Celebrating Art Garfunkel's 70th Birthday With Breakaway

“How terribly strange to be 70…” In the late 1960s, Paul Simon wrote those words, and Art Garfunkel sang them. At the time, they were young 20-somethings thinking ahead to old age, and their morose vision of 70 has little to do with the still-robust men they are today. Nonetheless, that age has always loomed as especially significant. Paul reached it three weeks ago, and today it’s Art’s turn. As Art’s place as my favorite living singer was cemented when I spoke with him briefly 11 years ago, I knew I’d have to find some way of marking this day, so I thought I’d turn my attention to Breakaway, one of the few solo Garfunkel albums I haven’t already reviewed. Produced, with the exception of one track, by Richard Perry, it’s an excellent example of Art’s skill as a vocalist and musical interpreter.

I Believe (When I Fall in Love It Will Be Forever) - Most of the songs on this album have mingled threads of romance and melancholy, so this piano-driven Stevie Wonder song is a good way to kick off the album. It’s an optimistic song, but there’s a lot of pain behind the hopeful words; it’s clear that this guy has been through a few relationships that haven’t worked out so well. Anguish tinges Art’s voice in the first verse, while the second feels less extreme. The chorus is the real kicker, though, especially the extended repetition at the end as he harmonizes with himself, flirting with the melody but rarely hitting it dead on as though to suggest that what he wants is within reach but he’s just not quite there yet. “I believe when I fall in love with you it will be forever. I believe when I fall in love, this time, it will be forever.”

Rag Doll - This song has a gentle lullaby feel to it with delicate chimes and soft percussion evocative of raindrops. Regret is the driving theme here as he sings of a woman who seems to have been just a shade offbeat. It seems that her oddity embarrassed him and it was only after he rejected her that he truly realized what a remarkable person he had lost. The tone here reminds me of Jack Shephard at the midpoint of LOST making a startling declaration about reclaiming the destiny he never wanted; he sounds very determined, but it seems most unlikely that what he desires will actually come about. Stirring. “The wind in the trees sings a sad, sad, sad song. I lie in my bed listenin’ all night long.”

Break Away - This, too, is about a fractured relationship, and while the tone is romantic, it’s hard not to read it in the context of Simon and Garfunkel, whose need for artistic space turned into a permanent breakup. Whether a singing partnership or a romance, the gist is similar; he wants to give the other person freedom but fears the consequences of a departure. Will he be left alone permanently? This was the first song on the album that I heard, and it remains one of my favorites. These days, it reminds me of Train’s Drops of Jupiter; she’s searching for herself, he’s torn between saying, “Go for it!” and “Please don’t go.” It’s sort of the opposite of Kelly Clarkson’s song of the same name, as she is the one leaving, while he is the one being left. The keyboard adds to the upbeat tone, and I love the bright vocal layers on the chorus, but this seems to be one of those songs that sounds a lot more cheerful than it actually is. “It’s not the place you’re goin’ to; it’s just a phase you’re goin’ through. Though I won’t stop you, I don’t want you to break away, fly across your ocean…”

Disney Girls - This mellow Beach Boys classic written by Bruce Johnston expresses a yearning for more innocent days gone by. The longest song on the album by more than half a minute, it’s an ideal vehicle for Art because of those exceptional Beach Boy harmonies. It too has a wistful quality to it, but the focus is on the beauty of those blissful days he’s not ready to relinquish. There’s a sense that he won’t be able to hang onto his personal Neverland forever, but for the time being, he’s going to try his hardest to live carefree. From the laid-back guitar and smooth woodwinds to the whistling at the end and the little melodic laugh on the chorus, the track certainly captures that breezy feeling. “Reality, it’s not for me, and it makes me laugh. But fantasy world and Disney girls, I’m comin’ back.”

Waters of March - This song, originally written in Portuguese by Brazilian musician Antonio Carlos Jobim, who also wrote the English lyrics, is a peculiar list of nouns. It’s made up of clipped sentences containing only a few words, and many of them begin with the words “It’s” or “It is.” The song reads a bit like one long word-association exercise; one image leads naturally to another and then another, but compare the images in one verse with another and you might not see a strong connection. There is a definite South American flavor to this guitar-driven reflection on life and all its little pleasures and discomforts. His delivery is very deliberate here as though this were a speech therapy exercise; each word is carefully pronounced, so although it’s an exhausting list, none of the lyrics are difficult to understand. “And the riverbank talks of the waters of March. It’s the promise of life; it’s the joy in your heart.”

My Little Town - It’s just a tad amusing that Simon and Garfunkel’s first post-breakup recording together would appear on an album entitled Breakaway. It also appeared on Paul’s Still Crazy After All These Years; the two titles juxtaposed are suggestive of the personal and professional tug-of-war that marked much of their association with each other in the post-duo decades. A part of them wants to just make a clean break, but ultimately, the friendship, messy as it may be at times, is just too important. At any rate, while this is a reunion, it’s also a song that reflects the album title, since it speaks of a hometown as a place of stagnation. It’s as though the speaker is trying to look back on his childhood fondly but just can’t quite manage it. The affection is disingenuous; he just wants to shake the dust off his shoes and move on. Paul’s lower voice gives this rather hard-edged song a very different sound than any of the others on the album, and there’s a bit of cognitive dissonance here because the lyrics eschew looking back, but boy, does it do the heart good to hear those voices together again. “And after it rains, there’s a rainbow, but all of the colors are black. It’s not that the colors aren’t there; it’s just imagination they lack. Everything’s the same back in my little town.”

I Only Have Eyes For You - I’ve heard many different versions of this song originally written in 1934, but this low-key version is my favorite. One certainly gets the sense that the speaker’s affections are returned, so this is perhaps the only song on the album without a hint of depression. Of course, tweak the words a tiny bit and it could be a total downer of an unrequited love anthem. Instead, however, the tone is one of pure joy that bubbles up from within him, and it’s just a delight to listen to Art’s delivery here, particularly toward the end when he hits those high notes with such enthusiasm. I also love the dense harmony on the word “garden” in the bridge. The instruments are great, though I would warn against listening to this one on the headphones; the opening bars create a curiously psychedelic ear-ringing effect that takes a few measures to shake. Nonetheless, this straightforward song of unbridled affection is one of his most romantic recordings. “You’re here; so am I. Maybe millions of people go by, but they all disappear from view, and I only have eyes for you.”

