Number 2700: The Story Behind the Song Is Chicken Soup for the Music Lover's Soul

Three years ago, my friend Libbie and I went to see Music and Lyrics, a romantic comedy that also has a lot to do with the songwriting process. I found it both entertaining and inspiring, as it helped motivate me to do some more lyric-writing. This past Christmas, Libbie gave me Chicken Soup for the Soul: The Story Behind the Song. I was anxious to read it, and I also hoped that it would provide a similar boost. Given my love of music as both a fan and an aspiring lyricist, I thought this would be a fitting review with which to mark my 2700th post on Epinions.

Chicken Soup for the Soul is a series of books, each featuring 101 contributions pertaining to a particular theme. Usually, a majority of the authors in any given book are ordinary people who happen to have a great story to tell. Libbie and I both have read several of these feel-good collections, and I even had a poem included in 2008’s Chicken Soup for the Soul: Love Stories. This volume is a little different in that every contributor is a songwriter, or at least is intimately acquainted with one. It’s a bit on the long side as each entry includes the lyrics to the song in question after the reflection on what brought that song about. Some of these entries are quite detailed; most are between one and two pages.

Another difference between this book and most others in the series is the fact that there are no sub-sections. Typically, a book will be divided into several smaller categories, ranging from the silly to the tragic. In this volume, the arrangement is alphabetical by the last name of the song’s composer. In most cases, this is also the person who wrote the essay. One exception to this is Ingrid Croce, who writes about the people and circumstances inspiring Operator and Bad, Bad Leroy Brown, two hits by her late husband Jim Croce. I’ve always been a big fan of his, so I was especially interested in those stories, and I had to chuckle over the fact that as many as 40 guys have approached Ingrid over the years to identify themselves as “the real Leroy Brown”.

As I perused this book, I was surprised at how many of the songs I didn’t recognize. Only about a quarter of the songs were ones I knew. No doubt everyone who picks up this book will gravitate toward different songs and songwriters. My interests tend toward classic and folk-rock. While most of my favorite songwriters - Paul Simon, Gordon Lightfoot, Billy Joel, Elton John and Paul McCartney, to name a few - did not chime in, I enjoyed reading about several songs from artists I’m not quite as familiar with, and the book introduced me to plenty of songs that were new to me.

Among the entries that interested me most were the reflections on Bohemian Rhapsody (Roy Thomas Baker), That’s What Friends Are For (Carole Bayer Sager), Right Here Waiting (Richard Marx), The Rose (Amanda McBroom) and Eye of the Tiger (Jim Peterik). One of the most detailed entries is Tony Asher’s recollection of writing Wouldn’t It Be Nice with Brian Wilson after a chance meeting brought them together in the mid-sixties. Asher talks about the back-and-forth nature of their collaborative process and the way they pushed the envelope with this song, which now seems so innocent.

Chicken Soup for the Soul books are always designed so that you can skip around as much as you like, reading an essay here and an essay there and not worrying about the order in which the stories are presented. I’ve certainly read The Story Behind the Song in this way, often opening it up at random and seeing what song I end up with. The first entry that I read was Tom Higgenson’s description of how he came to write Hey There, Delilah as a tribute to a girl he liked but didn’t know very well. There was a very appealing sweetness and scrappiness to the story, as he hadn’t really hit the big time yet when he wrote the song in fulfillment to a promise that he had made to this young woman. I must have had his reflections rolling around in my head for the next month or so because my streak of new LOST filksongs began in February with a parody of Hey There, Delilah.

If you’re interested in songwriting or the music business in general, The Story Behind the Song is a fun and fascinating collection that celebrates songs spanning half a century. My only complaint is that it makes me curious about what a lot of other songwriters would have to say about their own work. I’m hoping that they will consider a follow-up volume and that even more musicians will participate. Until then, this volume has plenty to keep me reading.

Celtic Thunder's It's Entertainment Lives Up To Its Name

Fifteen months ago, I first watched Celtic Thunder on PBS. Little did I know then that this quintet - now a sextet - was about to comfortably seat itself in the upper reaches of my hierarchy of musicians. Last summer saw the release of their third album, Take Me Home. Last fall, I had second-row seats to their concert in Erie, and luck was on my side later that night when I encountered them after the concert and even got a hug from an obliging Ryan Kelly, my favorite member of the group. They helped draw me into Twitter, which gave me a better sense of their personalities: George’s affection, Ryan’s humility, Paul’s wit, Keith’s ambition, Damian’s exuberance (which recently, much to my delight, has often been directed toward LOST).

Now this past month saw the release of It’s Entertainment, which marks a significant change for the group as Neil Byrne, previously known to fans primarily for his skills as an instrumentalist, steps up to join the lads for a couple of songs and even gets one to himself. It also marks a shift in focus, as the purpose of this particular album is to pay tribute to some of the lads’ musical heroes, and the greats of music in general. The tone, especially on the DVD, is generally light-hearted and very American.

The result feels both fun and affectionate, but some may be bothered by the fact that traditional Celtic music has little representation here and Irish songwriting legend Phil Coulter has penned only one new song for the occasion - and it, too, sounds extremely American. Not to fear, though; up next is a concept album set in Ireland of yesteryear. In the meantime, It’s Entertainment may be the least Irish of their albums, but it’s still a great accompaniment to your St. Patrick’s Day festivities.

Home - Damian McGinty joined the group when he was 14 years old, so he is the member who has changed the most in the three years since the group assembled. Their first concert saw him singing inspirational ballads like A Bird Without Wings and bubblegum numbers like Puppy Love. He knocked both out of the park. But by the time Take Me Home came along, his voice had matured to the point that the teenie bopper songs were starting to sound a little silly. I was hoping this album would give him something with more of an adult edge, so I was very happy with this selection.

