After evaluating this year’s entries, finding a satisfactory mix, then waiting for a few last minute drops that could potentially strengthen the results, the research is completed and tabulated on 2013 Christmas CD’s. The results are for the most part positive, with the most successful being some of the strongest contenders evaluated in years. Every year since 2000, this critic spends hours submersed in the bins at Barnes & Noble, online at Amazon.com, and filtering through iTunes, sifting through every new release he can find, as well as revisiting a few past efforts, in the interest of assembling the perfect pop/rock Christmas playlist, a balanced compilation of contemporary acts, the occasional novelty act, and full on legends. 2011 and 2012 turned out a vast variety of entries and gave birth to arguably the two best playlists since the inaugural CD, and elevating a mark that gets ever harder to improve upon. Contenders this year included highly anticipated entries from Kelly Clarkson, Mary J, Blige, Heart, Barbra Streisand, and Neil Diamond, curiosities from Big Bad Voodoo Daddy and the reality cast of Duck Dynasty, and last minute arrivals from Leona Lewis, Glee, and Pentatonix that barely beat Santa down the chimney, but gave merit to the adage that good things come to those who wait. The best news, at least to this critic, is that 2013 could be billed as “the Season of Love”—Darlene Love, that is. Proving in fact Peter Allen’s credothat “Everything Old is New Again”, 60’s girl group influences abounded in selections, stylizations, and arrangements. Not only is this critic admittedly partial to that style and era in musical history (it is a know fact that be it a Crystal, Ronnette, Chiffon, Shirelle, or Supreme, Mark Briner has never met a 60’s girl group he didn’t love), but historically from Brenda Lee’s “Rockin’ Around the Christmas Tree” through Darlene Love’s “Christmas (Baby Please Come Home)” all the way to Mariah Carey’s “All I Want for Christmas is You”, the genre meshes perfectly with the best of modern holiday classics, in both style and spirit of the season. It’s a a very safe and easy way of giving a song a contemporary sound without risking being irreverent or straying too far from the intended feel of the piece.
First again: the criteria. (Regular readers can skip this paragraph. The rules will never change.) In this analysis, points are awarded more (at the risk of sounding like an ineffective fourth American Idol judge) for taking a particular selection of music and making it not only entertaining and fresh, but showing the artist one is famed for being in the interpretation–within the boundaries of the material. In other words, we do not want to hear your bluesy, jazz-infused “Santa Claus is Coming to Town” any more than we want to hear your punk rock “O Holy Night”. Also, while new original breakout singles are encouraged, the CD should be heavy on standards and classics. While, theoretically, one might think that eight out of ten original songs would multiply one’s odds of achieving a Christmastime hit for the airwaves, in fact all it does is give this critic seven more reasons not to listen to your album. All of this plus one mandatory restriction that under no circumstance may your CD contain a cover of “Christmas Shoes”. That is grounds not only for disqualification, but for permanent banning from all future lists. Now the results…
MOST DISAPPOINTING CHRISTMAS CD 2013
First off, it must be made clear that this designation is not synonymous with being a bad CD, just falling painfully shy of expectations. For example, past winners have included Wynonna’s beautiful Classic Christmas, which displayed a gorgeous new soft side of her voice with full symphony accompaniment on beautiful standards and hymns. But honestly, Wynonna, when one envisions you, one doesn’t think restraint. Don’t you think your true fans need a little of that huge voice they love you for? Perhaps just one big growling and wailing version of “Blue Christmas” to call your own? 2010’s winner was Mariah Carey’s cheesily titled Merry Christmas II You, her lackluster, self-gratuitous follow-up to her 1994 Merry Christmas, one of the most perfect holiday albums ever recorded, and in 2011 it was Justin Bieber’s Under the Mistletoe for a sadly missed opportunity to show his youthful, playful energy. Last year’s defending champion, the long awaited double CD from the Very Special Christmas franchise, holds the distinction of being possibly the most disappointing (and, in this case, dreadful) album ever, on any list, failing both in star power and quality of material. It was a pale imitation of the stellar albums that launched the series in 1987 and had nothing in common with them except the title and a few CD graphics.