Lookin’ for the Right One - I kinda wish this track had gone before the last one so I could think of that song as the sequel to this aching one. There’s a quaver in his voice here as he sings of believing he has found “the right one,” only to be rejected time and again. Piano and guitar team up here for this sorrowful meditation. There’s a moment in the bridge that seems to be a musical quote of George Harrison’s Something, which would be fairly fitting; in fact, it seems to answer the question posed in that song in a far more despairing manner than the Beatles hit suggests. “They say there’s no use runnin’ after somethin’ you’ll never get, but my heart says, ‘Don’t say no.’ Somewhere in this lonesome city is the woman for me; will I wait another lifetime just to keep on looking for the right one?”

99 Miles from L.A. - Considering that Art is a native New Yorker, it’s interesting that the two songs on this album with the strongest positive nostalgic associations have a California connection. I remember reading that Art wasn’t sold on this song at first, but it’s one of the album’s strongest tracks, another expression of romantic regret and longing for reconciliation. I love the steady ripple of the acoustic guitar here and increasingly prominent plinking percussion that imitates the raindrops on his windshield. I’ve always presumed that he is headed to L.A. to connect with the woman he loves, though I suppose it’s possible that’s where he lives. In either case, it would seem that these two live fairly far from each other – though not far enough, perhaps, to merit a plane ticket. How did they meet in the first place? There’s a lot of story simmering under the surface here, and we’re only getting tantalizing hints as he contrasts his memories of their happy times together with his miserable present speeding along the freeway in the rain toward someone who might not want anything to do with him. “Passing the white sandy beach, we’re sailing; turning the radio on, we’re dancing. Ninety-nine miles from L.A., I want you, I need you. Please be there.”

The Same Old Tears On A New Background - This Stephen Bishop song ends the album on a note of feigned optimism. Like Paul’s American Tune, which came out a couple years earlier, it includes a repeated assurance of “I’m alright” that is basically contradicted by everything else in the song. He’s trying to put a brave face on things, but this guy is struggling. The lush piano and string combo here puts me in mind of All I Know, Art’s first smash solo hit, which covers similar thematic territory. A moody conclusion. “It’s the same old me crying the same old tears, and I’ll walk away like I always do, still in love with you…”

I’ll admit that the grainy black-and-white photo of Art with a woman on each arm, surrounded by half-empty wine glasses, is my least favorite of his album covers, particularly because one of the women is smoking a cigarette. Perhaps he was trying to break away from his largely innocent image? I’m not sure, but I could do without it, and I wish the album included something beyond a track list in the way of liner notes. With the music itself, however, I have no complaint, and it holds up well all these years later, when Art is a man of seven decades who can look back on more than half a century as a recording artist and truly be proud of his contributions. Happy 70th, Artie!

Johnny Five Teams Up With Ben in Short Circuit 2

One of my all-time favorite movies is Short Circuit, the 1986 comedy about a government robot that magically becomes sentient during a thunderstorm. I’ve watched it countless times, enjoying the improbable situations and the vivid characters, most notably Number Five, the wide-eyed robot with an innocent outlook and a strong will to live. Recently, I rewatched Short Circuit 2, directed by Kenneth Johnson, and while my attachment to the sequel is not nearly so strong, it’s still a cute movie featuring the irrepressible robot who calls himself Johnny Five.

In this movie, Newton Crosby, the reclusive scientist who helped create Number Five, has moved to Montana with Stephanie Speck, the batty animal lover with whom the robot bonded after escaping the NOVA Robotics facility. Meanwhile, Newton’s partner, Ben (whose last name mysteriously changes from Jabituya in the first movie to Jahrvi in this), has moved to the big city to make a go of it selling tiny robot replicas. Unfortunately, mass-production is not an option with his meager resources, but when he writes to Newton and Stephanie to tell them of his troubles, they send Johnny Five his way.

In this movie, Johnny (Tim Blaney) continues his journey of self-awareness. He is considerably more well-spoken here since he’s had months to soak up all sorts of input; this makes him easier to understand but also a tad less distinctive. Still, he retains his insatiable curiosity about the world as well as his idealistic streak. All he wants is to be well-educated and respected as a genuine person. While Ben tries to keep him cooped up in the warehouse where he is speedily constructing miniature robots, Johnny soon finds his way outside and discovers that the city is a pretty cold place for a robot. If people aren’t screaming in terror or shooting him nasty looks, they’re taking advantage of his super skills and naivety. Will he ever be able to enjoy the life of an actual person?

While Johnny searches for himself, Ben is in the process of becoming an American citizen, which doesn’t make a lot of sense because in the first movie he said he was from Bakersfield, California and that his ancestors were from Pittsburgh. What’s more, he was working in a high-security government facility; would he really have been able to get such a job without being a citizen? Still, because Ben’s syntax is so ridiculous and his naivety level is almost as high as Johnny’s, it’s easy to roll with this idea even though there seems to be a continuity gap.

Additionally, while I never really noticed this until my most recent viewing, half the stuff Ben says in the first movie comes out a double entendre. The idea is that he has no idea what he’s saying, but it starts to feel like a lot of Freudian slips for a scientist who would really like a little one-on-one time with a woman. However, in the sequel, while he continues to say some pretty strange stuff, the innuendo is almost absent. While he is very lovable in the original film, he’s even sweeter here, and he just seems generally more innocent.

So innocent that he can’t see that street vendor Fred (Michael McKean), who gets him his first big sale, has the heart of a con artist. So innocent that he gets completely tongue-tied when Sandy (Cynthia Gibb), the eager young buyer for a major toy company, comes anywhere near him. Can this man whose mastery of English is so incomplete successfully pass his citizenship test? Can he avoid being taken in by shysters? And does he have any chance of winning the heart of the woman he finds so irresistible?

There’s a bit of crude language in this movie, particularly from a gang of street thugs who enlist Johnny’s aid in ripping off some cars – though Ben actually chides Johnny for repeating their off-color slogan, which made me smile. The plot is more complicated than in the first film, which is so beautifully simple. Here, we’ve got Johnny embarking on a journey of self-discovery; Ben working to become a citizen and woo Sandy; Sandy attempting to prove herself to her ornery boss; Fred trying to make a quick buck but unwittingly coming under the influence of Ben and Johnny’s noble spirits; and a bunch of low-down dirty jewel thieves doing their best to make off with several million dollars’ worth of diamonds hidden in a vault near Ben’s warehouse.