It’s really a perfect choice for this young man who has been spending weeks or even months away from home since 2007 - and who happens to be a huge fan of Michael Buble. In this song, there’s a slightly world-weary edge to the homesickness. Like Bob Seger’s Turn the Page, John Denver’s Back Home Again and Paul Simon’s Homeward Bound, it acknowledges that a musician’s life isn’t all fun and games and that touring - and separation from loved ones - can be downright tiring. Damian delivers a smooth, soulful performance, and it becomes apparent that the boy is growing up. “May be surrounded by / A million people; I / Still feel all alone. / I just wanna go home...”

Life With You - George Donaldson is the elder statesman of the group, the only Scot, the only husband and the only father, and he’s yet to be given a song that doesn’t feel absolutely perfect for him. There’s such a depth to his delivery, which has an odd rippling quality that owes much to his rich Glaswegian accent. All of his songs have to do with faithfulness - to a parent, to a job, to a child, to a spouse. This up-tempo number reminds me of the Irish Rovers’ Years May Come, Years May Go, a song about cheerfully sticking together through the ups and downs of life.

While that song largely looks backward, this one looks forward. We get the sense that the speaker and his love haven’t been together all that long, and he is still amazed that he has her and wants to be sure she knows it. The bouncy keyboard accompaniment adds to the appeal of this song, as does the rather unusual staccato phrasing. “But since I met you I’m distraught / You wandered in and now I’m caught / I never thought I would see / Someone so truly good, some / One who’s so everything I’m not.” It’s the perfect companion to the Proclaimers’ more famous I’m Gonna Be (500 Miles), which George sings on Take Me Home and which is also included on the It’s Entertainment DVD.

Lough Swilly Railway - This is one song that definitely does sound Irish. It’s a fast-paced reel complete with a variety of instruments, including fiddles, guitar, piano and a sprightly type of hand-held percussion I can’t quite place. Every album has to have at least one of these instrumental tracks that shows off the skills of the band and makes you want to get up and do a jig. While it’s more fun when you can watch the musicians at work, this track remains exhilarating without the visual elements.

Hallelujah - This is probably the track I was most looking forward to, as I’ve been enchanted with the Leonard Cohen song since I first heard Rufus Wainwright’s version in Shrek and since I knew that the harmonies would be stunning. The fact that Ryan would be one of the trio here excited me, and Neil’s inclusion intrigued me. While I am disappointed that they sang only three verses, I’m not surprised, given Celtic Thunder’s tendency to shorten songs.

Piano is the predominant instrument here, augmented by understated strings. Neil gets to be the one to start things off, with the first verse to himself, before Ryan’s huskier voice joins his tender tenor for the chorus. Keith goes solo on the first couple of lines in the second verse, while the rest of the song is marked by close the communion of voices, with different singers slightly more audible at different times. The three men sound just as exquisite together as I had hoped - though the best in harmony is yet to come... “I heard there was a secret chord / That David played and it pleased the Lord, / But you don't really care for music, do ya? / Well, it goes like this, the fourth, the fifth / The minor fall and the major lift, / The baffled king composing hallelujah...”

Just Like Jesse James - This song is an anomaly. I’m glad I watched the DVD first, because at least that provides a bit of context; nonetheless, my parents and I turned to each other with puzzled expressions that said, “Who is this girl and why is she singing?” It seems the entire purpose of this song is to set up Keith’s apology in the next track, which doesn’t make a lot of sense because it is not the apology of the type of cocksure ne’er-do-well this song describes. Rather, it’s perfectly in line with the sensitive persona evident through the rest of his songs. If anything, this song should be directed at Ryan, who appears to be a total sweetheart in real life but, with his background in musical theater, has a blast playing the bad boy. “So if you're so tough / Come on and prove it. / You heart is down for the count and you know you're gonna lose it. / Tonight you're gonna go down in flames / Just like Jesse James.”

So yeah, the song doesn’t make a lot of sense. But now that I’ve got that off my chest, I’ll shrug off the objection because Charley Bird is a phenomenal singer. She has a wonderful tone to her voice that is melodious but tough, and I love listening to this track. I also feel badly for her because she appears to have been tossed in without any real promotion. There doesn’t seem to be a lot of effort to let people know who she is. This is even more egregious with the DVD, as Caroline Torti, a lovely dancer who seems perfectly equipped to convey the ferocity of the lyrics, seamlessly lip-synchs the song. It took a bit of investigation on my part to figure out they were two different people. I feel like both of them are kinda getting the short end of the stick here in terms of recognition.

Hard to Say I’m Sorry - It’s overwrought power ballad time, but I never really minded this one as I do several of the songs in this category, including I Want to Know What Love Is, which Keith Harkin sings on another album. This Chicago song always struck me as sweet and sincere, and as power ballads go, it’s on the understated side, with the crescendos feeling natural instead of forced.

Keith still comes across here like an incredibly kind, gentlemanly soul, a poor match with the man being berated in the song that precedes it. He’s more straightforward than usual here; he has a tendency to indulge in a bit of vocal acrobatics, but on this track he sticks pretty close to the melody, and his closing falsetto note is gorgeous. “After all that we've been through, / I will make it up to you. I promise to. / And after all that's been said and done, / You're just the part of me I can't let go.”

Bad Bad Leroy Brown - Devoted Jim Croce fan that I am, I was really looking forward to seeing Ryan tackle this long-time favorite. This is another one where you’re missing a lot by not getting the visuals, but it’s still a whole heck of a lot of fun to listen to. The piano and brass offer peppy back-up as Ryan narrates this gripping tale about a guy too big for his britches with obvious gusto.

You can really get a sense of his theatrical background here, even without the West Side Story-ish choreography that accompanies the song on the DVD; I love how he accentuates certain lines with a growl or a sultry exclamation. He’s said that he just loves performing this song, and I just love listening to it! “Well the South side of Chicago / Is the baddest part of town / And if you go down there / You better just beware / Of a man named Leroy Brown...”