This year’s most disappointing CD could have very well have been Mary J. Blige’s A Mary Christmas, for falling into that empty bin of failed holiday expectations. Like Wynonna’s, it’s actually a decent CD, and Blige is in fine vocal form, particularly on Nat King Cole’s “The Christmas Song”. The problem is she selected relatively safe arrangements and rarely varies from her standard issue R&B persona, with a plethora of now perfunctory vocal riffs that are not only completely unnecessary, but on Christmas music become self-gratuitous and disrespectful of the material. Blige never succeeds in bringing the sheer energy or richness that Aretha Franklin, Whitney Houston, and Vanessa Williams have employed to great success on past holiday classics. And ironically, here was the entry that could have executed best and benefited most from a salute or two to Darlene Love. This CD could have raised its grade an entire letter with a jubilant rendition of “Christmas (Baby Please Come Home)” or a rousing “Rockin’ Around the Christmas Tree”. Or, for that matter, any upbeat song. Yet, however, Blige was the one artist who ignored her legacy this season. The result comes out as a respectable but lackluster album that unfortunately comes off with her sounding a little too much like a lounge singer at times, and fails to serve her in the end. Again, not at all bad, fans will probably like it with a glass of wine around the fire, it just should have been better. Much better. (Grade: B)
Fortunately for Blige, the title goes not to a single entry but an entire line and slightly shady marketing strategy. Record labels touted pre-sales for new releases by artists such as Barbra Streisand, Neil Diamond, Martina McBride, Tony Bennett, and Alabama, sparking much enthusiasm for the variety of the 2013 holiday season. When the albums dropped, it did seem odd that many albums selected the title A Classic Christmas Album, but the impression was that they were albums of classic Christmas favorites. Only upon exploring the tracks after they were released did the knowing customer realize they were all previously released material, repackaged, many featuring updated cover material. No one buying pre-sale had any of this information, and were lead to believe they were new releases. Of course, it only took minutes to look (way further) down the list to also see Classic Christmas Albums from the likes of Luther Vandross, John Denver, Andy Williams, and George Jones & Tammy Wynette. Labels have been re-releasing holiday classics for years, but they were always clearly labeled as such and used the original covers and titles in full disclosure. The manner in which it was handled this year was deliberately deceitful. Hence the MOST DISAPPOINTING CD of 2013 is any CD for purchase with the title A Classic Christmas Album. (Grades: F for Grinch-like Christmas greed on the part of the promoters)
THE CONTENDERS
While pop artists like defending champion CeeLo Green usually have the edge, there really is no pat formula for a winner. Past recipients have included acts as varied as pop sensations *Nsync and the little Hanson boys, to completely reverent , almost classical fare from Josh Groban and David Archuleta. After pouring through as many CDs as possible this year, this was a rare season where most artists selected a style and committed to it. Unlike most recent years of playing it safe with bland offerings, be it a comfortable fit for the artist or the resurgence of the 60’s sound discussed above, most of the albums this year had a theme and a feeling of unity in their vision. It made for the most enjoyable journey to explore them, and turned out more than a few genuinely great surprises.