It’s a lot more involved than Robot Comes Alive, Government Tries to Capture Robot, Girl Shields Robot, and not necessarily for the better. With the big-city setting, there’s usually a lot of commotion, and it can be harder to really connect with the characters here. Additionally, some of the scenes are just plain absurd, and the climax feels even more violent than the first because the brutality is more personal. Besides that, Johnny’s vendetta toward the end of the film seems a bit at odds with his peaceful approach to life.

Still, there’s a lot to like here, particularly in the interaction among the four main characters. Three years ago, I was thrilled to see Stevens resurface on LOST in a very different sort of role, so it was fun to return to this and hear him adopt that goofy pseudo-Indian accent again. He’s such a plucky, upbeat guy that you really want him to succeed. Also, as someone who understands the way that shared references can strengthen bonds between people, I absolutely love how he uses the melodies of oldies to secretly communicate with Sandy from a distance when he is in distress – especially since the only LOST episode to heavily feature Stevens involves rigging up a phone so one man can make a life-saving call to his girlfriend.

On the back of the box our video came in, a blurb indicates that Siskel and Ebert thought this was even better than the original. I would beg to differ. However, if you loved Johnny Five and Ben the first time around, you’re likely to find plenty of entertainment value in Short Circuit 2.

Santa Does Not Find Imitation Very Flattering in One Thousand Christmas Beards

A couple years ago, I discovered the Beach Boys song Santa’s Beard, in which a boy recounts a rather traumatic experience taking his little brother to meet Santa. The curious tyke tugs on the jolly old elf’s beard, and it comes right off in his hands. Needless to say, the result is something akin to the classic Norman Rockwell painting in which a shocked lad holds up a Santa suit he discovered in a drawer. The suit and the beard make the counterfeit Santa. The illusion isn’t too tricky to pull off, but neither is the unmasking.

In Roger Duvoisin’s 1955 picture book One Thousand Christmas Beards, Santa has had enough of all the impersonations. They really get his dander up, and one year he decides that ranting to Mrs. Claus isn’t enough. He’s going to take matters into his own hands and rid the world of all these extra Santas. He wants to be able to say, to take a page out of Tigger’s book, “The most wonderful thing about Santas is I’m the only one!” His strategy? Travel extensively and yank the beards off of every Santa he sees.

This book is five and a half decades old, and it looks it. The illustration style is a mix of sketchy black and white drawings and drab color pictures that mostly incorporate red and green. Aside from the first two pages, which are fairly text-heavy, most pages only have a sentence or two, and it’s presented in a sort of free verse form. Most of the lines are fairly short, and some are pretty poetic, particularly as Devoisin describes the situations of the various Santas, most of whom are engaged in public services while dressed in their disguises. I think my favorite is the sandwich man Santa, “who was so thin / his red suit hung on him / like a flag on a pole on a windless day.”

Santa Claus is a character known for his kindness and generous spirit, and this shines through in virtually every book and Christmas special that features him. Every once in a while, though, Santa is portrayed as a real grouch. Rankin and Bass have portrayed him this way a couple of times. In The Year Without a Santa Claus, he is ornery and self-indulgent, and in Rudolph the Red-Nosed Reindeer he’s just plain rude. Both times, he comes around, but it’s a little jarring to see him behave that way, and that’s the case here as well. He comes across as an egotistical crank, and only a stern talking-to from the Mrs. is sufficient to show him the error of his ways

This is a nostalgic book that offers a peek at Christmas of the 1950s. Some parts of it are indeed outdated, like the shoeshine man on the corner or the idea of buying a doll for a quarter. But I hope the most outdated idea of all is the thought that Santa would fly into a rage over some ordinary Schmoes just looking to spread a little Christmas cheer. The situation is milked for humor, and in an entertaining touch, the man so aggravated by imitation happens to have a pet parrot. This is a cute and quirky tale, but really, Santa ought to know better.

My Least Favorite Christmas Songs

I absolutely love most Christmas music. It gets to be this time of year, and this strange euphoria grips me as the music on the radio and on the loudspeakers at the mall, where I work, suddenly shifts into Christmas mode. It utterly energizes me. But once in a while, there comes along a song I just don't like very much. Here are a few of those.

One Christmas Catalogue - I had never heard this song by one Captain Sensible before my brother, who was working at The Gap at the time, mentioned it to me. He described it as the weirdest Christmas song he ever heard, and I pretty much agree. I'm not sure it's quite accurate to say I “dislike” it since I collapse into giggles every time I hear it. But this techno-style song with its disappointingly unambitious turkeys and random spoken outbursts of the word “Christmas” sure makes me scratch my head. “And there's a turkey in the wings. It doesn't dance and it can't sing. One Christmas catalogue too many. One Christmas catalogue for you.”

The Cherry Tree Carol - I adore Peter Paul and Mary's live Christmas album, and if I had to choose only five Christmas albums to listen to for the rest of my life, that would almost certainly be one of them. But doggone it, this song is just annoying. It's a traditional folksong that I've nonetheless never heard elsewhere, and in it, Mary comes across as a whiny diva, while Joseph needs a stint in anger management and yet-to-be-born Jesus is a show-off. And I thought the George Washington cherry tree tale was goofy... “Then Mary said to Joseph, so meek and so mild, 'Joseph, gather me some cherries, for I am with child.' … Then Joseph flew in anger, in anger flew he. 'Let the father of the baby gather cherries for thee...'”

Simply Having a Wonderful Christmastime - All right, this one kinda grates on me too. I love Paul McCartney, and I generally dig his stuff more than John Lennon's, but despite the contempt Lennon often had for Christianity, I can't help loving Happy X-Mas and finding it inspiring. Meanwhile, I can't help disliking this song and finding it insipid. “The choir of children sing their song; they practiced all year long” especially gets to me. 'Cause really? It sounds like they practiced for about ten minutes. And like their director managed to select the Dumbest Song Ever for them to sing for this auspicious occasion.

Happy Holiday - Just irritating. This song, the most common version of which is the swingin' rendition by Andy Williams, has some of the stupidest lyrics in all of Christmas music. The tone of the song is so flippant, it just sounds like he's poking fun at the whole thing. He also sounds borderline tipsy. Eye-rolling. “It's the holiday season, so whoop de do and dickory dock. Don't forget to hang up your sock, 'cause just exactly at 12 o'clock he'll be comin' down the chimney down...”