Doo Wacka Doo - I’ve been surprised to discover just how witty Paul Byrom is, since he rarely gets the chance to show off that side with his songs, which tend to be operatic and quite solemn. That’s a Woman, his duet with Ryan, is an exception, but even so, his part of the song is pretty earnest, while Ryan gets to have all the snarky fun. He still comes across as very sophisticated here, especially whenever he says the word “dance,” but there’s a wonderfully light touch to this Phil Coulter original, which is written in the style of music of the Twenties and Thirties.

The brass, ragtime piano and brisk percussion all evoke the Roaring Twenties. Coulter’s lyrics are clever and at one point give him a chance to show off his operatic chops. They’re also affectionate, connecting a fascination with the music of this era to the love of his grandparents and a desire to step into the world of their youth. An extremely entertaining song that is perhaps the album’s most surprising track (Jesse James aside). “Doo wacka doo wacka doo wacka doo wacka doo, the band would play. / Doo wacka doo wacka doo wacka doo, they’d dance the night away...”

Amazing Grace - I would imagine I’ve heard this song more than all the others in the Celtic Thunder repertoire combined, and I’ve encountered more different versions than I could begin to count. It’s one of those hymns that seems to sit right near the top of nearly every church-goer‘s list of favorites, and it’s one that resonates with me even more this year than usual as it was featured in one of the few official promos going into LOST‘s sixth season, giving me high hopes for impending redemptive conclusions to the arcs of these conflicted characters. I was happy to see that this would be a part of the album. But I didn’t expect that it would be the track that would floor me more than any other, or that it would instantly become the definite version of the song for me. It’s a purely a cappella track, and it’s easy to imagine that they are singing under the dome of a magnificent cathedral.

Ryan, an organist’s son who has lent his voice to countless church services, opens the song with a reverence to suggest both sincerity and intimate familiarity with the hymn, soon to be replaced by Keith, after which Neil’s harmonies soar effortlessly over them into the upper register, giving the lines an Appalachian flavor. At least I think that’s Neil doing the high harmonies; it could be Keith, and I wish I could consult a video to get a better feel for who’s singing what. While the repetition of the first verse at the end is a group effort, Ryan’s is the most prominent voice in the concluding lines, though Damian goes on to repeat the final line. In between, each singer has his moment in the spotlight, though rarely is there only one voice to be heard at any given time.

George and Paul share lead vocals on the second verse, while the third is the most integrated of the verses, with no clear leader. Damian demonstrates how much deeper his voice has gotten in the solemn fourth verse, while Neil, who seems to now hold the honor of having the highest voice in the group, has the lead in the first half of the repeated first verse. And all the while, other members of the group weave in and out of elaborate harmonies, creating a profoundly moving listening experience. My only complaint is that, like Take Me Home’s Green Fields of France, this was not included on the DVD. Are the harmonies too complex to replicate on stage?

Hello Again - Neil Diamond is another of my favorite singer-songwriters, so I was happy to find one of his songs here. George’s deep, rumbling voice is perfect for the song; in the first line, he sounds so much like Diamond it’s eerie. As the song goes on, his own distinct voice shines through more as gently rippling chimes provide a nice counterpart to his low register. Another touching ballad about love and faithfulness. “Just called to say hello. / I couldn't sleep at all tonight / And I know it's late / But I couldn't wait. / Hello.”

When You Wish Upon a Star - Neil’s official introduction, to the accompaniment of a mellow-sounding keyboard. This feels like an appropriate song for this talented musician brought from the sidelines into the spotlight. I’m still getting used to his voice and learning to identify it for its own qualities rather than simply recognizing that it’s none of the other five. There’s a lovely tone to it, and he really excels at those high notes. More than anybody else in the group, I think, he has a voice that reminds me of a contemporary boy band. At any rate, this is a great track and a fitting way for Neil to shine. “When you wish upon a star your dreams come true...”

Standing on the Corner - This is Damian’s more light-hearted song, somewhat akin to his earlier teen idol-type tunes. Again he comes across as more of a young man instead of a teenager. His Irish accent disappears altogether as he tries to emulate a member of the Rat Pack, with a sophisticated swagger undermined by his confession that he hasn’t got a girl, and that attaining one is a dream that seems out of reach for him. He’s content to window-shop, believing his balance of charm and style insufficient to pay for the privilege of an actual date.

It’s a funny notion, since I kinda get the impression that of all the members of the group, Damian has the largest fan base, and getting a girl would be no problem for him whatsoever. Just a very lighthearted song enhanced by jaunty piano and jazzy percussion. It’s one of my favorites on the album, and Damian sounds like he had a blast recording it. “Brother, you don't know a nicer occupation - / Matter of fact, neither do I - / Than standing on the corner watching all the girls, / Watching all the girls, watching all the girls go by.”

Surfer Medley (Surf City / Fun, Fun, Fun / Surfin’ USA) - One of Keith’s defining characteristics is the fact that he is an avid surfer, so it was only a matter of time before he took on the Beach Boys. A very energetic trio of songs, which is a nice change since Keith’s specialty is slower romantic ballads. Nice to hear him just have a little fun out there.

Sway - This Mexican-flavored song is one that has been covered by singers ranging from Dean Martin to Michael Buble. Like Doo Wacka Doo, the style is a bit of a departure for Paul, which I don‘t mind; it‘s nice to see him branching out more into other types of music. A nice mellow track. “When marimba rhythms start to play / Dance with me, make me sway. / Like a lazy ocean hugs the shore / Hold me close, sway me more.”

Everything I Do (I Do It For You) - There’s not even a hint of Bad Boy Ryan in this song. Nothin’ but Dreamboat in this song instantly recognizable to most of my generation as the theme to Robin Hood: Prince of Thieves. Interestingly, Clay Aiken covered this on A Thousand Different Ways, and his version has a much more Celtic flavor to it than Ryan’s does. The instruments in this rendition are pretty understated, with just the guitar standing out as it does some unusual twanging from time to time.

