Bob Dylan All the Songs
Page 90
The introduction to “Winter Wonderland,” with bells clanking and beautiful female vocals, showcases vocalists Amanda Barrett and Abby DeWald, both extraordinary musicians of the group the Ditty Bops, known for the quality of their harmony vocals. Dylan’s version is a success, quite close to Dean Martin’s for the music and Louis Armstrong’s for the vocal.
COVERS
The Eurythmics’ version of “Winter Wonderland,” released on the album A Very Special Christmas (1989), is the most frequently played version, according to the American Society of Composers, Authors and Publishers (ASCAP).
Hark The Herald Angels Sing
Felix Mendelssohn / Charles Wesley / Arrangement Bob Dylan / 1:53
Musicians: Bob Dylan: vocals, guitar; Phil Upchurch: guitar (?); David Hidalgo: guitar; (?): violin; Donnie Herron: violin; Patrick Warren: piano, celesta; Tony Garnier: upright bass; George G. Receli: drums; Amanda Barrett, Abby DeWald, and Nicole Eva Emery: backup vocals / Recording Studio: Groove Masters, Santa Monica, California: May 2009 / Producer: Jack Frost (Bob Dylan) / Sound Engineer: David Bianco
Genesis and Production
This Christmas carol first appeared in the collection Hymns and Sacred Poems, written by Charles Wesley and published in 1739. A century later, and after various alterations to the text, Felix Mendelssohn composed the “Festgesang” (or “Gutenberg cantata”) to commemorate Johannes Gutenberg’s invention of the printing press four centuries earlier. British musician William Hayman Cummings adapted Mendelssohn’s work and renamed the piece “Hark the Herald Angels Sing.” This beautiful melody, served by lyrics in praise of a general reconciliation between God and sinners, inspired Dylan.
The orchestration of “Hark the Herald Angels Sing” is restrained and classic, including violins, upright bass played with a bow, classical guitar, piano, and celesta. The superb female backup vocalists illuminate the song. Dylan proclaims the birth of the Christ in his hoarse voice, with a deep sincerity in his interpretation of this beautiful song.
I’ll Be Home For Christmas
Walter Kent / Kim Gannon / Buck Ram / 2:55
Musicians: Bob Dylan: vocals; Phil Upchurch: guitar (?); David Hidalgo: guitar (?); Donnie Herron: steel guitar; Patrick Warren: piano; Tony Garnier: upright bass; George G. Receli: drums; Amanda Barrett, Bill Cantos, Randy Crenshaw, Abby DeWald, Nicole Eva Emery, Walt Harrah, and Robert Joyce: backup vocals / Recording Studio: Groove Masters, Santa Monica, California: May 2009 / Producer: Jack Frost (Bob Dylan) / Sound Engineer: David Bianco
Genesis and Production
“I’ll Be Home for Christmas” was written by Kim Gannon and composed by Walter Kent in the summer of 1943. It was first recorded by Bing Crosby in October 1943. In the song, a soldier writes a letter to his family to announce that he is coming home for the Christmas holiday, but that appears to be merely wishful thinking. The song ends with the melancholy lines, “I’ll be home for Christmas / If only in my dreams.”
All the biggest names in American music recorded their version of “I’ll Be Home for Christmas,” including Frank Sinatra, Elvis Presley, the Beach Boys, and the Platters, among others. Bob Dylan added his name to this prestigious list.
The production and the instrumental arrangements are elegant, and the result is very convincing. The gap, however, between Dylan’s rather melancholy performance and the angelic voices of the backup vocalists adds a poignant feeling to the song. Dylan’s version takes inspiration from those of Bing Crosby and Elvis Presley, although one of the guitarists plays a gypsy rhythm on jazz guitar.
FOR DYLANOLOGISTS
In December 1942, lyricist Buck Ram held the copyright of “I’ll Be Home for Christmas (Tho’ Just in Memory),” even though his poem had little to do with Bing Crosby’s original 1943 song. Following a lawsuit, Ram was credited as a co-writer of the song.
