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It strikes me that the way one hears this album is very much dependent on the assumptions one brings to the holiday table. Some reviewers give Bob a pass for his charitable inclinations. And certainly donating the proceeds to charity is a noble gesture. Other reviewers have given him a pass because, hey, it’s a Christmas album. ‘Tis the season to be jolly. Still others have reveled in the contrast between the polished schlock (backing choir consisting of the heavenly host) and the gruff bark of Dylan’s “singing.”
For what it’s worth, I have nothing but admiration for Dylan’s charitable goals. And yeah, it’s a Christmas album, but that’s admittedly a genre that doesn’t do much to inspire holiday cheer in me in the first place. However, I do take issue with those who find value in the overproduced schlock/ragged yelp contrast. At its best (e.g., the early albums of Tom Waits), bombastic and ragged can work wonderfully together. The impossibly romantic strings and Waits’ gravelly musings could conjure a world of poignancy and sadness. This was love on the wrong side of the tracks, and Waits’ cast of losers was illuminated movingly by the raw vocals and the sometimes saccharine nature of the musical accompanment. Waits’ cover of “Somewhere (There’s a Place For Us)” from Bernstein’s West Side Story was such a moment. This was the high melodrama of the Broadway musical, all right, but it was being performed way, way off Broadway, and it was sung by someone who sounded like he was launching his big aria while holding a brown paper bag and slouching against a dumpster. It worked, and it worked beautifully. But it worked because of the inherent tension in the songs, because the desperate optimism and hope of Bernstein’s music and Sondheim’s lyrics met the dead end of Waits’ shattered vocals.
In contrast, Dylan sounds like your old, sloshed uncle banging away on the family upright piano and belting out some familiar carols, with the added “bonus” of production and accompaniment right out of a Cecil B. DeMille biblical epic. It’s a horrendous idea horrendously executed, incompetence meeting unvarnished hokum. Sorry to be such a Scrooge, but your holidays will be so much brighter if you just skip the music. Donate the money to the charity of your choice.
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You are soooo wrong. This album tho for charity is amazing. I saw Bob Dylan this summer and as happy and playful as he sounds on this album is just how he was in Lakewood NJ. The serious songs make one think of the true meaning of Christmas and the funny ones just take you back to your childhood and put a smile on your face. We didn't have much but the thought of Santa Claus was such fun. I don't know what you hear when you listen to this wonder butt we are all entitled to our own opinion so ok My grandson is 5 and he just dances to Must be Santa and has a great time;)
It's a bit hit and miss, but I still like the record. I think the production is brilliant. He's become quite the producer and I see no fault whatsoever with his doing this album. HAPPY XMAS WAR IS OVER IF YOU WANT IT.
"And yeah, it’s a Christmas album, but that’s admittedly a genre that doesn’t do much to inspire holiday cheer in me in the first place."
That's where I stopped reading.
Actually... that was a lie. I stopped reading when he tried to compare an album of Christmas cover songs to Tom Waits.
Actually... that was a lie. I read the whole thing. While it may have been a horrendous idea, the musicianship is top notch. And after a few glasses of Christmas wine, I think singing along with my drunken uncle on Christmas night to this album might be quite fun(ny.)
I think you need to go take your dog for walk.
This album is great, the cause is great.
Early Tom Waits sucks, by the way. Tom Waits himself will tell you that.
Your review is well-written, my compliments. I especially like not only the description but the contrast between Waits' genius and this Dylan album.
Unfortunately you actual feelings on Dylan's new album couldn't be further off-base. If you're at all familiar with Dylan's work in the last 10 or so years then the actual music follows perfectly in line not only in it's depth and sincerity but in it's just excellent musicianship. I think Dylan has, after decades, created his actual own sound with a BAND and it's stamp is left here once again - noteably in the hands of such stalwarts as bassist Tony Garnier, drummer George Recile, steel guitarist Donny Herron, etc. These guys are serious "feel" musicians. Dylan obviously has had his own personal "sound" for decades but now has a band churning out distinct and moving music album after album. Any objective listener would hear beautiful playing on this.
If it has a lighter feel it's obviously due to the fact that it's a CHRISTMAS album...it's Blood on The Tracks where he's laying all his heart and soul out there singing about lost love. Speaking of 70s albums, the great Waits' albums you've mentioned couldn't be a more ludicrous comparison to a 2009 Christmas album by Dylan, for crystal clear reasons.
The "production" you mention leaves me clueless - everything on here is organic and the only thing you won't hear on a "normal" dylan album is the chorus, fittingly there, I might add, since it's a christmas album, and has a 40s/50s r&b, rockabilly/swing feel to it, which Dylan has been doing so well for years.
You'd be hard pressed to find a better Christmas album from anyone and any period. This is rockin', swingin', bluesin' and touching Christmas stuff. Enjoy
It's a shame that folks like you can't hear or see what's in front of their noses without some demented offspring from the past screaming in their ear. But of course it must make ye feel glad all over to pan the only musician walking on stage these days that history will think twice about, it's all right. The man's the only genius out and about these days, and if it wasn't for what he did all those years ago, you wouldn't have your precious Vampire Deadend or Wildo, or whatever you're a- fallin asleep to lately. He brightens up these dark of days.