One of the more unique entries was It Feels Like Christmas Time by Big Bad Voodoo Daddy. Having gained major praise on their previous 2004 effort Everything You Want for Christmas for the musical genius of being the first ever to cover the awesome neoclassic “Mr. Heatmiser/Mr. Snowmiser” duet from perennial Christmas special favorite A Year Without a Santa Claus. Picking up where Bryan Setzer left off, and hijacking his sound on a bullet train to New Orleans, their over the top Cab Calloway on Bourbon Street take made for one of the best surprises in the history of this list. Wisely, they don’t vary the formula, and somehow big Dixieland and dirty brass make for some very memorable and really fun interpretations. Not surprisingly, secular fare like “Frosty the Snowman”, “Rudolph the Red Nosed Reindeer”, and “Run Run Rudolph” benefit most, but once again the gem is another spin on a CBS Christmas classic, taking “You’re a Mean One, Mr. Grinch” to a bigger, bolder, brassier place. Other tracks fare differently depending on who takes lead vocals, but overall, the novelty hit of the season. (Grade: A-)
Then there is Duck the Halls: The Robertson Family Christmas featuring the cast of the (and it pains to say the words) hit reality series Duck Dynasty peppered with a few visits from some big name Nashville friends. The strangest offering since those obnoxious canines barked “Jingle Bells”, this was not only the #1 selling Christmas CD of the season, it was actually the #1 country album the week it debuted. Being the Age of Kardashian, there is no need to review this. Obviously if you like the show, this is your CD. If, like this critic, you don’t get redneck humor….In the spirit of the season, let’s just leave it that they obviously have fans. But do we really need to hear your untrained family sing-along by the fire? By all means, enjoy your family Christmas, but did it need to be made public? If so, Justin and Hayley, get it together. We’re recording next year. (Grade: whatever, you be the judge)
Heart gave a wide re-release to a previously very limited release A Lovemonger’s Christmas, actually from the Wilson Sisters’ Heart hiatus with acoustic band The Lovemongers (originally released as Here is Christmas by The Lovemongers in 1998). While personally anticipating hearing Annie Wilson’s soaring vocals again, this entry is a hard one to review. It is virtually all original soft rock songs with Christmas themes, and in that aspect it’s actually a very good CD full of tuneful selections by a more mature Heart. However, as a Christmas CD, it doesn’t have enough genuine Christmas appeal and violates the “not enough standards” clause of the rules. The saving graces are the two traditional pieces included, Wilson showing off her legitimacy with a solemn version of Schubert’s “Ave Maria” (however, losing a little in the process by utilizing an English translation that may or may not be classically accurate), and a superior four part a capella rendition of “O Holy Night” where she employs her fellow band members individually as never before. This cut alone makes the album an overall success. (Grade: B+, available only on CD)
Our Very Special Christmas franchise attempted to redeem last year’s debacle with Icon: A Very Special Christmas, featuring “the best and most beloved” of the classic series. Neither is particularly true. It’s more like they featured those names who may still be able to sell a record here and there. In any other year, criticism would have been significantly harsher, but this year they get extra credit for simple declaring it to be previously released material. Considering some of the tracks are 20 years old, and not everyone has all former volumes, this kind of re-release can be justified. Overall it’s not truly the best tracks they could have assembled, but it’s certainly a decent representation of the series. (Grade: B+, the + for truth in packaging)
Jewel released Let It Snow: A Holiday Collection which shows her folksinger roots off leaning a little further into country. Like most folksingers, her voice is thin and untrained, but the inherent vulnerability works in the expected selection of easy listening standards like “Sleigh Ride” and “Silver Bells”. She fares best when she tosses a little nod to Brenda Lee in the title song. This is the kind of album that will get lost in the pack of holiday releases, but is a solid showing. (Grade: B)
Pentatonix took a wise cue from Lady Antebellum last year, taking their 2012 limited release EP PTXmas and adding two new tracks to expand it into a “Deluxe” edition. Last year’s release was a disappointingly bland offering for the group who had established a name for themselves by transcending the limits of a capella singing. Their amazing performances on The Sing Off season 3 showed a group of five who could produce more layered, rich, and sound laden arrangements than other groups of twenty. They were the only group who without dispute owned their title. Hence their original offering was initially disappointing when it featured rather pedestrian arrangements that the pre-Anna Kendricks Barden Bellas could have penned. Wisely, like Lady Antebellum from 2011-2012, they added two superior tracks, “O Holy Night” and the YouTube sensation “Little Drummer Boy” , redeeming their prior work and reestablishing to us all who Pentatonix truly is. (Grade: A- for the Deluxe version, B- for the original. Both versions available for MP3 download only.)
