Lounge

December 27, 2022

# 89

Booker T. & The MG's
In The Christmas Spirit
1991

(Originally released 1966 on Stax)

ATLANTIC RECORDING CORPORATION
A Time Warner Company © 1966 Atlantic Recording Corporation for the United States and WEA International Inc. for the world outside of the United States.

# 31 – 1966 – Billboard Christmas

Genre : Lounge

Booker T. & The MG’S got their start as The Mar-Keys in the late 1950s. The Mar-Keys, and later Booker T. & The MG’S, were an instrumental Soul group. In the early 1960s, Booker T. Jones became a stronger presence in The Mar-Keys and the name was adjusted to reflect this. Booker T. & The MG’S comprised just four musicians, Booker T. Jones, Steve Cropper, Donald “Duck” Dunn and Al Jackson, Jr. When horns were added, the name The Mar-Keys was used, otherwise the four were known as Booker T. & The MG’S.

One of the first singles Booker T. & The MG’S released, Green Onions, in 1962, was a chart success. The group became known for several things. First, they had a unique Soul sound and swinging groove that was the first of its kind.

Secondly, Booker T. & The MG’S were an integrated group at a time when that was almost unheard of. Booker T. Jones and Al Jackson, Jr. were both African American, and Steve Cropper and Donald “Duck” Dunn were both Caucasian. All four were from Memphis, Tennessee, and all four grew up listening to music from The Platters, The Drifters, Hank Ballard, Ray Charles and all the white Rockabilly artists to come out of Sun Records.

While releasing records under their own name, The MG’S became the in-studio house band for Stax Records and played on all the singles and albums that other artists came to Stax to record. These acts featured Wilson Pickett, Aretha Franklin, Sam And Dave, Eddie Floyd and Otis Redding amongst many others. Booker T. & The MG’S became the de facto Soul band of the south.

The album featured here was their only Christmas album and was released in 1966. Booker T. Jones, (keyboards, mostly Hammond B-3 organ), Steve Cropper (electric guitar), Donald “Duck” Dunn (not an original founding member, but joined early on, bass) and Al Jackson, Jr. (drums) made up the members of Booker T. & The MG’S. This CD reissue of their Christmas album comes to us from Atlantic Recording Corporation.

The cover of the CD is not a replica of the original album cover, but it is an exact replica of the album cover used on LP reissues starting in 1967, a year after the original album was released. The cover artwork features olde-time Santa Clauses standing side by side in a row. There are only two different Santas, they are just repeated over and over. Each is standing in front of a bag of toys, and each is holding a small Christmas tree and some gifts. Across the top of the front cover is an evergreen garland decorated with bells and lit candles. The band name and the album title appear between the Santa’s and the garland. All is presented against a red background.

The back of the CD shows a numerical track listing featuring time signatures. The numbers are in red, and the song titles are in gray. All is presented against a black background. Typical copywrite notices appear at the bottom as well as the Atlantic / Atco Remasters Series logo off to the right.

The CD cover comes out and opens twice double to form a large poster of the original back cover of the album, which was unchanged for the later LP reissues that used the Santa cover. The poster has the band’s name and album title in block letters near the top. To the left is a numerical track listing that includes writer, arranger and publishing credits. Also included are time signatures for each song. A large portion of the back of the original album has a cheerful Christmas greeting from the band. Their first names are written as autographs below the Christmas greeting. The Christmas message is bordered by a festive holly leaf border.

When the front cover of the CD is first removed and opened along the first fold, both sides feature a numerical track listing just as on the back of the CD, but with larger print, it takes up most of both sides on the inside. More detailed information is given, including writer, arranger and publishing credits, just as on the back of the original album. All lettering is just as on the back of the CD, with the numbers in red and the song titles in gray. After the song list, production notes for the original album are listed in yellow.

