drjohncarpenter wrote:Actually, that's not my view, but your habit of misreading someone else's post is one you will never break. It does diminish your credibility as someone capable of carrying on a coherent argument, though.
You are welcome to adore Elvis' 1971 recording of "O Come, All Ye Faithful," but I don't need to suggest that only hardcore fans share your love. It's a fact. In every assessment I've read of Elvis' finest holiday recordings, the tracks most often cited include:
Blue Christmas
Santa Bring My Baby Back
Santa Claus Is Back In Town
Holly Leaves and Christmas Trees
Merry Christmas Baby
Almost without question, these are the top five of all the holiday recordings Elvis made in his career.
And I don't need to tally up a handful of forum members who happen to agree with me, and use it to justify my opinion while putting down another opinion.
Those would be the 5 and i would add White Christmas because of how he manages to cover the entire Drifters single handedly-good God, the talent in the man. And what an ear. The subject of this topic is a boring run through solely to get another traditional song in the can. The overdubs are as bad as any ever done. And of course another fail by Felton Jarvis as was most of this and his final sacred album. Artists need be inspired-this was getting his record company and Parker off his back. First Noel, Winter Wonderland, Silver Bells-pass me the little bag in the pocket in front of you on a plane.
Not a bad track in the legendary Xmas recordings but by 1971 it was like picking through the trash to find something that was edible. This track while not garbage has little value to me nor obviously to the artist himself. As a final note let's remember RCA consider this entire outing a giant fail-which it was though arguably the 2 tracks cited above perhaps made the entire endeavor worthwhile.
"White Christmas" is indeed noteworthy for what Elvis does with the song, not to mention the notoriety it garnered when issued in 1957.
As far as the 1971 album, it certainly had appeal in the batch of holiday fare that year, but I cannot find a "Billboard Holiday Albums Chart" or any similar chart of the time which shows it zooming to #1. And RCA must have noticed by comparison how the budget Camden version of the 1957 LP was selling in tremendous numbers, and would do so throughout the decade.
No comparison with budget Christmas album versus full priced (2 budget albums could be purchased ). The 1971 did great from the get go. To attribute Failure, is laughable.
jetblack wrote:
It went on to sell 3 million copies in the USA.
Andy
Much of that after his death, IIRC.
Rewriting history is strong around here. Is there any track from this LP that is in any Christmas playlist other than Sirius 13-ive never heard a single track played on air after a few plays of MCB in 71. Im sure i'll learn that some track on this LP was the My Boy or AOMM monster hit on a tiny island in the South Pacific. Live and learn i guess.
So now your means of judging an LP is by how many tracks from it end up on a playlist? How many songs from Back in Memphis are on a playlist? Or from Elvis is Back?
Really and truly, I think the LP in question is one of the most depressing, miserable, bland Christmas albums I've ever heard BUT if your only way of being able to measure its quality is to see how many tracks, 45 years on, still make radio playlists then I find that equally depressing, miserable and bland.
It is but one of the ways to judge. At no point did a track from this LP make to a radio playlist. As of course you know the point is seasonal music becomes classic music by which people define the history of their lives. Blue Christmas crossed that chasm and is a classic. Nothing on the 71 LP accomplished this feat nor should it have. You sum up the album well with your description as im sure did RCA. RCA expected far more and Elvis and his team didnt deliver. 1971 began the long slow march to the tragic end. This LP could be a principal exhibit.
Hack n. 1. a person, esp. a professional, who surrenders individual independence, integrity, belief, etc., in return for money or other reward
fn2drive wrote:It is but one of the ways to judge. At no point did a track from this LP make to a radio playlist. As of course you know the point is seasonal music becomes classic music by which people define the history of their lives. Blue Christmas crossed that chasm and is a classic. Nothing on the 71 LP accomplished this feat nor should it have. You sum up the album well with your description as im sure did RCA. RCA expected far more and Elvis and his team didnt deliver. 1971 began the long slow march to the tragic end. This LP could be a principal exhibit.
It's possible the astounding blues of "Merry Christmas Baby" merited airplay, but on FM radio. And, as for the LP itself, it seems that its more adult look at the holiday season, the yearning and melancholy so many feel at that time of year, has given it longevity and appeal in a niche market where every single other act makes sure to include a version of "Frosty The Snowman."