Little Drummer Boy
Katherine K. Davis / Henry Onorati / Harry Simeone / 2:54
Musicians: Bob Dylan: vocals, guitar (?); Phil Upchurch: guitar; David Hidalgo: mandolin (?), guitar (?); Donnie Herron: steel guitar; Patrick Warren: organ (?); Tony Garnier: bass; George G. Receli: drums; Amanda Barrett, Bill Cantos, Randy Crenshaw, Abby DeWald, Nicole Eva Emery, Walt Harrah, and Robert Joyce: backup vocals / Recording Studio: Groove Masters, Santa Monica, California: May 2009 / Producer: Jack Frost (Bob Dylan) / Sound Engineer: David Bianco
Genesis and Production
“Little Drummer Boy” was written by Katherine Kennicott Davis in 1941, initially under the title “Carol of the Drum.” The song is based on a traditional Czech Christmas carol. “Little Drummer Boy” was an enormous success worldwide after the Austrian group the Trapp Family Singers released it in 1955 and the Harry Simeone Chorale included it on their album Sing We Now of Christmas three years later. The tale is about a poor young boy who has no gift for the infant Jesus and who plays his drum under the watchful eye of the Virgin Mary.
“Little Drummer Boy” is one of the most widely adapted of all Christmas carols. After Bing Crosby, the song was covered by Johnny Cash, Ray Charles, the Supremes, Joan Baez, Stevie Wonder, and the Temptations, among others. Dylan chose to record a cover of “Little Drummer Boy” with infinite gentleness and restraint. His interpretation is delicate, backed by vocalists and light orchestration. Two instruments provide a different color from the traditional arrangements: first, Phil Upchurch on electric guitar enriches it with a very prominent vibrato; and second, Donnie Herron contributes steel guitar. Dylan released a music video of the song.
The Christmas Blues
Sammy Cahn / David Jack Holt / 2:55
Musicians: Bob Dylan: vocals, guitar, harmonica; Phil Upchurch: guitar; David Hidalgo: guitar; Donnie Herron: steel guitar; Patrick Warren: piano; Tony Garnier: upright bass; George G. Receli: drums / Recording Studio: Groove Masters, Santa Monica, California: May 2009 / Producer: Jack Frost (Bob Dylan) / Sound Engineer: David Bianco
Genesis and Production
Sammy Cahn wrote countless songs during the golden age of Broadway and Hollywood. Jo Stafford recorded “The Christmas Blues” in September 1953, followed a month later by Dean Martin. But since Martin’s record was released first, his became much more successful.
Cahn distinguished himself from other composers of Christmas carols. The narrator does not taste the joy of happy crowds mingling in the streets. He feels lonely: “There’s no one that I know /… But what’s the use of [shopping] / When there’s no one on your list”; he claims, “Santa only brought me the blues.” This is, of course, what attracted Dylan. The song suits him perfectly, and he interprets it with conviction, even if we imagine him singing it in a smoky bar rather than in front of a nativity scene. He provides a superb harmonica solo, somewhat in the style of Stevie Wonder. His version is obviously much more bluesy than Dean Martin’s.
COVERS
Another extraordinary recording of “The Christmas Blues” is by Canned Heat with Dr. John on piano, recorded in 1968.
O’ Come All Ye Faithful (Adeste Fideles)
Traditional / Arrangement Bob Dylan / 2:55
Musicians: Bob Dylan: vocals, guitar; Phil Upchurch: guitar; David Hidalgo: accordion; Donnie Herron: mandolin (?), trumpet; Patrick Warren: organ; Tony Garnier: upright bass; Amanda Barrett, Abby DeWald, and Nicole Eva Emery: backup vocals / Recording Studio: Groove Masters, Santa Monica, California: May 2009 / Producer: Jack Frost (Bob Dylan) / Sound Engineer: David Bianco
Genesis and Production
The song, known in Latin as “Adeste Fideles,” was originally sung by Christians during the Christmas holiday season. Even if “O’ Come All Ye Faithful (Adeste Fideles)” is attributed to St. Bonaventure (thirteenth century), various authors, from King John IV of Portugal to German opera composer Christoph Willibald Gluck, have claimed ownership. Only the source of the English translation by the English Catholic priest Frederick Oakeley in 1841 is certain. The song recounts the celebration of the birth of Jesus. Dylan sings this staple of the Midnight Mass in Lati
n with his deep and husky voice. While his interpretation is at odds with the usual interpretations of this classic, his desire to record it makes his performance heartbreaking. Only one complaint: the arrangements are not the most successful of the album. “Adeste Fideles” requires a bigger orchestration.