As with many CD covers that open along a single fold-out, the back of the cover has a list of other Stax / Volt albums available in the Atlantic & Atco Remasters Series. These are presented in yellow against a black background. In the bottom right corner is the Atlantic & Atco Remasters Series logo.

This is a unique Christmas album in many ways. First, it’s an all-instrumental Christmas album. Second, even though Booker T. & The MG’S were a Soul band, more specifically, a Memphis Soul band, this Christmas album has more of a Lounge feeling to it. Most arrangements are jazzy in nature and many of the songs are not easily recognizable until the melody really kicks in.

The songs are a mix of a few traditional Christmas hymns, secular 20^th century Christmas songs and a couple of old English carols. Surprisingly, none of the songs are original Christmas songs.

The CD begins with Jingle Bells. Although the song is easily recognizable, the arrangement swings with a Lounge beat. Booker T. Jones employs the Hammond B-3 organ to dominate the arrangement. Steve Cropper takes a nice Rockabilly guitar solo in the middle before Booker T. returns with the Hammond B-3. Donald “Duck” Dunn and Al Jackson, Jr. keep time in the background. Sleigh bells accompany the song all the way through.

With the 2^nd song, Santa Claus Is Coming To Town, the pace is more moderate. And very moderate for this usually up-tempo familiar Christmas song. The Hammond B-3 is again used to dominate the arrangement while Steve Cropper assists with the melody. Al Jackson, Jr. keeps time with the simple drum accompaniment.

The 3^rd song, Winter Wonderland, has a moderate tempo while the band attacks this song with a funky, jazzy arrangement. Steve Cropper and Booker T. achieve the melody in their own style while Donald “Duck” Dunn’s bass is more of a presence than on previous songs.

The 4^th song, White Christmas, has a little “Wilson Pickett” flavored introduction. Booker T. Jones switches over to the piano for the melody. The rest of The MG’s stay behind to keep time and keep the rhythm going. About halfway through, the Hammond B-3 joins the piano. I’m not sure if those two keyboards were double tracked or Booker T. is playing both at the same time.

For the 5^th song, The Christmas Song, the Hammond again dominates the arrangement. Steve Cropper has a stronger presence in this song. His guitar glides through the chords with a determined sensibility. Overall, the mood is somber. Al Jackson, Jr. and Donald Dunn stay back to keep time.

With the 6^th song, Silver Bells, the arrangement swings more so than any previous song since the opening song Jingle Bells. While the Hammond B-3 is still the dominating instrument, the electric guitar has a stronger presence, especially in the beginning of the song. Al Jackson, Jr. exhibits a larger presence in the arrangement as well with a rolling drum pattern. Towards the end, everyone else drops out leaving Booker T. and the Hammond to finish the song by themselves. This song has that Booker T. & The MG’S signature sound as they were known for.

Merry Christmas Baby, the 7^th song, features a bluesy arrangement of solo guitar while Booker T. holds back on the Hammond B-3. This is an opportunity for Steve Cropper to shine with his guitar technique. Al Jackson, Jr. takes on a bigger role as well, making this a guitar and drum song, while the Hammond B-3 stays back with the subtle chord changes.

The 8^th song, Blue Christmas, returns the Hammond B-3 back to the forefront. The arrangement is almost all Hammond B-3 and delivered in a soulful, somber mood. Yes, I can hear the drums faintly as they keep the time; same with Donald “Duck” Dunn’s bass playing. And there is Steve Cropper, providing subtle lead guitar work, but it is almost all Hammond B-3 organ.

I find the 9^th song, Sweet Little Jesus Boy, to be an unusual choice for the band. Only because it is the most sacred of the three traditional Christmas hymns and not one of the most common Christmas songs. The Hammond B-3 delivers a soulful, somber melody. Again, the rest of The MG’S stay back. It’s hard to hear their parts, but they are there, mostly to keep time. Steve Cropper shows up occasionally with some guitar chords that add more substance, but this is all Booker T. and his Hammond B-3.