Fox TV and Ryan Murphy played with our heads a little this year, announcing there would not be a Glee Christmas album release or Christmas episode this year because their story has spread the school year over 2 seasons (so as to keep the surviving originals there as long as possible) and chronologically this season takes place in spring semester. Then last week they dropped a tongue-in-cheek PR bomb that there was a “lost Christmas episode” so offensive in content that Fox forbid them from airing last year, demanding a blander, more viewer friendly seasonal episode, followed by the iTunes-only release of Glee: the Christmas Music volume 4 this week. Because it’s in the context of a bizarre Christmas season story, most of the tracks don’t lift well. The solos are unevenly distributed, with way too much Chris Colfer and drag queen Alex Newell and, inexplicably, virtually none by Baby Bing Crosby Darren Criss or Lea Michelle Streisand, whose smooth vocals and trained theatrical pyrotechnics respectively usually salvage the average CD. Worst are the strange cuts featuring Colfer without his usual safety net of Criss. His “Here Comes Santa Claus” trio with Michelle and Naya Rivera comes across like that sleazy guy in the local gay men’s chorus who tragically slinks through “Santa Baby” dressed like a slutty elf. The trio’s helium filled “Chipmunk Christmas Song” lead by a male stripper Santa as David Seville (don’t ask, just watch the episode–or don’t), also pushes the envelope of the bizarre.. On the other hand there is a respectable full company arrangement of “Rockin’ Around the Christmas Tree” lead by dependable veteran Matthew Morrison that will go into the vault for a slow year when the playlist demands one. (Grade: C+ if you take it in context of the show, C- if you don’t. Available only on iTunes.)
BEST OVERALL CD 2013
In the end, this Season of Love boiled down to two contenders who fully embraced the 60’s girl sound and banked it into two of the best albums every reviewed. Kelly Clarkson’s Wrapped in Red was by far the most anticipated release of the season and it rewards every minute of the wait. Clarkson works within a variety of 60’s inspired sounds and helped pen five original tracks, all of which are immensely more successful than the standard original fare. The title song and “Underneath the Tree” are exceedingly radio worthy (the latter having popped up on local playlists) and could be successful even as non holiday music. “4 Carats” is a fun, playful Santa-gimme number with a more contemporary flavor, as if “Santa Baby” had been written in 2013 by Katy Perry. But the best and most rewarding tracks by far are when Clarkson jumps the heretofore established gender barrier and tackles “Run Run Rudolph” with her best Chuck Barry, and then closes with a stunning girl group trio version of “Silent Night” featuring Reba McIntyre and Trisha Yearwood. Three superstars pulling back to blend into one sound is a pleasure we haven’t been treated to in over a decade since Dolly Parton, Linda Ronstadt, and Emmy Lou Harris treated us to their last “Trio” album. The trio here, with their restrained vocals and tight harmony, especially on the hauntingly beautiful last a capella verse, is likewise one of those perfect musical moments of sheer magic and a stirring way to close this wonderful album. Clarkson stumbles only once, turning in an uncharacteristically uninspired “Blue Christmas”, when she possesses the vocal and musical ability to either rock it out belting like Annie Wilson’s version or dressing it up in a great musical flourish like Michael Bublé. Or, in her unique way, even do both. This is a very minor critique, though. Overall, Clarkson aimed big, maintained her vision, and has delivered one of the best Christmas albums of the new millennium. (Grade: A+)
