Christmas albums are, for the most part, one-offs, and one particular effect of this is that they rarely ever get truly tight.
The Christmas record trend seems to never ebb out, and just goes from strength to strength.
Every Christmas album is, in a way, a concept album.
But, conversely, we rarely see any of them that venture far beyond the connotations offered by Christmas itself.
Something interesting has happened in the past year when searching for almost any Christmas standard on a streaming platform.
One of the most wonderful things about listening to the very earliest attempts at Christmas albums is to see a genre take form. Take radio personality Arthur Godfrey.
As the pandemic which dictates the bounds of our daily life entered its second year, it felt like even Christmas music was deflation.
There’s a fascinating parallel between how traditional Tin Pan Alley pop, on the one hand, and prog rock, on the other, is treated by mainstream music journalism.
You’d hardly expect a hip, critically lauded psychedelic rock band of the late sixties to release a Christmas album.
Perhaps the most unique feature of the rock‘n’roll revolution in the mid-fifties is its cross-market singularity.
I know, of course, that it’s another year of crisis and that Christmas will continue to be indelibly different this year.