Little Saint Nick - The Beach Boys are notable for their amazing harmonies, and that's still present here. And I suppose there's a certain charm in their taking their tendency to sing about souped-up cars and transferring it to Santa's sleigh. But boy howdy, “Christmas comes this time each year”? Thank you, Captain Obvious... And I'll just lump in Run, Rudolph, Run here because there's something about that song that seriously gets on my nerves, especially when Chuck Berry sings it. Something about the weird syntax, I think. And "reindeers".  And the word “wet” as a verb.

The Christmas Shoes - I feel like this makes me a terrible curmudgeon. The thing is, I think I enjoyed this Newsong tune well enough the first few times I heard it. But then it just started getting on my nerves. It's way overplayed, and it's just so over-the-top. What really bugs me, I think, is the bridge. Granted, I understand that people come into each other's lives at particular times and affect one another deeply, and sometimes that can feel positively providential. And maybe it is. But something just really rubs me the wrong way about the narrator belting out his conviction that “God had sent that little boy to remind me what Christmas is all about.” Um, this kid is about to lose his mother to a terminal illness. Maybe it's not all about you, dude. And kid, your heart's in the right place, but if your mom is that close to death, my guess is she'd rather have you there than out here fighting the crowds and risking not getting back home in time. “Can you hurry, sir? Daddy says there's not much time. See, she's been sick for quite a while, and I know these shoes will make her smile, and I want her to look beautiful if Mama meets Jesus tonight.”

The 12 Days of Christmas - Any straightforward version of the song with no humor added in. I just have come to find that I lack the patience for this one. Of course, I could listen to the Straight No Chaser version all day, but the whole point of that one is making fun of the absurdity of the song while paying tribute to lots of other great Christmas tunes. (And Toto.) If you stop to think about the lyrics, they are completely nonsensical. Every gift but the five golden rings is alive, and half of the gifts are people, for crying out loud. Now, maybe that just means that your true love hired some very lavish entertainment, but whatever the case may be, it's all a little too extravagant for my tastes, and the song is just way too monotonous. “On the twelfth day of Christmas, my true love gave to me 12 drummers drumming, 11 pipers piping, 10 lords a-leaping, 9 ladies dancing, 8 maids a-milking, 7 swans a-swimming, 6 geese a-laying, 5 golden rings, 4 calling birds, 3 French hens, 2 turtledoves and a partridge in a pear tree.”

Santa Baby - This one gets played on the mall radio a lot. There are lots of different versions; Madonna's probably annoys me the most. It just sort of encapsulates everything that's wrong with this time of year. Oh, the unrelenting avarice! I suppose I should applaud this person for being so virtuous all year (which the speaker in Simple Plan's similarly annoying My Christmas List doesn't seem to have bothered with), but she (or occasionally he) sure doesn't seem very sincere about it, and it's all for personal gain. And such big-ticket items... I mean, a platinum mine??? Maybe what this person really needs to do is snag the true love of the speaker in the song just above... “Santa baby, and fill my stocking with a duplex and checks. Sign your X on the line, Santa cutie, and hurry down the chimney tonight.”

Baby, It's Cold Outside - Okay, so this really isn't a Christmas song at all, but it gets so much airplay this time of year that it might as well be. It's just this gin-soaked, smoky exercise in seduction, and while I suppose the girl is just playing hard to get, a part of me feels like she really would like to get away and this guy is pretty much holding her captive. Some versions include extra flirtatious banter that make it seem more obviously two-sided, but those tend to annoy me just as much. Celtic Thunder's Ryan Kelly covered this song recently along with singer Charley Bird, and he identified it as one of his all-time favorite Christmas songs, but I really could do without it. “There's bound to be talk tomorrow; (Think of my lifelong sorrow) At least there will be plenty implied. (If you caught pneumonia and died...)”

Christmas Wrapping - I wasn't going to include this song by the Waitresses because it's grown on me in the past couple of years, since I've heard it enough on the mall radio to finally catch most of the lyrics.  It's actually a rather amusing and sweet story of a gal and a guy who circumstances seem determined to keep apart, until fate intervenes at Christmastime.  But for years before that, all I really noticed was the blah, monotonous tone of the singing and the equally monotonous melody.  And my best friend berated me for leaving this off the list.  So here it is!  "'Bah, humbug!' No, that's too strong 'cause it is my favorite holiday.  But all this year's been a busy blur.  Don't think I have the energy..."

The Night Santa Went Crazy - Weird Al is generally a pretty G-rated guy, and he's certainly been a big inspiration to me in my lyric-writing endeavors. But this twisted take on the jolly old elf just makes me cringe. Instead of rampaging reindeer running over Grandma (another song I'm not a huge fan of), we've got Santa flipping his lid and going all Rambo on everybody at the North Pole. It's a Christmas bloodbath, and I want none of it. “Yes, Virginia, now Santa's doin' time in a federal prison for his infamous crime. Hey, little friend, now don't you cry no more tears, 'cause he'll be out for good behavior in 700 more years!”

Last Christmas - This one has to take the cake as my least favorite. The speaker annoys the heck out of me. Talk about whiny! No wonder the addressee of the song dropped his (or her) heart like a hot potato at the first opportunity. Now, that's mean. I shouldn't say that. I should have a little empathy for this poor schmuck. But somehow, I just can't muster up the energy. The lyrics are obnoxious and often seem contradictory, and there's something so profoundly unlikable about the speaker that all my empathy is reserved for whoever the supposed new object of his (or her) affections is. George Michael's original version is probably still my least favorite, but I've never met a rendition I liked. Though I'll grant that Keith Harkin's is almost tolerable. “Last Christmas, I gave you my heart, but the very next day, you gave it away. This year, to save me from tears, I'll give it to someone special.”

This is surely not exhaustive, but it's a start. I may add to it later if I come up with some other Christmas songs that make my skin crawl. Up next, the more pleasant – and vastly more difficult – exercise of coming up with favorites. But I can't deny the fun of ripping these apart just a bit. This has been a part of Shopaholic_Man's Christmas Music Write-Off. Make a joyful noise and join in the fun!