But it’s Ryan’s earnest delivery, his smoky voice lingering over each pledge of devotion like mist over a Sherwood morning, that makes this track so irresistible. The healthy version of I’ll Be Watching You, with the speaker offering the best of himself for the sake of the one he loves instead of pining away as he peeks in her window. Meanwhile, my own heart goes pitter-pat... “Look into your heart. You will find / There's nothin' there to hide. / Take me as I am; take my life. / I would give it all. I would sacrifice.”

I Still Haven’t Found What I’m Looking For - It’s generally best for the album to end with a bang, and boy does this one do that! What’s more, this time it pays tribute to U2, the band helmed by Irish megastar / philanthropist Bono. It’s an opportunity for more phenomenal harmony as the lads come together for the one track on the album that truly showcases everyone at once.

The driving jungle rhythm of those drums, beckoning to adventure! The swirling strings that race along like the winds that chase the Fellowship of the Ring and threaten to deter them from their journey! And of course, the voices of the seekers, bonded in a strange, wistful exuberance, frustrated by the lack of answers but taking true joy in the journey. Again, rather like LOST. I just hope this is not the song we’re singing after the series finale. “I have climbed highest mountain. / I have run through the fields / Only to be with you / Only to be with you...”

The lads may still be searching, but if what you’re looking for is a thoroughly charming accompaniment to your St. Patrick’s Day celebration, or an album to put a dash of green into any old day, perhaps your quest can end with It’s Entertainment.

Campy Life on Mars Pays Tribute to the 70s

The fifth season of LOST was very much wrapped up in the 70s, one of my favorite decades. When I realized how important that era would be to the season, I couldn't help but wonder whether LOST and Life on Mars, the trippy, campy throwback crime drama that aired in the next time slot, were in cahoots. Life on Mars was a remake of the British show that ran for two seasons. Each contained eight episodes, making it almost exactly the length of the U. S. edition, which ran for 17 episodes, though series creators were hoping to go longer than one season. At least there was sufficient notice to give the show some resolution, though I wonder whether the series got the intended ending; it's hard to tell when a series is cancelled at the last minute like that, though I would hope they had the conclusion in mind from the outset.

Ironically enough, Life on Mars is a British import starring an Irishman acting the part of an American (who, in one episode, has to go undercover as an Irishman). Jason O'Mara is Sam Tyler, the detective who is utterly bewildered to find himself zapped to 1973 after a car accident. The show actually began airing in the fall, and previews led me to believe that Lisa Bonet ("in her first television appearance since The Cosby Show!") would play a major role in the series, but her part was much smaller than I expected. However, other characters, along with the terrific setting and the mysterious premise, were enough to keep me watching.

Sam is a pretty ordinary modern guy. A decent fellow who loves his mother, who raised him almost single-handedly, and cares deeply about justice, he is startled by some of the methods employed by the police force of the 70s and troubled by revelations he receives about his own family in the course of his work. Although the show is billed as a drama, I was never entirely able to take it seriously because it spends so much time consciously parodying the 70s, and in particular cop shows of the 70s. There are many sly winks at the audience that are a lot funnier if you are familiar with the pop culture of that decade. Of course, some of the references are hard to miss, like Sam's use of the pseudonym Skywalker when he first meets his mother (Jennifer Ferrin) in the past.

The show is mostly episodic, with a new case to solve every week, but at the same time, Sam is collecting clues about his past and trying to piece together just what happened to land him in this strange place. Sam finds himself in a department run by Lieutenant Gene Hunt (the superb Harvey Keitel), who is a tough guy who doesn't mind throwing his weight around, though underneath all that intimidation is a heart of gold. His most antagonistic coworker is Ray (Michael Imperioli), a crude, seemingly misogynistic man with a mustache half the size of his head. Balancing him out is ambitious Annie Norris (Gretchen Mol), who longs to gain detective status and who is the only one in the department who thinks there might be something to Sam's insistence that he comes from the future. There's also Chris (Jonathan Murphy), a sweet, Jimmy Olsen-ish sort of character who is the young buck on the force, and at Sam's apartment building is an eccentric, free-spirited woman named Windy (Tanya Fischer) who flits in and out of his life. Fischer and Bonet appear in the same number of episodes, but Fischer makes a much bigger impression.

Every episode is filled with little jokes making the most of the time frame, but the best evocation of the era comes in the form of the music. My jaw dropped when I watched the conclusion of the second episode, which has Sam and Windy dancing together to Simon and Garfunkel's I Am a Rock on the record player. Just two episodes later, Sam recognizes his mother to the tune of Simon's Mother and Child Reunion. Finally, toward the end of the season, it was back to the duo with Fakin' It for a scene in which Annie goes undercover. I spent most of LOST's fifth season waiting for Simon and Garfunkel to turn up on the Dharma record player, and while I was never satisfied on that score, it was nice to know that I was likely to have more luck with Life on Mars, which also featured music by Elton John, Ringo Starr, the Partridge Family, Cat Stevens, Three Dog Night and the Turtles, among many others. Not only is Jim Croce's Bad, Bad Leroy Brown the backdrop to a raucous bar fight, but Sam actually rubs elbows with the tragically short-lived troubadour in one scene and warns him to stay away from small airplanes.

That's one of the few instances in which Sam does something in a conscious effort to change the future. Like season five of LOST, Life on Mars is very preoccupied with issues of meddling with the established space-time continuum. On both shows, one especially difficult decision involves the question of whether it is morally permissible to kill a child, knowing he will otherwise grow up to be a reprobate. While one character on LOST sees himself as an infant, Sam is actually able to interact with his pint-sized self, though he resists the opportunity for a long time, fearing the consequences. Ultimately, Sam's situation doesn't resonate quite as strongly with LOST as I had suspected, but I enjoyed contemplating parallels from week to week, especially when both shows explored similar issues on the same night.