Have Yourself A Merry Little Christmas
Ralph Blane / Hugh Martin / 4:06
Musicians: Bob Dylan: vocals; Phil Upchurch: guitar; David Hidalgo: guitar (?); Donnie Herron: mandolin (?); Patrick Warren: piano; Tony Garnier: upright bass; George G. Receli: drums; Amanda Barrett, Abby DeWald, and Nicole Eva Emery: backup vocals / Recording Studio: Groove Masters, Santa Monica, California: May 2009 / Producer: Jack Frost (Bob Dylan) / Sound Engineer: David Bianco
Genesis and Production
This composition was written by Hugh Martin and Ralph Blane. “Have Yourself a Merry Little Christmas” was performed by Judy Garland in the 1944 MGM musical Meet Me in St. Louis, directed by Vincente Minnelli. Garland sings it to her younger sister Tootsie (Margaret O’Brien) on Christmas Eve, after their father has announced their move from St. Louis to New York City for a business promotion.
After Judy Garland, Frank Sinatra recorded the song, first in 1950 and then a second time in 1963 with more cheerful lyrics. “Have Yourself a Merry Little Christmas” was then covered by numerous performers, all keeping the extraordinary emotional force of the lyrics, including Jackie Gleason, Ella Fitzgerald, James Taylor, Whitney Houston, and Mary J. Blige.
Dylan gives a superb rendition of this beautiful song. If his version is far removed vocally from Sinatra’s, the jazzy arrangements are perfect. Upchurch provides an excellent introduction on guitar before continuing on a swing rhythm. He is backed by Hidalgo on guitar with a very intense vibrato and Warren on piano. The rhythm section of Receli and Garnier plays with finesse. There is also a very discrete mandolin, probably Herron’s.
IN YOUR HEADPHONES
At 1:16, an off-tune note in the left stereo channel is heard, apparently played on piano.
Must Be Santa
Bill Fredericks / Hal Moore / 2:49
Musicians: Bob Dylan: vocals, guitar; Phil Upchurch: guitar; David Hidalgo: accordion; Donnie Herron: mandolin; Patrick Warren: piano; Tony Garnier: upright bass; George G. Receli: drums, tambourine; Amanda Barrett, Bill Cantos, Randy Crenshaw, Abby DeWald, Nicole Eva Emery, Walt Harrah, and Robert Joyce: backup vocals / Recording Studio: Groove Masters, Santa Monica, California: May 2009 / Producer: Jack Frost (Bob Dylan) / Sound Engineer: David Bianco
Genesis and Production
Mitch Miller first recorded and released “Must Be Santa” in 1960, but the cover by English rock ’n’ roller Tommy Steele entered the UK hit singles chart that same year. “Must Be Santa” is structured as a series of questions and answers. The lead singer asks, “Who’s got a beard that’s long and white?” The backup vocalists reply, “Santa’s got a beard that’s long and white.” Inspired by the Brave Combo version, Dylan changes this German drinking song into a polka style with a dominant accordion. Dylan released a music video of this song, directed by Nash Edgerton. The setting is a Christmas house party, during which two of the guests start fighting with each other and smashing gifts, glasses, and other objects. Afterward, one of them runs away through a window. In the closing scene, we see Dylan next to Santa!
This version, far removed from Tommy Steele but very close to Brave Combo, is a real surprise. The entire group, including Dylan, has fun. His interpretation is jubilant, and after seeing Edgerton’s music video it is hard not to imagine him singing with a blond wig under his hat. All the musicians are excellent, particularly David Hidalgo, who provides an inspired accordion part.
FOR DYLANOLOGISTS
The band Brave Combo was formed in 1979 by accordionist Carl Finch in Denton, Texas. The band often reinterprets rock songs, mixing them with Latin American and Caribbean styles, but also polka.
Silver Bells
Raymond B. Evans / Jay Livingston / 2:36
Musicians: Bob Dylan: vocals, electric piano (?); Phil Upchurch: guitar; David Hidalgo: mandolin (?), violin (?); Donnie Herron: steel guitar, mandolin (?), violin (?); Patrick Warren: piano, organ; Tony Garnier: upright bass; George G. Receli: drums / Recording Studio: Groove Masters, Santa Monica, California: May 2009 / Producer: Jack Frost (Bob Dylan) / Sound Engineer: David Bianco
Genesis and Production
Bob Hope and Marilyn Maxwell sang “Silver Bells” in the 1951 comedy film The Lemon Drop Kid, directed by Sidney Lanfield. However, the first recorded version of the song was by Bing Crosby and Carol Richards in October 1950. After them, many artists, including Dean Martin, Elvis Presley, Stevie Wonder, and the Supremes, covered the song. More than half a century later, Dylan added “Silver Bells” to his repertoire, proclaiming the good news: “Silver bells, silver bells / It’s Christmas time in the city.”