. Dr. John Carpenter, M.D. Stop, look and listen, baby <<--->> that's my philosophy!
fn2drive wrote:It is but one of the ways to judge. At no point did a track from this LP make to a radio playlist. As of course you know the point is seasonal music becomes classic music by which people define the history of their lives. Blue Christmas crossed that chasm and is a classic. Nothing on the 71 LP accomplished this feat nor should it have. You sum up the album well with your description as im sure did RCA. RCA expected far more and Elvis and his team didnt deliver. 1971 began the long slow march to the tragic end. This LP could be a principal exhibit.
It's possible the astounding blues of "Merry Christmas Baby" merited airplay, but on FM radio. And, as for the LP itself, it seems that its more adult look at the holiday season, the yearning and melancholy so many feel at that time of year, has given it longevity and appeal in a niche market where every single other act makes sure to include a version of "Frosty The Snowman."
But Doc please dont forget that Elvis' team managed to sneak both Santa and Frosty on the cover in the demeaning face shots-black and white no less. Parker, RCA et al wanted Elvis taken seriously as an artist. Pile em high and deep. And that Elvis allowed the cover speaks volumes as to what this barely polished turd meant to him-nothing at all. Simply another obligation filled.
I recall hearing MCB once or twice on AM radio but it never picked up steam. I agree FM was the venue but with cover art like that and the grab bag inside would a program director even get past the cover. Remember the single had Santa and Frosty. Sad.
Finally your observation on the LP is noteworthy. Had this been produced with care by someone like Chips perhaps there would have been a cohesive theme or each side accomplishing something different and therefore enduring. More lost oppt'ies.
Hack n. 1. a person, esp. a professional, who surrenders individual independence, integrity, belief, etc., in return for money or other reward
drjohncarpenter wrote:It's possible the astounding blues of "Merry Christmas Baby" merited airplay, but on FM radio. And, as for the LP itself, it seems that its more adult look at the holiday season, the yearning and melancholy so many feel at that time of year, has given it longevity and appeal in a niche market where every single other act makes sure to include a version of "Frosty The Snowman."
But Doc please dont forget that Elvis' team managed to sneak both Santa and Frosty on the cover in the demeaning face shots-black and white no less. Parker, RCA et al wanted Elvis taken seriously as an artist. Pile em high and deep. And that Elvis allowed the cover speaks volumes as to what this barely polished turd meant to him-nothing at all. Simply another obligation filled.
I recall hearing MCB once or twice on AM radio but it never picked up steam. I agree FM was the venue but with cover art like that and the grab bag inside would a program director even get past the cover. Remember the single had Santa and Frosty. Sad.
Finally your observation on the LP is noteworthy. Had this been produced with care by someone like Chips perhaps there would have been a cohesive theme or each side accomplishing something different and therefore enduring. More lost oppt'ies.
The cover art is ghastly, but one of Elvis' failings after his renaissance in 1968-1969 was not assuming more responsibility for such things, as a more serious recording artist. As we know, Presley's album art for the last decade had been usually directed by a Dutch genius.
Although the LP could have been ever more glorious in the hands of Chips Moman, it still succeeds, especially on Side 2. An interesting observation is that this second side was mostly recorded at one session date. The mojo was workin' that night.
Good one about the single, I forgot that the 45 of "Merry Christmas Baby" was backed with "O Come, All Ye Faithful" ... almost the yin and yang of the 1971 holiday work.
. Dr. John Carpenter, M.D. Stop, look and listen, baby <<--->> that's my philosophy!
drjohncarpenter wrote:It's possible the astounding blues of "Merry Christmas Baby" merited airplay, but on FM radio. And, as for the LP itself, it seems that its more adult look at the holiday season, the yearning and melancholy so many feel at that time of year, has given it longevity and appeal in a niche market where every single other act makes sure to include a version of "Frosty The Snowman."
But Doc please dont forget that Elvis' team managed to sneak both Santa and Frosty on the cover in the demeaning face shots-black and white no less. Parker, RCA et al wanted Elvis taken seriously as an artist. Pile em high and deep. And that Elvis allowed the cover speaks volumes as to what this barely polished turd meant to him-nothing at all. Simply another obligation filled.
I recall hearing MCB once or twice on AM radio but it never picked up steam. I agree FM was the venue but with cover art like that and the grab bag inside would a program director even get past the cover. Remember the single had Santa and Frosty. Sad.