I missed a few episodes of Life on Mars in the fall, when I often worked the evenings it aired and didn't have LOST as a lead-in. I understand that one of those episodes was especially well done and gave the tantalizing impression of a complex mythology underpinning the plot. However, as I mentioned before, I was never able to invest myself in the show fully. The gap between LOST and Life on Mars is comparable to the way I experienced Harry Potter and A Series of Unfortunate Events. While I found the latter very entertaining, those characters never became real to me as J. K. Rowling's did. They were more like caricatures, and even during the most perilous moments, I couldn't muster up very passionate feelings of concern. So even before I realized that Life on Mars was getting just one season, I didn't expect the ending to move me much or make a lot of sense. From that viewpoint, I found the conclusion strange but mostly satisfying, and certainly less depressing than some I had envisioned. I didn't love it, but I didn't hate it either. However, some of my friends despised it, and that seems to be a common opinion, so that may be something to consider before you commit to all those viewing hours.

If you don't mind a bit of the nonsensical, check out Life on Mars for the outstanding soundtrack, the amusing homages to the 70s and the great performances, especially by Keitel, whose character is much more complicated than he at first appears. It's a shame the show got cut short; I was hoping for another team-up with LOST. But as a stand-alone season, it's a fun, retro romp, so if you think you'd like to get to know Sam Tyler and his pals, hitch a ride with the Rocket Man and get ready for Life on Mars.

Sing We Now of Christmas: Join Me in Celebrating the Songs of the Season!

One of my favorite aspects of the end of the year is listening to Christmas music. I'm one of those people who has endless tolerance for these seasonal tunes, though generally I discipline myself and only listen to them for about two months so as to enhance my appreciation for them the next time around. I have a thick stack of Christmas albums at home, and every year I happily pull them out - though for the third year running, a local radio station has provided all Christmas music, all the time, decreasing my motivation to put the old favorites into rotation. There's something exhilarating about stumbling upon a song I absolutely love when I'm not expecting it. I have the radio tuned to the sounds of the season as often as possible, and whether I'm putting away stock at work or dozing away in my bed, there are certain songs that always cause me to stop for a moment just to listen (and maybe, if I am sufficiently unaccompanied, sing along). Below is a list of my favorite non-traditional Christmas songs; most are ones I regularly hear on the radio, but I've also included a few that ought to be in the rotation.

Peace on Earth, Good Will to Men

What better time than Christmas to try to embrace our better natures and build a bridge to a brighter tomorrow?

Do They Know It's Christmas? - This hit single released in the early 80s by a group of pop stars going by the name Band Aid is every bit as timely today as it was then. It's an important reminder of how many people there are living in hunger and poverty in the world. The focus is on Africa, though the sentiment could be expanded to encompass other continents as well. The point is to look at "the world outside your window" and do something constructive about its problems. The song is a little simplistic, and watching the video with its line-up of 80s idols with bad hair is rather amusing, but songwriter Bob Geldof's efforts to raise global consciousness are admirable, and it also happens to be one of the catchiest songs on the radio this time of year. The pounding percussion! The resonant tolling of bells! The searing accusation by Bono! Boy George's eerily feminine pipes joyfully encouraging us, "Throw your arms around the world at Christmastime!" Why, thank you... I think I will!

Happy Xmas (War Is Over) - While we're on the subject of saving the world, I must let John Lennon have his say. I first heard this song on Neil Diamond's Christmas album; when I finally heard the original, I was surprised at how similar the arrangements were. I've since heard another version that is also nearly identical. It's a very simple song, but the counter-melody is such a perfect complement to the main vocals that any embellishments would detract from its power. Like much of Lennon's work, it advocates peace, and the choir of children is representative of a hope that future generations will better learn how to live with one another. It too is sadly as appropriate today as when it was written, with its pleading mantra of "War is over if you want it." While there's no acknowledgment of the divine in this song, at least there's not the sense that Lennon was bashing religion (which I must admit he did a bit in Imagine), and I can't see anything anti-Christian about his desire for brotherhood. This is my favorite song from Lennon's solo career.

Someday at Christmas - I couldn't tell you when it was that I first heard this song, but last year was when I really took notice of it. When I finally looked it up, I felt like a dolt because I'd thought the song was sung by a woman, when in fact those were the dulcet tones of Stevie Wonder I'd been hearing. He has several songs in the regular holiday rotation, and I like them all, but this is my favorite by far. Its basic message is very similar to Happy XMas, expressing optimism that people can refrain from violence. The melody is beautiful, and while the provocative first line - "Someday at Christmas, men won't be boys playing with bombs like kids play with toys" - is quiet and backed with instrumentation vaguely reminiscent of a music box, it builds in intensity, with choral backing and lots of soulful vocals, particularly on the wistful line, "Maybe not in time for you and me, but someday at Christmastime."

Light One Candle - I never hear this one on the radio, and more's the pity. This is one of two outstanding songs penned by Peter Yarrow that appear on our well-worn Peter Paul and Mary Christmas album. The Magi (The Heart of Man's a Palace) is just as fantastic, but Light One Candle sticks in my head more, probably because it's generally accompanied by a crowd of glowing lights from the audience. Additionally, they don't restrict its use to Christmas concerts. This is actually a Hanukkah song, with specific references to the Maccabees and the central metaphor of ever-burning candles, but it's an anthem that's also intended to reach further than that. It's a universal call to keep (or find) the faith; by the time they get everyone in attendance singing along in jubilation, the burden and promise of justice prevailing feels tangible.

Something About Christmas Time - Easily confused with Jon Bon Jovi's I Wish Every Day Could Be Like Christmas, which is nearly as good, Bryan Adams' song, like most in this category, intensifies as it goes on. He's joined by an inspiring chorus, and there's just enough of a rock edge to this song to make me want to do a fist pump in time to the Christmas bells that chime in partway through. Another song that urges everyone to let Christmas seep into their hearts. "I know it's not too late. The world would be a better place if we can keep the spirit more than one day in the year. Send a message loud and clear."