The Spotlight Is On Other Entertainers at Elton John's Christmas Party

I’m a big Elton John fan, but I wasn’t sure what to think when I borrowed Elton John’s Christmas Party from the library. This is a compilation album, which to me feels a bit like just turning on the radio and seeing what comes up. Of course, more thought went into it than that; each of the 15 songs on this album were chosen for a particular reason, which Elton helpfully goes into in the liner notes. And there’s something appealingly humble about the project; while Elton does include two of his own songs (one of which is a duet), the spotlight is primarily on other artists, and it’s nice to see a pop superstar showing such sincere appreciation for his peers. I suspected that I would find one or two songs on the album I liked and give a shrug to the rest. But I really enjoy most what Elton terms his “Christmas favorites,” leaving me with several other musicians to investigate. Ultimately, this album surprised me. In a good way.

Step Into Christmas - It makes sense that Elton would kick off his “Christmas Party” with a song of his own. It’s one of the few songs on the album I was actually previously familiar with. It’s got a groovy guitar riff and sleigh bells, a nice combo of contemporary-sounding pop and traditional Christmassy sounds. The lyrics are rather frivolous and there‘s something really trippy going on with one of the instruments, but the song is enthusiastic and inviting, and it always gets me boppin’ when I hear it on the radio. “Step into Christmas / Let's join together / We can watch the snow fall forever and ever...”

Feliz Navidad - I never even heard of El Vez before, but he’s the man behind this hard-rockin’ version of the peppy song written by Jose Feliciano. The kids singing backup help keep a childlike sense of joy and wonder at the forefront. “Feliz navidad / Feliz navidad / Feliz navidad, prospero ano y felicidad.”

The Man With All the Toys - This isn’t my favorite of the Beach Boys’ Christmas songs, especially now that I’ve heard their Christmas collection, but it’s a fun little ditty. This vision of Santa is much simpler than the typical North Pole toy factory depicted in Christmas specials. I like it, but all the “bop!”s in the background annoy me a bit. “Someone found a lighted house late one night / And he saw through the window a sight: / A big man in a chair / And little tiny men everywhere. / He's the man with all the toys.”

A Change at Christmas (Say It Isn’t So) - I don’t know anything about the Flaming Lips, and I never heard this song before. I like the chimes, bells and shakers that turn up here, and the slightly rough quality of the lead singer’s voice fits with his rambling, yearning discourse, with each verse almost sounding like one long run-on sentence. There’s something very interesting and unconventional about this one, and I love the sentiments it espouses. “Oh, if I could stop time / It would be a frozen moment just around Christmas / When all of mankind reveals its truest potential / And there is sympathy for the suffering...”

It Doesn’t Often Snow at Christmas - This Pet Shop Boys song is backed by pounding percussion and takes a cynical view throughout the verses, but the choruses ends on a cheerier note. I‘m not familiar with this band, so I don‘t know if this track is typical of their sound; their voices sound high and forlorn, often approaching falsetto range, and the song is very techno-ish, particularly toward the end. “It doesn’t often snow at Christmas the way it ought to do / But I’ll still have a ball at Christmas because I’ll be with you.”

Spotlight on Christmas - I have a passing familiarity with Rufus Wainwright, but I’d never encountered this song before. A guitar-driven, folksy sort of song augmented by bells, it’s a sort of ragged-voiced protest anthem against crass commercialism and turning a cold shoulder to those in need. A really nice song. “But, don't forget Jesus, Mary, and Joseph / Once were a family poor but rich in hope, yeah / Don't forget Jesus, Mary, and Joseph / Running from the law King Herod had imposeth.”

Jingle Bell Rock - I’ve heard the song, of course, but never this instrumental version by the Ventures, which is one of the most jammin’ renditions I’ve heard, definitely putting the emphasis on the “rock”.

Run Rudolph Run - I’ve always found this Chuck Berry song rather odd; I don’t mind when the Muppets cover it, but the original just gets on my nerves. The word “reindeers” bugs me, as does the word “wet” as a verb and the fact that all of the verses end in such a way that they sound like there should be more to come. It’s a perfectly innocuous song along the lines of Santa Claus Is Comin’ to Town, but it’s never been one I’ve particularly liked.

Merry Christmas Baby - The Muppets have done this song as well, and I dislike their version, featuring Pepe the prawn, heartily. This rendition, by Otis Redding, comes complete with sleigh bells and background instrumentals that occasionally hint at Jingle Bells. Oddly, while I’ve heard this song several times before, I’d never come across Otis‘s; it’s the least campy version I’ve heard, and I almost like it coming from him. “Merry Christmas baby, you sure did treat me nice...”

Christmas Island - This fun cover by Jimmy Buffett is along the lines of Melekalikimaka, imagining a very different setting for Christmas than the one presented in most seasonal songs. I love the instruments, which all evoke tropical beaches; the percussion is especially bouncy. Given Jimmy Buffett’s association with sunny beaches, this seems like the perfect Christmassy representation of him. “How’d you like to spend Christmas on Christmas Island? / Howdja like to spend the holiday away across the sea?”

Christmas Must Be Tonight - A humble Christmas song in extravagant electronic trappings. Other than knowing they were associated with Bob Dylan, The Band is another group I’m not familiar with, but I was entirely charmed by this reverent song about the Nativity from the perspective of a shepherd. “I saw it with my own eyes, written up in the skies / But why a simple herdsmen such as I / And then it came to pass, he was born at last / Right below the star that shines on high.”

2000 Miles - I think I may have heard this song by the Pretenders before, though not this version. Chrissie Hynde has an unusual voice that suits the despondent lyrics.  “The snows falling down, / It's colder day by day. / I miss you. / I can hear people singing, / It must be Christmas time.”

December Will Be Magic Again - The second song on the album to mention Bing Crosby by name. Kate Bush is an artist entirely unfamiliar to me; I was so discombobulated by her high voice that it took half the song before I could properly concentrate on the track at hand. There’s a very creepy quality to her voice; she sounds crystalline, which is fitting since in this song, she is the personification of snow. “Ooh, dropping down in my parachute, / The white city, she is so beautiful / Upon the black-soot icicled roofs, / Ooh, and see how I fall.”

New Year’s Day - Elton couldn’t let the album conclude without a contribution from U2. Bono, after all, is the epitome of cool. This is what I have gathered, though I must confess that I’m familiar with very little of U2’s music, and this song was new to me. Definitely a rock song. Not so much in my style, but I like the hints of activism running through the lyrics. “Under a blood red sky / A crowd has gathered in black and white / Arms entwined, the chosen few...”