Finally your observation on the LP is noteworthy. Had this been produced with care by someone like Chips perhaps there would have been a cohesive theme or each side accomplishing something different and therefore enduring. More lost oppt'ies.
The cover art is ghastly, but one of Elvis' failings after his renaissance in 1968-1969 was not assuming more responsibility for such things, as a more serious recording artist. As we know, Presley's album art for the last decade had been usually directed by a Dutch genius.
Although the LP could have been ever more glorious in the hands of Chips Moman, it still succeeds, especially on Side 2. An interesting observation is that this second side was mostly recorded at one session date. The mojo was workin' that night.
Good one about the single, I forgot that the 45 of "Merry Christmas Baby" was backed with "O Come, All Ye Faithful" ... almost the yin and yang of the 1971 holiday work.
Chips wasn't known as such a great album producer per-se. He was better known for being a great singles producer. And the original running order of "From Elvis In Memphis" proved that he was more interested in his personal interests, than the artistic flow of the album, by trying unsuccessfully to include "Mama Liked The Roses". The Felton Jarvis produced Hill and Range number, "Power Of My Love", thankfully made the final album cut.
drjohncarpenter wrote:The cover art is ghastly, but one of Elvis' failings after his renaissance in 1968-1969 was not assuming more responsibility for such things, as a more serious recording artist. As we know, Presley's album art for the last decade had been usually directed by a Dutch genius.
Although the LP could have been ever more glorious in the hands of Chips Moman, it still succeeds, especially on Side 2. An interesting observation is that this second side was mostly recorded at one session date. The mojo was workin' that night.
Good one about the single, I forgot that the 45 of "Merry Christmas Baby" was backed with "O Come, All Ye Faithful" ... almost the yin and yang of the 1971 holiday work.
Chips wasn't known as such a great album producer per-se. He was better known for being a great singles producer. And the original running order of "From Elvis In Memphis" proved that he was more interested in his personal interests, than the artistic flow of the album, by trying unsuccessfully to include "Mama Liked The Roses". The Felton Jarvis produced Hill and Range number, "Power Of My Love", thankfully made the final album cut.
I have no idea what your reply seeks to accomplish, but it's a fact that Chips Moman brought out the best of Elvis in a studio setting. This is why I agreed with fn2drive that he might have been able to produce far better tracks with Presley in May 1971.
Certainly, any fan who has heard what Chips and Elvis accomplished in 1969 can recognize this as a possibility.
. Dr. John Carpenter, M.D. Stop, look and listen, baby <<--->> that's my philosophy!
drjohncarpenter wrote:The cover art is ghastly, but one of Elvis' failings after his renaissance in 1968-1969 was not assuming more responsibility for such things, as a more serious recording artist. As we know, Presley's album art for the last decade had been usually directed by a Dutch genius.
Although the LP could have been ever more glorious in the hands of Chips Moman, it still succeeds, especially on Side 2. An interesting observation is that this second side was mostly recorded at one session date. The mojo was workin' that night.
Good one about the single, I forgot that the 45 of "Merry Christmas Baby" was backed with "O Come, All Ye Faithful" ... almost the yin and yang of the 1971 holiday work.
Chips wasn't known as such a great album producer per-se. He was better known for being a great singles producer. And the original running order of "From Elvis In Memphis" proved that he was more interested in his personal interests, than the artistic flow of the album, by trying unsuccessfully to include "Mama Liked The Roses". The Felton Jarvis produced Hill and Range number, "Power Of My Love", thankfully made the final album cut.
I have no idea what your reply seeks to accomplish, but it's a fact that Chips Moman brought out the best of Elvis in a studio setting. This is why I agreed with fn2drive that he might have been able to produce far better tracks with Presley in May 1971.
Certainly, any fan who has heard what Chips and Elvis accomplished in 1969 can recognize this as a possibility.
The problem in 1971 wasn't that Chips wasn't there. Elvis, with Felton as producer, came up with Early Morning Rain, For Lovin Me, I'm Leavin', Merry Christmas Baby, the piano songs and a Grammy-winning gospel album, among others, during those 1971 sessions, and so mix of producer and singer was not the problem - and the previous year's sessions had shown that too.