Clarkson had this year’s Best Overall title in the bag and her name practically engraved on the plaque since her release date. Then, much like the Grinch at minutes before midnight on Christmas Eve, Leona Lewis slinked down the chimney and delivered us a last minute present in the form of Christmas, With Love. (Is the title telling, or coincidental?) Almost as if Simon Cowell had grown incessantly tired of Randy Jackson namedropping that he discovered Mariah Carey every third sentence, that he had his protogé come out swinging head to head with Carey’s crowning achievement, her 1994 Merry Christmas CD. In the process, they apparently also sprung Phil Spector out on work release to recreate his full on Wall of Sound, and received a visit from the Ghost of Christmas (Baby Please Come Home) Past herself Ellie Greenwich to come out with an amazing throwback album. Lewis excels in delivering the best rendition of Love’s signature hit since Carey. She also turns in great versions of the Ronnettes’ “Winter Wonderland” and “White Christmas”, the Wizzards’ long forgotten but suddenly ubiquitous “I Wish It Could Be Christmas Every Day”, and two original selections, “One More Sleep” and “Mr. Right” that could easily have been tracks penned by Greenwich off a lost Crystals Christmas recording. “One More Sleep” in fact has the potential to be the biggest break out single since “All I Want for Christmas is You”, if the 24 hour radio stations can look outside of the confines of their corporate mandated playlists. (It certainly merits airplay way more than Carey’s ghetto-tragic “Oh Santa” from her delusional 2010 follow up Christmas CD.) Lewis’ is the rare Christmas CD that never falters, vocally or stylistically. In the showdown, she also sees Carey’s hand with a more reserved yet still grandiose “O Holy Night” (i.e., no Mariah hands riffing all over the place), and then raises her ante with a solid classical performance on Schubert’s “Ave Maria”. While certainly a stretch for the pop diva, it is respectable and shows off a legitimate full voice soprano, as opposed to those chirpy, dead battery fire detector notes Carey refers to as her “upper three octaves”. The entire CD captures a flawless balance of paying tribute to a wonderful retro era yet at the same time maintaining a contemporary sound. (Grade: A+)
Now the hardest decision this critic has had to make since the inception of the Christmas playlist evaluation 13 years ago. With possibly the two strongest entries ever reviewed going head to head in a dead heat tie meant solid days of playing both over and over with the winner consistently being the one that was currently playing. Unable to decide yet unwilling to take the cop out of a shared title, additional sudden death criteria was employed, such as assigning Clarkson bonus points for having more tracks, or for writing her own successful original songs, or to Lewis for her overall strong arrangements and lack of filler material. Still achieving a draw, the final evaluating factor was to read their respective praises above in my own words. Thus, after several analytical readings, the reviews above seem to indicate that the BEST OVERALL CD of 2013 (by the a wrapping paper’s thickness) is decided in favor of Miss Lewis, with a huge consolation prize and an asterisk going to Kelly Clarkson. This honestly was a virtual tie, and the reader can’t go wrong by splurging on both albums this year.
Now, as far as the resulting playlist, this year’s list feels like it requires some explanations that may even sound like apologies. This is a playlist, not just a list of songs. Some songs make it or don’t depending solely on what they add—the right style, the right balance of pop and standard, sometimes even just the right transition in the right tempo and key to make the list flow. Also, there is a limit of two tracks by the best artists, just so the playlist doesn’t turn into playing someone’s augmented Christmas CD. Good cuts sometimes appear a year later for better fit. And then there is the fact that last year’s Glee Christmas Album volume 3 didn’t arrive in time to be included, so it is more heavily represented here, when needed for various reasons. After all consideration, featured below is Mark’s Christmas Playlist 2013 (in order to be played, not by merit):
ROCKIN’ AROUND THE CHRISTMAS TREE 2013
1. IT”S CHRISTMAS TIME AGAIN (the Backstreet Boys)–Yes they’re yesterday’s news, and yes they should reconsider modifying their moniker to BSB or Backstreet or anything as they push 40, and most importantly, yes One Direction let me down by not recording a Christmas song. Even so, last year’s reunion with NKOTB provided the impetus for them to record a fun upbeat contemporary novelty that works well to kick off the list.