Again, with Silent Night, the mood is somber and soulful. Steve Cropper maintains the rhythm with a repeating guitar pattern. After a while, the Hammond B-3 comes in to provide a church-like melody. Hearing this arrangement, you would think you just stepped into a large cathedral for service.

With the 11^th song, We Three Kings, Booker T. Jones uses the Hammond B-3 as the dominate instrument. Again, the feeling of being in church returns. This is almost all Booker T. Jones. Al Jackson, Jr. keeps time with a slow drum pattern.

The final song on the album has all The MG’S joining together for a rousing close to the CD. We Wish You A Merry Christmas opens with Donald “Duck” Dunn’s bass for the intro, then Steve Cropper produces subtle guitar chords while Booker T. takes over the arrangement with the Hammond B-3. The previous five songs have all been somber, soulful arrangements. This song brightens up the CD with the last song.

This CD has the signature sound that Booker T. & The MG’S were known for; laid back, soul grooves and that distinct Hammond B-3 organ. Many of the arrangements are slow, soulful and somber. And even though most of their Soul records were the exact opposite, this Christmas album shows each member’s talents very well. It was how well Booker T. & The MG’S worked together that made them so unique.

I catalog this CD as Lounge music because it’s an instrumental Christmas album with some hip overtones. This CD reissue may not appeal to a lot of people because it is “Christmassy” in song titles only. The Christmas music presented here is a little different from the other dominate organ Christmas music by Virgil Fox, Ken Griffin and Earl Grant. To me, even though Virgil Fox and Ken Griffin both use the Hammond B-3, (I think), their Christmas music is more reverent in the way they deliver it. Earl Grant put out a Christmas record, also in 1966, that is similar to Booker T. & The MG’S’, but this is still a little different.

This Christmas album is smokey, somber and soulful and more like being in a Jazz club than church. With that being said, this may not go over so well with die hard traditional Christmas music fans. If they are there when this plays, you may find them heading to the door shortly. There is nothing wrong with the songs on here, they’re just not the upbeat, festive, cheerful Christmas music everyone expects to hear. These all play well in a large Christmas playlist where you might hear one every half hour, but I would hesitate to play it from start to finish unless your crowd is hip to Jazz music.

As I’ve said many times in this blog, there is a lot of different Christmas music out there and this is a good one to have because it is so unique. After all, it was 1966 and everyone was issuing Christmas records, and Booker T. & The MG’S put their signature sound to all these Christmas songs. If nothing else, this is a Christmas album with some really unique arrangements of familiar Christmas songs.

I give this CD :

****

November 1, 2022

# 53

VA - Christmas Cocktails Part Three
2004

This compilation (P) © 2004 Capitol Records, Inc. Manufactured by Capitol Records, Inc.

Genre : Lounge

If all you know about Christmas music is Frank, Dean and Bing, or Andy, Perry and Johnny, or Rosemary, Doris and Judy, then you are in for a surprise. There was a lot of wonderful Christmas music produced during the Classic Christmas Music Era, (1946 – 1976), and this compilation has some of the best selections of Christmas music.

This CD wants to combine the “cool” side of Christmas with smoky lounges filled with strangers having a good time and “making the scene.” Lounge music is a nod back to years that have gone by. It is the place where you go but you don’t listen to the current music of the day, but rather some of the older songs of a generation that lived before yours.

There are familiar songs on here, and there are familiar singers on here, but there will be a lot that you are not familiar with.

This CD is the 3^rd in a series released by Capitol Records through their Ultra-Lounge imprint. I have the other two as well, so you can look for reviews of those in this blog’s future.

The artwork is simple but colorful. The cover of the CD has a picture of a martini glass with a blue cocktail in front of a red Christmas ornament. The CD title superimposes the graphics, and all are set upon a white background. An Ultra-Lounge banner runs across the top.