Calling It Christmas - Elton teams up with Joss Stone for this lovely song that ends the album on a surprisingly reverent note. It’s strange to hear Elton sing something so hymnlike, but he sounds sincere, and Joss’s vocals are glorious; she sounds like a soloist in a church choir, especially when a chorus swells behind her and Elton. A piano solo toward the end of the song morphs into a guitar solo before we return to the singers, now belting the lyrics out with all the enthusiasm they can muster. I don’t know how this song, written by Elton and his longtime songwriter partner, Bernie Taupin, eluded me for so long, but I’m very glad I found it. “We've been calling it Christmas / Keeping the faith / Knowing the reason / We're saving the day. / We've been calling it Christmas / Down through the years / Spreading joy to the world / When Christmas is here.”

This last track alone makes the album a major discovery for me, with Spotlight on Christmas and Christmas Must Be Tonight competing to be my second-favorite track. The one downside I stumbled upon is the fact that this is a re-release, pared down from the Starbucks exclusive CD from the year before. Six tracks are absent. I don’t really mind missing out on the Ronettes’ Frosty the Snowman, which I find annoying. Bruce Springsteen’s Santa Claus Is Comin’ to Town plays on the radio about ten times a day, as does the Eagles’ Please Come Home For Christmas. I don’t know if I’ve heard the Crystals’ version of Rudolph or not, but I doubt it’s earth-shatteringly unique. Nonetheless, that leaves Outkast’s Playa’s Ball and the much more intriguing St. Patrick’s Day by John Mayer. So even if I just whittle it down to those two, I’m feeling a little left out. So if you can find the 2005 version of this CD, you might want to give that a shot instead. But those types of issues aside, kudos to Elton John for such a terrific compilation.

Christmas With the Beach Boys Sure Feels Festive

I love close harmony, as anyone might guess from a glance at my favorite bands. Simon and Garfunkel, Peter Paul and Mary, the Beatles and Celtic Thunder are among the groups whose exquisite harmonizing has most impressed me. But perhaps no band is more synonymous with harmony than the Beach Boys. While they don’t boast the most contemplative lyrics in the biz, the attention to sonic detail is impeccable, and listening to them is generally a joyful experience for me.

I’ve heard four or five of their Christmas songs on the radio, so it didn’t come as a surprise to me that the Beach Boys had a Christmas album. However, my eyes popped a bit when I saw that there were 25 tracks. The album length wasn’t as unwieldy as one would think with so many songs, since so many of them come in at under two minutes. Still, it’s an impressive collection, and one in which almost every song bears the distinct Beach Boys stamp. Additionally, in the liner notes, Anthony DeCurtis includes a warm two-page introduction and comments on the individual tracks, giving lots of interesting history on how these songs came about. That’s the icing on this delectable Christmas cake, sure to fascinate anyone interested in this era of music. He even makes a convincing case for “Christmas comes this time each year” not being one of the dumbest lines in all of seasonal music.

I listened to this directly after the abhorrent Christmastime in Larryland by Larry the Cable Guy. While that album left me feeling cranky, the Beach Boys soon returned my good humor. I’m still smiling.

1. Little Saint Nick - This song from 1963 features the trademark Beach Boys harmony and fits in with their many tunes about super-snazzy cars. In this case, it just happens to be a sled instead. First heard this one by the Muppets; the peppy novelty nature of the song makes it a good fit for the Electric Mayhem. The most famous of the four versions found on this album. “Just a little bobsled, we call it ol' Saint Nick / But she'll walk a tobogan with a four speed stick / She's ol' candy apple red with a ski for a wheel / And when Santa hits the gas, man, just watch her peel.”

2. The Man With All the Toys - A follow-up to Little Saint Nick, this one is goofy, imagining someone stumbling on Santa’s humble workshop. I like the instrumental backing, which reminds me of Mrs. Crandall’s Boardinghouse from the Irish Rovers’ Tales to Warm Your Mind. The “Bop!”s that explode in the background like kernels of microwave popcorn are a tad off-putting, though. “Someone found a lighted house late one night / And he saw through the window a sight: / A big man in a chair / And little tiny men everywhere. / He's the man with all the toys.”

3. Santa's Beard - I had never heard this song before. It’s extremely peppy and full of fantastic harmonies that capture the nervous pre-Christmas excitement of a young child. It’s a sweet and funny song about a boy taking his little brother to see a department store Santa. To his consternation, Little Brother is savvy and knows a fake when he sees one, but Big Brother has an explanation... A really fun song, and probably my favorite on the album. “He said, ‘Is that (that Santa) really Santa Claus, / really really (the real Santa) Santa Claus? / Is that (that Santa) really Santa Claus, really really Santa? / (I hope he doesn't pull Santa's beard...)”

4. Merry Christmas, Baby - This one was also unfamiliar to me. A man who has ruined his relationship through infidelity begs to make amends (“if just for Christmas“). I couldn’t help thinking of Tiger Woods when I heard this one, which has a fifties-ish feel to it, reminding me particularly of Paul Simon‘s peppy Lone Teen Ranger (recorded as Jerry Landis). “I’ve made my mistake but I’m willing to wake up and never mess around anymore.”

5. Christmas Day - This one sounds rather familiar to me, but that might just be because the tune is similar to The Man With All the Toys, though the tone is mellower. A nice song, aside from some weird syntax and a really cheesy organ that gets a solo near the end. “The Christmas spirit grows with each new day / And it's so close but seems so far away / And yet it comes only once a year / And 'fore you know it, it's already here...”

6. Frosty the Snowman - This is one that pops up on the radio now and then, and it’s one of the more enjoyable renditions of the wintertime classic.

7. We Three Kings of Orient Are - The first six tracks are so bouncy, this one is a bit of a shock to the system, as it plods along like a funeral march. It’s lovely, especially the second verse, with its minor tone, close harmony and inclusion of bells; I just kept expecting them to suddenly speed things up. The third verse fluctuates the most in terms of tempo and is almost fast-paced at times, while the woodwinds in the background are reminiscent of birdsong. Much longer than most of the tracks on the album.

8. Blue Christmas - Another slower song, this melancholy number is sung entirely by Brian, which is an oddity for the group. It’s symbolically appropriate; in a group characterized by harmony, a whole song featuring only one vocalist sounds very lonely indeed.

9. Santa Claus Is Coming to Town - I always cringe a little when this one comes on the radio, with its irritating little circus riff that comes in at the end of every other line. I get it; Santa’s yearly visit is the Greatest Show on Earth. But boy, does that get on my nerves. I don’t mind the brass band so much, but incorporating Pop! Goes the Weasel kinda grates on me too.