Chips couldn't have made Elvis's voice any better that spring, and that, along with the lack of decent new material, was the main problem. This idea that, if something works once (Elvis/Binder, Elvis/chips) it will automatically work again is not based on fact during Elvis's career. Elvis needed new challenges and new people around him - returning Chips to the scene wouldn't have presented that any more than returning Jarvis to the scene did.
fn2drive wrote:
Rewriting history is strong around here. Is there any track from this LP that is in any Christmas playlist other than Sirius 13-ive never heard a single track played on air after a few plays of MCB in 71. Im sure i'll learn that some track on this LP was the My Boy or AOMM monster hit on a tiny island in the South Pacific. Live and learn i guess.
Not quite the South Pacific but here in the U.K. 'It Won't Seem Like Christmas Without You' / 'Merry Christmas Baby' (PB 9464) was released Christmas 1979 where it reached Number 13. There was also a 12" single.
poormadpeter2 wrote:along with the lack of decent new material, was the main problem.
...with Chips on board its a strong possibility that this problem would have been resolved
No necessarily. Management and Elvis himself wanted a cut of the records too. And when they got stuck with "Suspicious Minds" and "Mama liked The Roses" as a package deal, that was that, where management was concerned. And to top it off, Elvis felt disrespected, and that other "Ghetto" record sealed the fate of the publishing greed. A side BOTH parties were guilty of. At the time, Chips obviously had better material to offer. Though we got good stuff from Lamar (Kentucky Rain) and Elvis's own publishing with "Long Black Limousine" plus Elvis's desire to record whatever he wanted with "Ill Hold You In My Heart", "Stranger In My Own Home Town", and others.
My view on this one has changed over the years. My earliest memories of the song are of - feeling rather bored - and singing this song at achool so as a song itself, it never really did it for me.
The first time I heard Elvis do this was on "The Wonderful World Of Christmas" album, RJ's expansion of JD's US equivalent, "Memories Of Christmas" - and I was blown away. Then I heard the original mix and today (via the booters) we have the undubbed master and I love them all.
Never really been into christmas music. Now 'Merry Christmas Baby' is different ....
GLAISTER wrote:My view on this one has changed over the years. My earliest memories of the song are of - feeling rather bored - and singing this song at achool so as a song itself, it never really did it for me.
The first time I heard Elvis do this was on "The Wonderful World Of Christmas" album, RJ's expansion of JD's US equivalent, "Memories Of Christmas" - and I was blown away. Then I heard the original mix and today (via the booters) we have the undubbed master and I love them all.
Never really been into christmas music. Now 'Merry Christmas Baby' is different ....
I still get goose bumps when Elvis sings the line after (drum, percussion roll, cymbal crash, choir ), "SING CHOIRS OF ANGELS, SING IN EXULTATION"! Right there I can feel Elvis' faith (and mine). Beautiful!
poormadpeter2 wrote:along with the lack of decent new material, was the main problem.
...with Chips on board its a strong possibility that this problem would have been resolved
No necessarily. Management and Elvis himself wanted a cut of the records too. And when they got stuck with "Suspicious Minds" and "Mama liked The Roses" as a package deal, that was that, where management was concerned. And to top it off, Elvis felt disrespected, and that other "Ghetto" record sealed the fate of the publishing greed. A side BOTH parties were guilty of. At the time, Chips obviously had better material to offer. Though we got good stuff from Lamar (Kentucky Rain) and Elvis's own publishing with "Long Black Limousine" plus Elvis's desire to record whatever he wanted with "Ill Hold You In My Heart", "Stranger In My Own Home Town", and others.
...we will never really know for sure...therefore we could debate this back and forth to eternity but I know where I would place my money if I had to make that bet
poormadpeter2 wrote:along with the lack of decent new material, was the main problem.
...with Chips on board its a strong possibility that this problem would have been resolved
No necessarily. Management and Elvis himself wanted a cut of the records too. And when they got stuck with "Suspicious Minds" and "Mama liked The Roses" as a package deal, that was that, where management was concerned. And to top it off, Elvis felt disrespected, and that other "Ghetto" record sealed the fate of the publishing greed. A side BOTH parties were guilty of. At the time, Chips obviously had better material to offer. Though we got good stuff from Lamar (Kentucky Rain) and Elvis's own publishing with "Long Black Limousine" plus Elvis's desire to record whatever he wanted with "Ill Hold You In My Heart", "Stranger In My Own Home Town", and others.
...we will never really know for sure...therefore we could debate this back and forth to eternity but I know where I would place my money if I had to make that bet
jetblack wrote:
The 12" single with pic labels (PC9464)
Andy
Hey...gave them 15 years ago away to my best friend (is also huge Elvis fan) with the whiole batch of Camden records i had. Funny to see it again.
