In contrast with the subject matter of that previous post, some critics who clearly possess at least a modicum of knowledge and taste in music have had the opportunity to listen to about half of the new Bob Dylan album and are reporting on the content.

Randy Lewis in the LA Times today:

Rather than simply a tossed-off session for his kids and grandkids, Dylan seems to be offering up an astute exploration of the roots of holiday music — Christmas records in particular — in the same way he has returned in various albums over the years to mine pop music’s foundation in blues, folk, country and gospel.

His version of “Must Be Santa,” with David Hidalgo squeezing reindeer-quick accordion, is directly inspired by the arrangement that Texas rock-polka group Brave Combo created on its 1991 gem of a seasonal album, “It’s Christmas, Man!” Better yet, there’s a video on the way, shot here in L.A. Dylan’s treatment of “Here Comes Santa Claus” goes straight back to Gene Autry’s 1947 version, with a guitar solo that mirrors the original, melodically and tonally.

He goes back even further with “O Come All Ye Faithful (Adeste Fideles),” singing the first verse in Hibbing, Minn.-accented Latin. Quattuor astri!

The arrangement of “Christmas Island” splits the difference between the Andrews Sisters-Guy Lombardo rendition from the ’40s and pop throwback Leon Redbone’s wonderfully craggy 1987 recording. Taking on Mel Tormé’s “The Christmas Song,” Dylan’s grizzled voice sounds at times like a vocal cord or two might have been roasting on the open fire alongside those chestnuts.

From LiveDaily, here’s part of Phil Gallo’s assessment:

Arrangements for the half-dozen tracks are rooted in the Christmas albums of the 1950s and early ’60s, with hints of Andy Williams, Bing Crosby and the Andrews Sisters, and choral sing-along LPs. The approach is old-fashioned, dotted with a convincing joy in Dylan’s growl and the musicians who surround him. Imagine Bob as your uncle gathering the family around the piano and leading the sing-along: He might not have the best voice but he’s certainly full of enthusiasm.

Evidence abounds of Dylan’s commitment to make this an artistically sound project. “Little Drummer Boy” is solemn yet increasingly welcoming, an effect created by having a child gradually increase his vocal presence until he is singing full lines in tandem with Dylan. Mel Torme and Bob Wells’ “The Christmas Song” opens with an upright piano that suggests isolation. As the backing swells, the piano gives way to tuned bells that reinforce the notion of a gathering; though a jazz guitar sparks the tune as in Nat Cole’s hit version, there is no “Jingle Bells” in the coda.

So, echoes in both of those accounts of what RWB said upon hearing the thirty-second clips. Smart guys, these Lewis and Gallo fellows.

Sounds like a complete blast.

The strangest thing appearing in both stories is the report that Dylan is still finalizing the song selection and sequencing of the album, even this week. I noticed today that even the mere tracklisting had disappeared from Amazon. Is it possible it will be a different selection from that which we have already seen (and heard)? Apparently it may well be.

The suspense might do me in, but what an exciting time to be alive.

...................
Share this!

Posts which might be related to this one based on a mysterious algorithm:

• Bob Dylan’s Christmas In the Heart tracklist
• Jingle Bingle Swingle
• A reader’s thoughts on Christmas In The Heart