10. White Christmas - A fairly slow-paced song, this is a nice, nostalgic-sounding version, particularly with the harp and flutes in the background.

11. I'll Be Home for Christmas - Very much in keeping with the previous track in terms of tone, pace and instrumentation, to the point that the two might have worked as a medley.

12. Auld Lang Syne - A totally a cappella rendition of the Robert Burns New Year’s greeting. Dennis comes in with a cheery Christmas greeting, complete with a slight slip of the tongue. The singing is flawless, however.

13. Little Saint Nick - Pretty much the same as the first track, but including some very festive-sounding glockenspiel and sleigh bells (both of which, incidentally, I played in my high school orchestra).

14. Auld Lang Syne - Another version of track 12, with more drawn-out notes and no talking.

15. Little Saint Nick - A very different version of the first track. It’s weird to hear this one, which, as the liner notes indicate, is sung over the track of the song Drive-In. The suggestion is that the Beach Boys were just goofing around when they recorded this one, and that seems likely to me. Doesn’t sound like something really intended for public release. But it’s amusing to hear.

16. Child of Winter (Christmas Song) - A fun track that recounts all the warm feelings Christmas brings about. Peppy, with instruments like sleigh bells and a kazoo, and much of the song is taken up with a rendition of Here Comes Santa Claus. DeCurtis mentions that this came out during a fairly lengthy stretch between albums in the 1970s and that most fans missed it because the single was released only two days before Christmas, leading many stores to snub it altogether. What a shame! “A child of Christmas / A child of snow / A wonderful feeling / Underneath the mistletoe / And may your Christmas / Last all year / With laughter of children / Peace and cheer.”

17. Santa's Got an Airplane - This previously unreleased track is along the same lines as Little Saint Nick, as it’s an ode to Santa’s mode of transportation, only this time it’s a plane instead of a souped-up sled. This one gave me a bit of vertigo as the sound toward the end kept traveling from one headphone to the other, but otherwise I like it. The low-voiced “loop de loop flip flop”s are especially fun.

18. Winter Symphony - This previously unreleased song reminds me a lot of Old-Fashioned Love Song melodically. A nice series of wintry images augmented by the distinctive piccolo trumpet and French horn, which not only provide backing but also get an extended instrumental portion to themselves. “Winter symphony / Snowflake fantasy / Warms my heart like a tropic sea...”

19. (I Saw Santa) Rockin' Around the Christmas Tree - Also previously unreleased, this song begins with a conversation in verse by Matt and Adam, the young children of Alan Jardine, and it continues to thread its way through the song. Six other Beach Boy kids chime in with them on the backing vocals on this cute song inspired by I Saw Mommy Kissing Santa Claus. This kid seems to be wise to just who is under that Santa suit. A very sweet, family-flavored recording, though the ending feels a bit inconclusive. “I saw Momma kissin’ Santa ’neath the mistletoe / Yeah, and he looked like someone I thought you oughtta know.”

20. Melekalikimaka - This previously unreleased song isn’t a cover of the Bing Crosby tune like I thought it would be; rather, it’s an original number that incorporates sleigh bells and lots of appealingly goofy lyrics like “Melekalikimaka / is ‘merry Christmas’ in Hawaii talk-a” from these guys who so love singing about surfing. A reworked version of Kona Coast. “I wanna spend Christmas where I dig it the most, in Hawaii...”

21. Bells of Christmas - Another previously unreleased track, Alan has lead vocals on this song that is a Christmas version of Belles of Paris. It’s mostly him, with some backing vocals from the rest of the band, up until the end, when the harmonizing takes over. Naturally, it features bells prominently and fits in rather well with such songs as Snoopy’s Christmas and Bells Over Belfast. The most reverent-sounding track since We Three Kings. “The bells of Christmas go ring-a-ling-ling / They toll for the savior and the peace he'll bring / And little children everywhere are caroling / 'Cause the presence of the Lord makes their spirits sing.”

22. Morning Christmas - Yet another previously unreleased track, the last of them on the album, and the last of the actual songs. A very slow, solemn-sounding song backed by piano, with a swifter orchestral portion that closes out the track. Some odd, very distinctive-sounding instrumentals that odd to the somber tone. “Holy holy / Halo glowing / Candle burning / Christmas evening...”

23. Toy Drive Public Service Announcement - It’s Little Saint Nick yet again, but in disguise, with the Beach Boys delivering a PSA to the tune of their most famous Christmas song encouraging people to drop off their toys for needy youngsters at Crystal Ship record stores. It’s a worthy cause, but it makes me giggle to hear these new lyrics, which sound pretty silly. “Ooooh, merry Christmas, children! (Bring your toys to Crystal Ship...)”

24. Dennis Wilson Christmas Message - Just a short spoken toy drive message over a bit of Santa Claus Is Coming to Town.

25. Brian Wilson Christmas Interview - There’s no singing on this track; it’s just Brian Wilson being interviewed about the Beach Boys’ Christmas album in 1964. He comes across as pretty shy, but he provides some interesting insights, such as the fact that one side of the album was supposed to reflect their signature sound and the other, with its traditional tunes, was meant more for older listeners.

Young or old, if you’ve ever turned up the volume when the Beach Boys came on the radio, you’ve gotta check out this extensive collection of Christmas music. I had no idea how many holiday songs they recorded, and some of the best were never released, so even if you’re more well-versed than me in their music, you’re likely to find something new here too. I can’t believe it’s taken me this long to find this album, but now that I have, I’m happy to list Christmas With the Beach Boys among my favorites.

Beach Boys Concert

I've never seen as many people stuffed into one small space in Erie as when I attended the Beach Boys concert.

They Can Be Good the Second (or Hundredth) Time Around - Cool Covers Write-Off

I’ve only participated in a handful of write-offs in my nearly four years with Epinions, but this is the third I’ve tackled this week. What can I say: they’re fun, and nice to happen upon when I’m stuck for figuring out what to review next! I have taken up kokladj’s challenge of coming up with a list of ten favorite cover songs. I’ll say just ten cover songs that I like; I know as soon as I’ve submitted the list I’ll think of a couple that should have made the list and displaced a couple others. I’m so bad at picking favorites! After you read mine, check out some of the other entries: kokladj, teamfreak16, sublimist03, shilmafone, pmills1210, insomniac1587, speeddemon531, plorentz, cryptosicko, lambchops, jeff_wilder78.