Snoopy's Christmas - This should probably go with the novelty songs, but while some might find a sound effects-laden song about Flying Ace Snoopy to be a little hard to take seriously, I can't help but find it heartwarming. It's a very peppy song, augmented by a military drum roll, an austere recitation of O Tannenbaum and some very cheery-sounding bells. In part, I take the song as a tribute to the 1914 Christmas truce between German and British troops; in any event, it's a joyful narrative about the wonder of Christmas yielding compassion from unexpected sources. The implication? If these foes can bury the hatchet for the day, why not everyone else? Plus, it's awfully fun to hear those Royal Guardsmen growl, "the Bloody Red Baron!"

Christmas 1915 - Speaking of the Christmas truce, I discovered this gem after compiling this list.  Written by Cormac McConnell, it was recently recorded by the group Celtic Thunder, whose members harmonize gorgeously in this haunting account of a fleeting peace and the carnage that followed.  Exhilarating.  Heartbreaking.  And my favorite new Christmas song of 2008.  "Silent night.  No cannons roar. / A king is born of peace forevermore. / All's calm, all's bright, / All brothers hand in hand / In 19 and 15 in No Man's Land."

A New York Christmas - This is a 2010 discovery thanks to the mall radio.  This inspring anthem has a rock edge to it and a melody that grabbed me from the first time I heard it and just wouldn't let me go.  It captures both the grit and glory of New York City in this time of year, and its plea for an open-hearted response to the disenfranchised of society is just the sort of rallying cry that's needed in a too-often apathetic age.  "Call on your angels, come down from the city. / Crowd around the big tree, all you strangers who know me. / Bring your compassion, your understanding. / Lord, how we need it on this New York City Christmas."

In the City of David...

While many contemporary Christmas songs focus on the general joy of the season and often sidestep the Nativity altogether, several are specific to the first Christmas. These are some of my favorites.

Mary's Boy Child - This one is borderline traditional. My aunt once performed it in a choir concert, and we sang it during a Sunday School Christmas program several years back (when I was incensed at the insistence upon replacing "man" in the chorus with the gender-neutral, dorky-sounding "folks"). Still, I can't quite lump it together with sing-along favorites like Joy to the World, Angels We Have Heard on High and The First Noel, in part because I consider there to be only one definitive version of this song, and that's Boney M's. A typical group of carolers just can't replicate the energy and exuberance of their rendition, which never fails to leave me grinning from ear to ear. It helps that there's so much going on in the song, particularly towards the end, when the spiritual Oh My Lord is expertly incorporated. The harmonies are wonderful, the energy infectious, the steel drums and Caribbean accents irresistible. Simply one of the happiest Christmas songs I can think of. "Hark now hear the angels sing, a king is born today, and man will live forevermore because of Christmas day!"

The Gift - When I first heard this song on the radio last year, it stopped me dead in my tracks. I immediately turned up the volume and stood riveted to this gentle story of an impoverished young girl who nurses an injured bird back to health just in time for the grand presentation of gifts at the local church. While the version I've heard is a cover, it's so exquisite I have no great desire to listen to the original. The singer is Aselin Debison, a young girl herself, and the purity of her voice perfectly matches the innocence of the young protagonist. One thing I love about this song is the fact that it's narrative; not only that, it has no chorus, instead wandering along gradually through the verses in a refreshingly unhurried manner. Its first eight lines are a cappella, which accentuates the beauty of Debison's voice and renders the guitars that serve as the first accompaniment all the more beautiful. Even more lovely is the flute toward the end, which is meant to imitate birdsong. Basically, this is yet another variation on The Little Drummer Boy, which has essentially spawned a sub-genre among Christmas tales; it's particularly similar to the picture book The Most Precious Gift. It's pretty obvious how the story will end, but that doesn't make the journey any less awe-inspiring.

Down Among the Bushes of Jerusalem - This Irish Rovers song written by Tommy Sands doesn't stop with Jesus' birth. John Reynolds' wonderfully earthy, expressive vocals carry this lengthy ballad that describes Jesus as a rebel from his earliest days. The song is filled with Celtic instrumentation, including accordion and Irish drums. I almost think of it more as an Easter song, along the lines of Lord of the Dance, but it's on their Christmas album, and I suppose it fits in rather nicely with such songs as Mary Did You Know? "Born of honest parents and below a shining star, the word went 'round the country, and they came from near and far..."

Christmas Canon - This doesn't exactly focus on the Nativity, but it references the Christ Child and carries a note of profound hope in awaiting His return: "We are waiting. We have not forgotten." I first heard this song in its revamped version, entitled Christmas Canon Rock and featuring electric instruments and a powerhouse soloist. It wasn't until the perpetual Christmas music airplay began that I heard this original version. Both are by Trans-Siberian Orchestra, and I still can't decide which is my favorite, but I do love the classical sound of this one and the pristine vocals of the children who sing each of the three counter-melodies. They sound truly angelic. It doesn't hurt that the basis for the song is Pachelbel's Canon in D, which has long been a favorite of mine.

The Star Carol - Don't expect to hear this one on the radio either. I listen to this obscure recording, only available (as far as I know) as a part of the 3-CD boxed set Old Friends, and think, Why, oh why, couldn't have Simon and Garfunkel released a Christmas album? I know, I know... Too commercial, and I don't suppose Paul was too interested in singing an album almost entirely comprised of other people's material, or of composing a dozen original Christmas songs, especially when he is Jewish. Art did later record a Christmas album, albeit a most unusual one. At any rate, this is one of the few Christmas songs Simon and Garfunkel recorded and the only one that is not what I would call a traditional carol. I've never heard it elsewhere, though I understand that Aaron Neville also recorded it. The song sounds older than it is; though it was written in the fifties, its third and final verse is peppered with thees and thous. It's a very simple song reminiscent of Away in a Manger, but the harmonies are exquisite, and there's a sincerity to it that's lacking in the rushed rendition of Go Tell It on the Mountain from Wednesday Morning, 3 A.M.. It's my favorite of their Christmas offerings because it's so different and so lovely, without any subtly dark undertones. It's quite a shame that it isn't more readily available.

