Music » Holiday Music

Trans-Siberian Orchestra's first two recordings, a pair of late-'90s Christmas albums, hinted that some day TSO might evolve into a latter-day ELO or even an ELP. Instead, this overwrought concept album shares more common ground with ALW (Andrew Lloyd Webber) or Meat Loaf. TSO, in fact, aims to retrace a path once traveled by producer Jim Steinman, the mastermind behind the theatrical, over-the-top rock opuses that briefly transformed Mr. Loaf and Bonnie Tyler ("Total Eclipse of the Heart") into mass-audience favorites. TSO ringmaster Paul O'Neill (once a guitarist in Broadway productions of Jesus Christ Superstar and Hair) here ditches the holiday themes and instead scores a simple-minded fairy tale (whose text spans a 32-page CD booklet) that involves Beethoven's soul, the devil, and an imaginary Symphony No. 10. Too often, the music is the servant of the project's thin plot, and the rock-classical instrumental bravura that initially attracted public attention to TSO (at times, the group sounds like a symphonic Boston) is obscured by overheated vocal rantings. Meanwhile, the guitar-driven rendering of Beethoven's Ninth Symphony ("Requiem") is mundane. Yet, one vocal track, "After the Fall" with singer Patti Russo, jumps off the record as a Tyler-esque knockout, raging with emotion and melodic luster. It doesn't save the album, but it helps. --Terry Wood

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Original soundtrack recording of the CBS television special recorded in 1965, tracks include 'O Tannenbaum', 'What Child Is This', 'My Little Drum', 'Linus and Lucy', 'Christmas Time Is Here' (instrumental), 'Christmas Time Is Here' (vocal), 'Skating', 'Hark, The Herald Angels Sing', 'Christmas Is Coming', 'Fur Elise', 'The Christmas Song' & 'Greensleeves'. Fantasy Records. 1988.

Is the Trans-Siberian Orchestra's Christmas Eve and Other Stories a holiday rock opera? Or perhaps just a holiday prog-rock disc? Or maybe it's New Age? Whatever the case may be, this isn't your typical Christmas album. Filled with electric guitar solos, plenty of synthesized keyboards, a children's choir, and lively drumming, Christmas Eve can only be compared to one other record, the Trans-Siberian Orchestra's other holiday disc, The Christmas Attic. On this CD, angelic vocal solos (on numbers such as "The Prince of Peace") are interspersed with driving instrumentals. Sentimental, occasionally bombastic, but as high-concept as holiday albums can be. --Jason Verlinde

Fans of Andrew Lloyd Webber will discover he has a soul mate in one Paul O'Neill, the "conductor" of the Trans-Siberian Orchestra. A dyed-in-the-wool sentimentalist, O'Neill presents this pop-rock tale from 1998 with all the glitz and glory of a Lloyd Webber Broadway show. Playing to the common themes of the season through a tale about a little angel sent to Earth to leave behind a gift, O'Neill creates a big-sounding production heavy on lead guitars and orchestral filigree. There are pieces of familiar Christmas carols and hymns and a handful of unembellished acoustic numbers to offset the brighter parts of the musical melodrama. While his singers and players are all professional sounding, O'Neill often mistakes sentiment as a grand gesture when it needs to be something less ambitious or noticeable. Nonetheless, there's a TV special or Broadway show wrapped up in this attic and it won't go away until it gets done. --Martin Keller

Jewel has concocted an intriguing and at times beautifully inspired holiday album, playing it straight with a big orchestra and backing voices for the first half of the record with standards such as "Joy to the World," "Winter Wonderland," "Silent Night," as well as a lovely rendition of "Ave Maria." Things finally get sparkling in the last half where Jewel does a low-key, kid version of "Rudolph" and sings her own compositions. Her moving "Face of Love" and "Hands" are certain to become holiday standards, capable of being sung in a country, pop, gospel, or R&B vein and deserving of an audience as wide as the nation itself. The record's centerpiece, however, seems to be a six-minute-plus medley that mixes "Go Tell It on the Mountain" with the recent hit "From a Distance" and her own "Life Uncommon." Nonetheless, her stunning adaptation of "Gloria" inspired, in part, by Bach's B-Minor Mass, two tracks later is as powerful and lovely a Christmas vocal performance as you will find anywhere. Produced by the legendary Arif Mardin, Joy is destined to become a holiday classic. --Martin Keller

Release Date: 2001-10-02, Audio CD, Bci / Eclipse Music

The pop Christmas album is a lost art everywhere but in the country-western arena. You don't see today's rock acts reeling off sets of religious standards the way you used to--which is probably for the best. But even within the whole country milieu, since album release schedules aren't as fast-paced and casual as they once were, a good seasonal CD is something to latch onto. What we have here is a Christmas album of solid construction, packed with traditional songs and old-Nashville chestnuts. No surprises and no smash hits, but that's not what it's about. --Gavin McNett

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When was the last time you heard collard greens being sung about in a Christmas song? Probably never, unless you're a Run DMC fan, or were wise enough to hop on the Very Special Christmas tip. The rappers' contribution to this benefit collection is probably the highlight, although traditional songs covered by now-traditional artists like the Pretenders ("Have Yourself a Merry Little Christmas") provide the majority of the material here. Eurythmics turn in a suitably chilly "Winter Wonderland," Stevie Nicks sings a beautifully haunting "Silent Night," and Whitney Houston proves again that she's every woman with "Do You Hear What I Hear"--that is, every woman with a voice strong enough to do the song justice. "Santa Baby," Madonna's contribution, isn't as sultry as it could be, but there's more fun thanks to hell-on-heels, the Pointer Sisters and Bon Jovi. --Steve Gdula