Well, since it’s one of only two Clay Aiken covers on a widely distributed album at this point, I’m going to have to mention Bridge Over Troubled Water, since I’ve gotta put Clay on here. It’s not my favorite cover of his, but I do think he does a really nice job with it. While Simon and Garfunkel’s version will always be my favorite, Clay’s approach to the song is very different, with much more of a Gospel feel to it (when he performed it on the Jerry Lewis Telethon Monday, he added a “my lord” to the second verse). It’s triumphant and showcases his voice and range marvelously, as well as being a great match to his personality. I really hoped he would perform this song, and I’m glad he did. Originally on Simon and Garfunkel’s Bridge Over Troubled Water album, this is available as a single along with This is the Night.

I recently saw Maid in Manhattan and discovered a gorgeous cover of Simon and Garfunkel’s Kathy’s Song by the late Eva Cassidy. This song is generally a Paul solo effort in the Simon and Garfunkel canon, though Art performs it in concert now. Eva’s vocals are haunting in what Art calls Paul’s most beautiful love song, and her acoustic guitar, like Paul’s in the original, suits her singing very well. The only bad thing about this track is that she only recorded an abbreviated version of the song, containing only three of the six verses. Still, very, very nice. You can find the original version on Simon and Garfunkel’s Greatest Hits, and Eva’s on her album Time After Time.

Art Garfunkel is a toughie, since he has recorded so many brilliant covers throughout his solo career, but I don’t want to fill my list with just him. These include, among others, When a Man Loves a Woman, So In Love, Goodnight My Love, and pretty much all of the Songs From a Parent to a Child album. I’m going to go with I Only Have Eyes For You, not necessarily because it’s my favorite, but because it is the one I have heard the most versions of. It seems every time I turn around I hear another rendition of this song on the TV or a movie, and I still think Artie’s is the best. Very smooth and romantic. One album you can find it on is Garfunkel, while it’s the title song of the Flamingos’ I Only Have Eyes For You. (I think this was the first version, but as I said, there have been many.)

Before I leave Artie altogether, I’m going to mention What a Wonderful World, which isn’t just him but also Paul Simon and James Taylor. Talk about a terrific trio! It was recorded in the mid-1970s, so it’s a reunion of sorts for Simon and Garfunkel, but Taylor adds even more rich layers to their harmonic sound. (He also collaborated with Garfunkel later for the Everly Brothers’ Cryin’ in the Rain.) It just seems like it’s three old buddies getting together and singing a song they enjoyed listening to when they were younger. It has a very different sound to it from the original, very mellow and slow as opposed to snappy and danceable, and they really milk the harmonies for all they’re worth. When I first got Watermark, the Art Garfunkel album containing the song, I thought it would be a cover of the Louis Armstrong song. But this is even better, and I like the irony that Art, an architecture and mathematics major in college, sings “don’t know much about algebra.” Sam Cooke’s original can be found on his compilation album Best Of.

The Irish Rovers have also done many great covers, but I’m going to mention Rhymes and Reasons because that is a song by one of my all-time favorite singers, John Denver, but I like their version better. In fact, I may have heard it first; I wouldn’t be surprised if I heard Denver’s version when I was very young, but the first time I remember encountering this song was on The Irish Rovers Greatest Hits. It’s a tender song of hope and peace in typical Denver fashion, with just a bit of a hippie-ish ring to it, as we are urged to follow the example of “the children and the flowers.” The Rovers supplement their version with natural sound effects such as singing birds, running water, and the laughter of children, and the ensemble of Irish voices doesn’t hurt at all either. Denver’s original version is available on his Country Roads Collection.

Speaking of John Denver, I’m partial to his cover of Fire and Rain on Poems, Prayers and Promises. I don’t know if I would say I like it better than James Taylor’s version; they are actually rather similar. Both have extraordinarily mellow voices, similar timbre, perfect pitch. It’s just nice to hear Denver’s take on this plaintive song about an adolescent dealing with the death through suicide of his close friend. Taylor’s version can be found on his Greatest Hits.

I just mentioned House at Pooh Corner in my Nitty Gritty Dirt Band review, but I’ll stick it in here as well. Their cover of this Kenny Loggins song, which is featured on his album of the same name, is my favorite track on Will the Circle Be Unbroken II. It’s a rowdy, electrified version of Loggins’ lullabye-like tune, written at a time when he was standing on the brink of adulthood and reluctant to leave childhood behind. Loggins’ version is wistful, but the Nitty Gritty folks pump it so full of energy that it seems getting back to the Hundred Acre Wood is entirely possible, and they’re going to make sure it happens!

Bob Dylan is a brilliant songwriter, but let’s face it, he doesn’t exactly have one of the most pleasing voices in recent music history. I think he has every right to sing the songs he wrote and it’s great that people appreciate hearing the tunes straight from the source, but I personally find his voice grating, very irritating to listen to. Blowin’ in the Wind, from The Freewheelin’ Bob Dylan, is one of Dylan’s most famous songs – it’s always the first one I think of – but I think Peter, Paul & Mary do it far more justice than the artist himself does. Theirs is what I always have considered the definitive version, complete with its rich harmonies and simple accompaniment. They sing with true passion, and their voices blend beautifully for a truly resonant cover. You can find it on The Best of Peter, Paul & Mary.

The first time I heard John Lennon’s Merry Christmas / War Is Over, it was on Neil Diamond’s The Christmas Album. It’s very nice, complete with a tambourine and a chorus of children. For the most part, Neil sings the Christmas part, while the kids sing the “war is over” part as a counter-melody. It starts out very quiet and simple and builds to a grand and jubilant conclusion. Very nice, and one of my favorite tracks on the album. Lennon’s version is available on his Shaved Fish album.

The Muppets introduced me to Kokomo, one of my favorite Beach Boys songs. It’s featured on Muppet Beach Party and is just a really fun rendition of a song that’s pretty nifty to begin with. It’s even more fun with the video; lots more, in fact, because of all the crazy things the Muppets are doing in the background on the sunny beaches the song describes. I actually happened across this song as a promo for a Muppet sing-along on another video I had purchased. The Muppets do a bang-up job; I think I like this version better than the original, which is also great and can be found on the Beach Boys’ Greatest Hits.

Well, that does it for me. Ten covers that I especially like. Check out the other reviews in this Write-off for a wide variety of covers. It’s always fun to see another artist redo an already terrific song. Add your own entry and spill the beans on which song remakes especially impressed you!