The back of the CD features a snowman on skis with a bottle of scotch in one hand and a walking cane in the other. He looks like he has been in the lounge for a little while. To the left is a numerical track listing with performing artists. Again, a black bar runs across the top and reads “file under “Lounge” “.

The CD cover comes out and opens along a single fold-out that features a blue background that fades to white as it goes up the CD. Superimposed over the background is a numerical track listing. Half the songs are listed on the left, and the other half are listed on the right. Below each song title are performer credits and below that are writer credits. If necessary, below some song titles are production and copyright notices.

The back of the CD cover features a drawing of a pin-up girl wearing a Santa hat while carrying a bag of toys. The image appears over a white background. The only text on the back of the CD cover is production credits for this compilation.

This CD contains the kind of Christmas songs that add a lot of variety to an otherwise common Christmas playlist. All the songs are 20^th century Christmas standards with a few surprises thrown in. There is one from Bing, and there’s one from Nat too, but most artists appearing here are not your average Christmas carolers.

The CD begins with one of those surprises. Baby, It’s Cold Outside is a duet featuring Carmen McRae and Sammy Davis Jr. This is great because neither Carmen McRae nor Sammy Davis Jr. recorded a Christmas album, together or individually. So, any Christmas music for either of them is welcome. This duet was recorded in 1960. Jack Pleis & his Orchestra provide the small jazz group instrumentation.

Bing Crosby’s contribution to this compilation is the 2^nd song, Frosty The Snowman. In typical fashion, Bing Crosby delivers a perfect Christmas song. This was recorded in 1962 and comes from his Christmas album, I Wish You A Merry Christmas. The orchestra is unknown as well as the chorus. The arrangement is light with a small orchestra present. The melody glides along accented with flutes and light guitar chords. I think I have all of Bing Crosby’s Christmas output and 1962 was the first time he recorded this song.

Lena Horne contributes Santa Claus Is Comin’ To Town as the 3^rd song. Lena does a terrific job with the lyrics as the Big Band swings in the background. It has a Count Basie sound to it, but I don’t think it is Count Basie. And it is a very jazzy arrangement that suits Lena Horne’s vocal styling very well. Unfortunately, I do not have a year or a name for the orchestra. I have Lena’s Christmas album from 1966, but this is not on it. And I’ve looked over her singles and I can’t find it there either.

Jingle Bells, the 4^th song, sung by Johnny Mercer, is the oldest song on here. It was recorded in 1947 and features Paul Weston & his Orchestra and the vocal chorus The Pied Pipers. This group of folks worked together a lot throughout the 1940s. The song features a Big Band arrangement. Johnny Mercer wrote a lot of standards. He also helped start Capitol Records, and although he wasn’t known as a singer, he released many albums. The Pied Pipers really carry this song with their tight harmonies.

One of the best songs on here is the 5^th song, Let It Snow! Let It Snow! Let It Snow! by Wayne Newton. Wayne Newton recorded three Christmas albums, and this was on the first one from 1966. Wayne Newton was 24 years old when he recorded this, but he sounds 14, but he always did. The song features a smooth, traditional arrangement from Perry Botkin, Jr. and Wayne Newton delivers a convincing strong delivery.

The 6^th song is not a common Christmas song; at least how much it shows up on other Christmas compilation CDs. Nancy Wilson has done a super terrific job with a Jazz orchestral arrangement from 1963. O. B. Masingill & his Orchestra provide the lush arrangements. Perhaps I am so familiar with this because it is in my Top 500 Classic Christmas Recordings.

Perhaps the greatest treat on this compilation is the song Do You Believe In Santa Claus. Performed like a children’s song, it features Thurl Ravenscroft. If you know the name, then you know Thurl Ravenscroft’s biggest claim to fame is that he was the voice of Tony the Tiger for Frosted Flakes cereal for over 40 years AND he sang the song You’re A Mean One Mr. Grinch in the MGM TV Special. He did a few records, mostly Children’s records, in the late 50s and throughout the 1960s. His voice is unmistakable with the deepest bass you will ever find. You must hear this song; it is one of the most unique Christmas songs I’ve ever heard. Billy May provides the orchestrations and The King Sisters provide choral harmonies, but for the life of me, I can’t find any other information on this record. Not knowing the year is what bugs me. It sounds like the mid-50s to me.