Oh and leave the "The Majestic in "O Come, All Ye Faithful" away cause i never thought it was in anyway majestic. Just a simple, nice record.
I can name other songs who are more into 'majestic'.
poormadpeter2 wrote:along with the lack of decent new material, was the main problem.
...with Chips on board its a strong possibility that this problem would have been resolved
Exactly.
If one is going to consider a hypothetical, go all the way or don't go at all.
And Chips was going to magic better material out of thin air, was he? Where was it going to come from? If one is going to consider a hypothetical, go all the way, or don't go at all. So go all the way - tell us.
The song was also recorded as a duet with Elvis and Susan Boyle and released in the UK in December, 2013. It stayed in the charts for two weeks reaching a peak of 48:
It was destined for a higher chart placement and she was due to perform it during the 'X' Factor TV Programme. However, she was diagnosed with a medical condition and in the circumstances that appearance, and all appearances in the near future, were cancelled.
sweetangeline wrote:...with Chips on board its a strong possibility that this problem would have been resolved
Exactly.
If one is going to consider a hypothetical, go all the way or don't go at all.
And Chips was going to magic better material out of thin air, was he? Where was it going to come from? If one is going to consider a hypothetical, go all the way, or don't go at all. So go all the way - tell us.
It's not rocket science except, I guess, for you.
Chips Moman in May 1971 would have had the sessions in Memphis. He would have had the same talented musicians with the same skills and suggestions for songs and arrangements. He would have had the same publishing contacts and industry friends to reach out to for material. And he would have had the same VETO POWER for past-their-sell-date holiday fodder like "The First Noel," "O Come, All Ye Faithful" or "Silver Bells." He would not have made Elvis cut those numbers because he wasn't one to bow to management whims.
And this is why I wrote that "the LP could have been ever more glorious in the hands of Chips Moman."
---
On a side note, has anyone managed to actually find a "Billboard Holiday Albums Chart" or any similar which shows it zooming to #1 after release?
I cannot, and this lack of verification renders all the grandiose statements about the 1971 holiday album moot.
. Dr. John Carpenter, M.D. Stop, look and listen, baby <<--->> that's my philosophy!
sweetangeline wrote:...with Chips on board its a strong possibility that this problem would have been resolved
Exactly.
If one is going to consider a hypothetical, go all the way or don't go at all.
And Chips was going to magic better material out of thin air, was he? Where was it going to come from? If one is going to consider a hypothetical, go all the way, or don't go at all. So go all the way - tell us.
It's not rocket science except, I guess, for you.
Chips Moman in May 1971 would have had the sessions in Memphis. He would have had the same talented musicians with the same skills and suggestions for songs and arrangements. He would have had the same publishing contacts and industry friends to reach out to for material. And he would have had the same VETO POWER for past-their-sell-date holiday fodder like "The First Noel," "O Come, All Ye Faithful" or "Silver Bells." He would not have made Elvis cut those numbers because he wasn't one to bow to management whims.
Would he? Do you have any proof that he would have veto power? IIRC some of the same talented musicians arrived in 1973 for the first Stax sessions and they turned out just dandy, didn't they? How do you know management would have allowed him to use the same publishing contacts? You don't know any of this. It's all a fantasy.
drjohncarpenter wrote:And he would have had the same VETO POWER for past-their-sell-date holiday fodder like "The First Noel," "O Come, All Ye Faithful" or "Silver Bells."
I'm kind of wondering at what point a carol becomes "past its sell by date?"
Silent Night was written in 1818, and I have never heard you mention that this piece of material was past its sell by date.
And the words for O Little Town of Bethlehem were written in 1869, and that wasn't past its sell by date.
And yet, The First Noel, from around 1820 IS past its sell by date, as is O Come all Ye Faithful from 1846 - despite being younger than Silent Night.
So perhaps you could explain how the expiry date on Christmas carols is calculated?
Any carol singers visiting your place must go away hungry, with you going to the door in your onesie and telling them to clear off unless they sing something modern.
drjohncarpenter wrote:It's not rocket science except, I guess, for you.
Chips Moman in May 1971 would have had the sessions in Memphis. He would have had the same talented musicians with the same skills and suggestions for songs and arrangements. He would have had the same publishing contacts and industry friends to reach out to for material. And he would have had the same VETO POWER for past-their-sell-date holiday fodder like "The First Noel," "O Come, All Ye Faithful" or "Silver Bells." He would not have made Elvis cut those numbers because he wasn't one to bow to management whims.