2. JINGLE BELL ROCK (Chord Overstreet)--From last year’s Glee Christmas album that didn’t arrive until the playlist was finished and strong enough to not need any last minute tweaking, Overstreet, the highly underrated and unsung hero of the aging series, was the one cut that would have made it otherwise and was guaranteed a spot on this year’s list. And it’s one of the better recordings of this song in recent years.
3. SANTA CLAUS IS COMING TO TOWN (Colbie Caillat)--From last year’s Christmas in the Sand, another alternate take that combines Caillat’s breezy vocals with a kona drum arrangement that lost out to a better suited version of the standard last year, proving sometimes a green Christmas is just as nice.
4. CHRISTMAS (BABY PLEASE COME HOME) (Leona Lewis)–The best cut from this year’s best album, and the best version since Mariah Carey’s, both of which are in the best spirit of Darlene Love’s original.
5. RUN RUN RUDOLPH (Kelly Clarkson)--the best cut from this year’s other best album, putting on her Chuck Berry and rocking out with the best of the big boys who have recorded it before her.
6. ROCKIN’ AROUND THE CHRISTMAS TREE (Victoria Justice)--As the perpetual title of the playlist, the Brenda Lee classic is required every year. This cut off last year’s Merry Nickmas! album pales to Justice’s original song that opened the list last year, but it’s still an upbeat and fun arrangement, actually better than most recent versions.
7. FROSTY THE SNOWMAN (Big Bad Voodoo Daddy)–Dixieland is deemed as one of the few true American musical art forms, and the brass laden treatment is a perfect mesh for a fun arrangment of a song that is rarely recorded anymore.
8. THE LITTLE DRUMMER BOY (Pentatonix)—A last minute amazing a capella arrangement of a song that usually falls flat and long in contemporary recordings. Their vocal richness just multiplies verse after verse as they simultaneously pass the lead line around like a game of musical hot potato. Perhaps their quintessential recording so far.
9. WHAT CHRISTMAS MEANS TO ME (Darlene Love)--Since she seemed to serve as inspiration for a multitude of entries this year, it only seemed fitting that in tribute, Miss Love was awarded her own spot. Trouble being over the past 12 editions, most of her better songs have already been used. This cut from her 2010 It’s Christmas, of Course CD isn’t her strongest, but even inferior Darlene Love is still superior Darlene Love.
10. WHITE CHRISTMAS (CeeLo Green)–Even CeeLo saluted Darlene Love with his cover of her arrangement on last year’s best CD.
11. FELIZ NAVIDAD (Kevin McHale)--Another strong cut from last year’s Glee collection, McHale has been the series’ underrated workhorse from the beginning. Yet, this selection may not have made it except that it’s another song that mysteriously, despite it’s festive and infectious nature, is rarely covered, and actually happened to be the only song that perfectly transitioned into…..
12. HOLLY JOLLY CHRISTMAS (Scotty McCreery)–Again, from last year’s debut Christmas album, McCreery lost out to Blake Shelton’s higher profile offering for the maximum one country selection allowed per season. A fun and under recorded song, and, sorry, Jewel, the reason you didn’t make the cut this year (limit remains one).
13 I WISH IT COULD BE CHRISTMAS EVERYDAY (Leona Lewis)--Another outstanding performance by Lewis in another perfect period arrangement.
14. THE FIRST NOEL (Melissa Benoist)–Yet another entry from last year’s Glee compilation, but Benoist is a stand in. This year’s list was high on contemporary and too low on traditional carols. The perfect answer to keep the list relevant to 2013 was to use Carrie Underwood’s version of the carol (because who has been talked about more this holiday season than her?) However due to marketing restrictions, hers is only available for sale with the entirety of one of those horrible “Wow Now Aren’t You Glad It’s Chrstmas” featuring 38 of the same 40 songs we released last year” compilations. Actually all of Underwood’s Christmas music seems to only appear on similar compilations from early in her career, and the one that is available for purchase pales vocally to the way she has artistically matured. (Note to Carrie Underwood—a great Christmas album would redeem a lot of that smack talk you received this week. Work on that.) Benoist’s version, despite her pleasant but vanilla bland voice, is perfectly serviceable and benefits from a rich a capella backup, while giving the playlist a little needed solemnity of the season.