The song asks the listener if they believe all the tales of what Santa can do, and in the end reveals that he, himself, IS Santa Claus. The song must be heard to be understood. This is high on my list of Top 500 Classic Christmas Recordings, (although the list is not arranged from best to worst).

Peggy Lee delivers one of the most sensual renditions of White Christmas I’ve ever heard. Yes, I wrote “sensual”. I didn’t think the song could be sung with such emotion, but Peggy Lee does. This was recorded in 1960, a little past her prime years, but nonetheless, this is a great Christmas song. Once again, Billy May & his Orchestra provide the lush string arrangement.

The 11^th song is another hidden gem, and unfortunately, I know very little about it. What I know is A Marshmallow World is performed by Ray Anthony & his Orchestra. Ray Anthony was a major player in the lounge scene in the mid-60s. Long after the Big Band era had died down, Ray Anthony was still producing records featuring large, big bands. So, this song swings really well.

What I don’t know is who is singing this song and what year it was recorded. I know I would be familiar with the singer’s name if you told me, but there were so many girl singers out there, that it’s hard to pinpoint her voice. (I’m a little out of practice). But she sings in a slow, soulful manner that has a smoky sound to it.

The whole recording sounds like 1941. The way the vocals don’t start until almost a minute into the song, the style in which all the instruments are arranged, and the sound of the recording. It has the same sound as all the other Big Band records of the early 1940s. But it’s Ray Anthony, and in 1941 & 1942, he was still in Glenn Miller’s band. Perhaps 1945 or 48?

Another unusual Christmas arrangement exists in Julie London’s vocals on I’ve Got My Love To Keep Me Warm. I guarantee you have never heard this song sung this way before. Julie London was one of the last torch singers of the era and she makes it known why in this Christmas standard. The pace is about one fourth of what is normally heard. The song is usually up-tempo, but here it is about as slow as you can possibly get. Very unique. The music is provided by a small jazz trio that is arranged in a sparse manner, and you can hear every note. This is a perfect example of Lounge Music.

Track 14, Buon Natale (Means Merry Christmas To You) is one of Nat King Cole’s most popular Christmas songs, next to The Christmas Song (Merry Christmas To You). It has a rollicking rhythm that mimics Italian culture. The arrangement puts you right in the middle of the village square. It was recorded in 1959, orchestra unknown. Bummer. But I think when Nat King Cole recorded it, it was a newly written song.

The CD closes with June Christy singing a fantastic original, albeit unusual, Christmas song, Sorry To See You Go. It doesn’t mention Christmas, nor does it mention Santa Claus by name, but it is a loving tribute to Santa Claus. What makes it unusual is that because Santa’s name is not mentioned, it’s easy to believe that she is talking about a boy. But upon close listening to the lyrics and the clues hidden within, it is obvious who she is sorry to see go. It’s a great Christmas song because it is very well produced, and it is very unique. Pete Rugolo handles the small orchestra that swings well. Pete Rugolo was June Christy’s orchestra director for most of her career. (Look for a review of June Christy’s Christmas album from 1961 in this blog’s future).

This is a great CD of Christmas music that may be a little different than what most people have in their collections. Maybe that’s because out of the 15 songs, there are 4 originals. 3 of those 4 are in my Top 500. You almost have to go out of your way to seek out this kind of Christmas music.

This CD should not disappoint. It has something for everyone except the hard rockers. Wonderful Christmas standards are presented and played by great singers and orchestras that exhibit the very essence of Christmas music. Put this on for your friends and watch them nod in agreement, then watch as they listen to the original songs and their curiosity peaks. Like me, I bet they like the original songs the best.