of my favorites that I remember singing as a kid.

Santa Claus Is Coming To Town – The Harmony Grits
Not as incendiary as Elvis but it’s close. Really, it’s very close. The lead vocals are so full of passion—I love it. This guy means it! Santa is coming!

Please Daddy (Don’t Get Drunk This Christmas) – John Denver
When I first saw the title, I thought it’d be a humor song. It’s not.

Silent Night – Huey “Piano” Smith & the Clowns
Never heard anyone tear into the old standard quite like this. A rocking version that’s a great summer groove.

It Came Upon A Midnight Clear – The London Philharmonic Orchestra
I love classical performances of Christmas songs. This is one of my favorites and a beautiful way to end our first day back.

July, July!

Happy Christmas in July. Be sure to check in starting July 21 for 77 Santa’s Christmas in July celebration.

Because I like it.

Two things:

1. We’re back at IDM. Check it out.

2. I don’t care how many days it is until Christmas, I love this song.

Christmas (Baby Please Come Home) – Darlene Love