Just for Fun

I'm such a sucker for Christmas specials, and a lot of awfully fun songs have been drawn from those. Others are delightful bits of silliness independent of any overarching story.

The Chipmunk Song - You know I had to stick these guys in here. What would Christmas be without squeaky Alvin pleading for a hula hoop and ignoring the musical direction of an ever more irritated Dave Seville? This song does a great job of capturing the impatience many children feel at Christmas, and it does so with trademark bickering humor and high-pitched harmonizing. Another amusing ditty along these lines is VeggieTales' hyper I Can't Believe It's Christmas, sung by Junior Asparagus, Laura Carrot and various other Veggie tots.

Oh Santa is my favorite Veggie offering, though. Larry, always the ambassador of childlike naivety, anxiously awaits the arrival of Santa (who, viewers will note, is Bob the Tomato in a rather transparent disguise). Before the big guy shows up, Larry is visited by several unsavory guests: a bank robber, a Viking and an IRS agent. While the lengthy song is certainly silly, it also has a good message, since Larry is willing to share his specially made Christmas cookies with those who have come to do him ill, and in turn, his assailants drop their attack. Another one you won't hear on the radio, but I love it!

Mr. Heatmiser - This ragtime song from Rankin and Bass's The Year Without a Santa Claus is arguably the most memorable tune to come from their many Christmas specials. Two climatically opposite brothers square off against each other, each assured in his position that his end of the thermometer is superior. I always get a kick out of hearing the version by the Big Bad Voodoo Daddies on the radio, though I prefer the original; I find it especially annoying that the wording of one line is changed without changing the line that rhymes with it: "I’m Mr. White Christmas. I’m Mr. Cool. I’m Mr. Icicle. I’m Mr. 10 Below." If you must change it from "Snow" to "Cool," can't you change the fourth sentence to something like "I'm Mr. Cancelled School" or "I'm Mr. 'Blizzards Rule!'"? That lack of a rhyme is just jarring. Otherwise, though, this piano-drenched face-off is loads of fun.

You're a Mean One, Mr. Grinch - I like this one even better, though it sounds more appropriate for Halloween than Christmas. Thurl Ravenscroft's distinctively deep voice and those deliciously ostentatious instrumentals do justice to Seuss's seriously skewered lyrics. Each line is expertly articulated, but I think my favorite moment has to be when he snarls, "You're a rotter, Mr. Grinch!" Out of context, this couldn't be less Christmassy, but it's quite a testament to the power of Christmas to think that it could transform a creature whose "soul is an appalling dump heap overflowing with the most disgraceful assortment of deplorable rubbish imaginable, mangled up in tangled up knots," into a compassionate spirit.

I Want a Hippopotamus for Christmas - I only discovered this one a couple years ago, and I wonder how it could have escaped my notice for so many years. It was on an album by the Countdown Kids, who did several cheesy Christmas records that I wore out when I was little. We must have about every album except that one. When I first heard the song, I didn't believe it was actually sung by a little girl. I was convinced it was an adult trying to sound girlish, and not succeeding very well. But Gayla Peevey was only ten when she recorded the song as a fundraiser to bring a hippo to the Oklahoma City zoo. Her brassy voice reminds me of Ethel Merman. John Rox's goofy lyrics (I'm especially amused by his reference to a "hippo hero") and the brass band backup complement her over-the-top delivery, and they did the trick; the zoo got its hippo. I, however, am still waiting for mine. I guess I'll just have to sing louder!

Home for the Holidays

These last few are songs whose primary focus is domestic, with the emphasis on loved ones and how they interact with this holiday.

Aspenglow - I couldn't conclude this list without mentioning John Denver at some point. He has no shortage of qualifying songs, but I choose this one for its gentle, evocative beauty and its association with Colorado. Christmas for Cowboys is lovely as well, albeit less easily applicable. Though it's a tribute to one particular beloved town, most of the things Denver sings about in the guitar-heavy Aspenglow are the sorts of things that make a Christmas celebration merry no matter where you are. "Aspen is the life to live. See how much there is to give. See how strongly you believe. See how much you may receive."

You Make It Feel Like Christmas - One of my favorite Christmas albums is Neil Diamond's, and I've always been a fan of this original song, which is cozily upbeat. Aside from the title line, there are only a few specific references to Christmas; most of it is more of a general love song, a grateful tribute to a wife whose love endures and always manages to catch him off guard: "When people ask how we stay together, I say you never let me down." Given the fact that Diamond is Jewish, I take this song to be semi-autobiographical at best, perhaps reflecting his feelings but not the holiday trappings; then again, if he recorded an entire Christmas album, maybe he does have a tree in his living room in December after all...

It Doesn't Have to Be That Way - This Jim Croce song is a fairly recent discovery for me. I was startled to hear it on the radio a couple of years back; given his short career, it isn't often that I come across a "new" song by him, and I certainly would have thought I would have been aware of a Christmas song. This somber guitar-driven tune is very much along the same lines as Photographs and Memories, and it offers a window into the heart of those for whom Christmas may bring more pain than cheer, while leaving an opening for the possibility of a reconciliation between the man and his estranged love. "The windy winter avenues just don't seem the same, and the Christmas carols sound like blues, but the choir is not to blame."