And this is why I wrote that "the LP could have been ever more glorious in the hands of Chips Moman."
---
On a side note, has anyone managed to actually find a "Billboard Holiday Albums Chart" or any similar which shows it zooming to #1 after release?
I cannot, and this lack of verification renders all the grandiose statements about the 1971 holiday album moot.
Would he? Do you have any proof that he would have veto power? IIRC some of the same talented musicians arrived in 1973 for the first Stax sessions and they turned out just dandy, didn't they? How do you know management would have allowed him to use the same publishing contacts? You don't know any of this. It's all a fantasy.
You need to look up the definition of hypothetical.
I offer my hypothesis on what could have happened with Chips, based on the known history, and I'm content to stick with it.
poormadpeter2 wrote:I'm kind of wondering at what point a carol becomes "past its sell by date?"
I have no idea. But what I wrote is past-their-sell-date holiday fodder.
And by that I mean songs that have been recorded ad infinitum by every pop and rock act that dipped their toes into the Christmas retail market.
Taking a look at one of my examples, "The First Noel," it was touched by scores of acts before Elvis taped it in 1971: from Frank Sinatra to Patti Page to Nat "King" Cole, from Connie Francis to Pat Boone to your beloved Ella Fitzgerald, from the Everly Brothers to Anita Bryant to Jackie WIlson to ... to ... even the frickin' Brady Bunch.
Chips knew about the Christmas retail market, and that's why I singled out those 1971 Elvis holiday tunes as ones he would have vetoed.
But wait.
Come to think of it, maybe Elvis ... or Fel-tone Jarvis had that Brady Bunch LP spinning at Christmastime 1970!
..
Brady Bunch "O Come, All Ye Faithful" Merry Christmas from The Brady Bunch (Paramount PAS 5026, November 7, 1970)
..
Brady Bunch "The First Noel" Merry Christmas from The Brady Bunch (Paramount PAS 5026, November 7, 1970) Lead vocal: Bobby Brady (Mike Lookinland)!
..
Brady Bunch "Silver Bells" Merry Christmas from The Brady Bunch (Paramount PAS 5026, November 7, 1970)
. Dr. John Carpenter, M.D. Stop, look and listen, baby <<--->> that's my philosophy!
drjohncarpenter wrote:It's not rocket science except, I guess, for you.
Chips Moman in May 1971 would have had the sessions in Memphis. He would have had the same talented musicians with the same skills and suggestions for songs and arrangements. He would have had the same publishing contacts and industry friends to reach out to for material. And he would have had the same VETO POWER for past-their-sell-date holiday fodder like "The First Noel," "O Come, All Ye Faithful" or "Silver Bells." He would not have made Elvis cut those numbers because he wasn't one to bow to management whims.
And this is why I wrote that "the LP could have been ever more glorious in the hands of Chips Moman."
---
On a side note, has anyone managed to actually find a "Billboard Holiday Albums Chart" or any similar which shows it zooming to #1 after release?
I cannot, and this lack of verification renders all the grandiose statements about the 1971 holiday album moot.
Would he? Do you have any proof that he would have veto power? IIRC some of the same talented musicians arrived in 1973 for the first Stax sessions and they turned out just dandy, didn't they? How do you know management would have allowed him to use the same publishing contacts? You don't know any of this. It's all a fantasy.
You need to look up the definition of hypothetical.
I offer my hypothesis on what could have happened with Chips, based on the known history, and I'm content to stick with it.
poormadpeter2 wrote:I'm kind of wondering at what point a carol becomes "past its sell by date?"
I have no idea. But what I wrote is past-their-sell-date holiday fodder.
And by that I mean songs that have been recorded ad infinitum by every pop and rock act that dipped their toes into the Christmas retail market.
And the two carols and White Christmas from the first album HADN'T been recorded by all and sundry by 1957? Really? is that what you think?
You ARE aware that Elvis is a time for tradition, right, and that is WHY people generally choose to record the same songs? You notice that everyone is STILL singing O Come all Ye Faithful and The First Noel, but we're not singing those slit-your-throat, depressing new songs on the 1971 album which you prefer so much?
I'm beginning to think you haven't quite grasped the whole Christmas concept, dear fellow.