Like Bob Hope in The Lemon Drop Kid, it is easy to imagine Dylan, dressed as Santa Claus, singing this melody in his deep voice in front of a department store. His version differs from the others’ because of Dylan’s more direct and aggressive spirit in the interpretation. Moreover, mandolin, violin, and steel guitar confer a successful country vibe on the piece.
The First Noel
Traditional / Arrangement Bob Dylan / 2:31
Musicians: Bob Dylan: vocals, guitar, electric piano; Phil Upchurch: guitar; David Hidalgo: accordion; Donnie Herron: violin, mandolin (?); Patrick Warren: organ, celesta; Tony Garnier: upright bass; George G. Receli: drums; Amanda Barrett, Bill Cantos, Randy Crenshaw, Abby DeWald, Nicole Eva Emery, Walt Harrah, and Robert Joyce: backup vocals / Recording Studio: Groove Masters, Santa Monica, California: May 2009 / Producer: Jack Frost (Bob Dylan) / Sound Engineer: David Bianco
Genesis and Production
“The First Noel,” also known by the titles “The First Nowel,” “For Christmas Day in the Morning,” and “A Carol for the Epiphany,” is a traditional English folk song, probably originally from Cornwall. It was first published in the collections Carols Ancient and Modern (1823) and Gilbert and Sandys’ Christmas Carols (1833). The lyrics changed slightly over time, but the theme remained the same: the announcement to the shepherds of the birth of the messiah and their adoration of him in the nativity. Many artists have recorded this hymn to the nativity, beginning with Bing Crosby in 1949 and including Frank Sinatra, Neil Diamond, and Whitney Houston.
Despite excellent vocalists in the introduction, Dylan’s “The First Noel” does not seem to find its pulse. The arrangements are overburdened and lack subtlety, in contrast to the other tracks on the album. Dylan still provides a superb vocal, using vibration in the back of his vocal cords.
Christmas Island
Lyle Moraine / 2:29
Musicians
Bob Dylan: vocals, guitar
Phil Upchurch: guitar
David Hidalgo: mandolin
Donnie Herron: steel guitar
Patrick Warren: piano
Tony Garnier: upright bass
George G. Receli: drums
Amanda Barrett, Abby DeWald, and Nicole Eva Emery: backup vocals
Recording Studio
Groove Masters, Santa Monica, California: May 2009
Technical Team
Producer: Jack Frost (Bob Dylan)
Sound Engineer: David Bianco
Genesis and Production
The main character of this song would like to spend Christmas on Australia’s Christmas Island in the Indian Ocean. He would “like to hang a stocking on a great big coconut tree,” and see Santa Claus bring presents in a canoe. This song, composed by Lyle Moraine in 1946, became a massive commercial success a few months later when the Andrews Sisters performed it, accompanied by Guy Lombardo and His Royal Canadians. Other versions followed, including Jimmy Buffett’s in 1996.
Dylan takes some pleasure singing this song of an exotic Christmas. In the intro played by Donnie Herron on steel guitar, the music immediately moves away from the tradit
ional Christmas atmosphere. Dylan’s cover is inspired by the Andrews Sisters’ version, but is closer to the style of a more modern incarnation, that of the Puppini Sisters. Dylan sings the lyrics with a light and amused tone, supported by his formidable backup vocalists. The group provides an excellent swing accompaniment, and Donnie Herron and Phil Upchurch play solos, respectively, on steel and lead guitar.
The Christmas Song
Mel Tormé / Bob Wells / 3:57
Musicians
Bob Dylan: vocals, electric piano (?)
Phil Upchurch: guitar
David Hidalgo: guitar
Donnie Herron: steel guitar
Patrick Warren: piano, celesta
Tony Garnier: upright bass
George G. Receli: drums
Recording Studio
Groove Masters, Santa Monica, California: May 2009
Technical Team
Producer: Jack Frost (Bob Dylan)
Sound Engineer: David Bianco
Genesis and Production