Old City Bar - Trans-Siberian Orchestra is known for high-octane instrumental music and exhilirating light shows.  But of all their songs, my favorite is this acoustic ballad in which the focus is entirely upon the lyrics, which are delivered in a warm but ragged style reminiscent of an aged storyteller regaling his grandchildren with a tale by firelight.  Humble in presentation, epic in length, it is the one track upon which the narrative of Christmas Eve and Other Stories hinges.  A crusty bartender, a homesick girl and an angel in disguise interact in this powerful recollection of a Christmas miracle.  "If you want to arrange it / This world you can change it / If we could somehow make this / Christmas thing last / By helping a neighbor / Or even a stranger / And to know who needs help / You need only just ask."

Same Old Lang Syne - I'm ending with this because it's so unique among all the Christmas songs that get regular play on the radio, and with Dan Fogelberg's death last year, it has an even more melancholy flavor to it now. Piano and strings are the driving instruments in this reflective song, which tells the true story of a Christmas Eve encounter Fogelberg had with a former, now-married girlfriend. His vocals are achingly tender, with the sting of loss in the back of his throat before he can enjoy a moment of his reunion unencumbered. The layering of his vocals amplifies his loneliness, and his falsetto heights on the choruses are an eerie illustration of his plaintive state of mind. What's remarkable about this song is how accidentally it came about, right down to the timing. If this had happened in July, it wouldn't have gotten half the airplay it does, but because of the date, it gets to be in the Christmas rotation. It also gets an absolutely devastating last line, accompanied by instrumentation expertly approximating precipitation. "As I turned to make my way back home, the snow turned into rain." Brilliant.

So that's my list of favorites, though it's far from definitive. For instance, I didn't even touch Michael Card, who probably has a couple dozen or so original Christmas songs. I don't feel like trying to figure out which is my favorite, so suffice it to say that any of his are worth checking out, though none is likely to grace the radio airwaves, except perhaps on a Christian station. I'm sure as soon as I post this I'll think of a couple more absolutely essential Christmas songs, but this will have to do for now. If I'm up to it, traditional songs will be up next.

Meanwhile, I invite other writers to join me in celebrating your favorite Christmas songs, as few or as many as you'd like. If you'd care to join my Sing We Now of Christmas Write-off, drop me a comment or e-mail and I'll link you up! I'll keep this going through the end of December. Happy singing!

Bad, Bad Leroy Brown Most Certainly Qualifies as a Favorite

Years ago, my family and I went to a performance by Christian performer Paul Hill, who performed a number of famous songs that he claimed to have written, at least in part. One of these was Bad, Bad Leroy Brown. He spoke of hanging a gold record on his wall and raking in the money for the hit song but said when his mother heard it, she was aghast at the violent lyrics and insisted he write new words, something nice that she could share with the ladies in her church quilting circle. So he did, and he sang us the result, which as I recall was a song about Noah.

I liked it, and I've tried to track it down since then, but there's virtually no reference to Hill online - and most of the references seem to indicate that he never had a hand in any of those songs he claimed he did. I find it hard to believe someone, especially a gospel singer, would be so dishonest and audacious as to take credit for songs he had nothing to do with, but I've scoured the credits of this song and several others and have never seen his name there, so I'm starting to think he made it up. I imagine he did write the Noah lyrics himself, but if the allegations against him are true, he has no more right to pen such words than I do to twist Jim Croce's tune into a song about curmudgeonly Dr. House.

That was a great concert, so it was disillusioning to find out that so much of it was most likely based on false pretenses. But it makes a lot more sense that Croce would have written this on his own. He was a master singer-songwriter who crafted most of the songs he performed, usually after being inspired by his own life or his keen observation of others. Leroy Brown was a devil-may-care fellow soldier around whom Croce created a scintillating scenario. The fictional Leroy is one mean dude, and he's used to getting his way all the time, but he gets knocked down a peg when he puts the moves on a woman who is spoken for by a pretty aggressive husband.

Croce had a really odd way of enunciating at times, and nowhere is it more pronounced than in this energetic number. The jazzy piano instrumentals fit well with his staccato delivery; he's always dropping articles or the first or last letter in words, which adds to the song's edge. I'm guessing he sang in this way to accentuate Leroy's tough-guy 'tude, and it's one of the song's most distinctive attributes.

It's probably just as well that he truncates his words, making the one dubious phrase in the chorus sound very much like "downtown" instead of the two words it actually is. "Baddest man in the whole downtown" isn't going to set off many alarms - though a tiny bit of bad language shouldn't really rankle that much in a song whose lyrics seem to almost revel in Leroy's bad deeds.

He carries around a gun and razor wherever he goes. He gambles excessively, and, to quote a rather naught John Denver song, he "likes to deal with the ladies." But Croce and his whooping back-up singers are having such a great time singing about him, he seems more hero than villain, and it's a little sad to think of this towering man as "a jigsaw puzzle with a couple of pieces gone."

In his sadly short career, Croce wrote and sang some of the most tender, sensitive songs ever recorded. Bad, Bad Leroy Brown isn't one of them. But it's absolutely one of the most fun.

*****

I could have sworn up and down that I found this as a single in the database, but when I went to post it, all I could find was Bad, Bad Leroy Brown and Other Favorites, a solid album containing several of Croce's best-known songs. I'm not sure I would quite agree they're all "favorites," but certainly that term applies to the bittersweet Time in a Bottle; the forlorn Operator (That's Not the Way It Feels); the tender I'll Have to Say I Love You in a Song; the nostalgic Photographs and Memories and the rollicking Roller Derby Queen, the only track that comes close to matching the pep of the title song.

Also included on the album are the socially conscious, Dylan-esque Which Way Are You Goin'? and Railroad and Riverboats; the self-examining, country-flavored Age and the pleading The Way We Used To Be. Considering the overall tone of the album, it might have made more sense to name it after one of the more introspective tunes, but you can't dispute Leroy's popularity. As a single song or the masthead of a great collection, Bad, Bad Leroy Brown is fantastic.