15. IT’S BEGINNING TO LOOK A LOT LIKE CHRISTMAS (Michael Bublé)--a playlist without Michael Bublé these days is like a year without Santa Claus. Plus this song never gets enough attention and Bublé’s caramel vocals are a perfect fit.
16. YOU’RE A MEAN ONE, MR. GRINCH (Big Bad Voodoo Daddy)--Nostalgic Christmas fun with a big bad Jessica Rabbit arrangement. What’s not to love? Take it home, Max.
17. HAPPY CHRISTMAS (WAR IS OVER) (Corey Monteith)--While not a fan of this song, this cut from last year’s Glee disc made it solely as a tribute to Monteith’s tragic passing this year. As what turned out to be his last Christmas recording, it is also a testament to how much he had grown as a vocalist over the years thanks to the show, a far cry from the scratchy, overly autotuned Finn Hudson we grew to love when he made “Don’t Stop Believin’” a new anthem for a new generation. You are missed.
18. I’LL BE HOME FOR CHRISTMAS (Lea Michelle)--The last of 2012’s Glee offerings, Michelle once again opens up her best can of Diet Streisand in a nice update of Barbra’s classic version (so, an inadvertent tribute to Barbra Streisand’s A Classic Christmas Album?). Will somebody just give this girl a Funny Girl revival already?
19. O HOLY NIGHT (Heart)–The Wilson Sisters give us a wonderful Christmas gift, an unexpectedly restrained and reverent four part a capella version that relies not on Annie’s rich and powerful vocals but a full and balanced sound sharing the wealth with the entire band equally.
20. SILENT NIGHT (Kelly Clarkson, Reba McIntyre, & Trisha Underwood)--Clarkson, on a her otherwise upbeat and festive pop Christmas album, pulls back for the final track to join forces with her new mother-in-law McIntyre and country powerhouse Yearwood for a stunning, three part girl trio arrangement. The last a capella verse is one of those chillingly beautiful instances of sheer musical perfection.
21. HAVE YOURSELF A MERRY LITTLE CHRISTMAS (Linda Ronstadt & the Nelson Riddle Orchestra)–The final tribute of the playlist. When Ronstadt announced earlier this year that she was suffering from Parkinsons’s Disease and it had effected her vocal chords rendering her unable to sing again, for this critic, that was the Day the Music Died. The greatest and purest voice of this generation, Ronstadt showed over her 40 year career that there was no style of music she couldn’t sing. Her repertoire encompassed blue grass, country, pop, rock and roll, oldies, Motown, new wave, even mariachi, and, in a bold move at the pinnacle of her recording career, tossed everything to the wind to perform big band standards. Joining with the incomparable Nelson Riddle Orchestra, her first big band album made Grammy history by winning as best pop female vocalist. Their collaboration produced two equally stellar albums and a 2000 Christmas CD. Ronstadt forced me to break my rule of never repeating a selection from a previous year, but having already used the best cuts, for her final appearance on this playlist, there was no doubt that this song must make it. Representative of the clarity and power of her voice, this beautiful Hugh Martin classic, already immortalized by a young Judy Garland to perfection in Meet Me in St. Louis, gives Ronstadt all the movements, soaring jumps, and big notes to show off the incredible power and range that her voice possesses. Backed by Riddle’s sublime accompaniment, Ronstadt shows that the greatest voice of her lifetime can do all the vocal acrobatics and turn in a uniquely amazing performance without superfluous runs or self-absorbed Mariah hands. This is the perfect close to any Christmas playlist, and gives one last bow to a voice that will be sadly missed.