Mick Abrahams – All Said And Done (1991)

FrontCover1Mick Abrahams’ return album, “All Said and Done”, is as fine as anything he has ever done. This is an excellent blues album, with fourteen tracks comprised of seven tunes written by Mick (two of which were collaborations with Gordon ‘Mississippi’ Murphy), two new arrangements of traditional pieces, and five covers of older blues pieces.

The pieces written by Mick are quite good, starting with “Road Roller” which opens the album. Then there is the absolutely fantastic “All Tore Down” which is probably my favorite tune that Mick has ever done. Another noteworthy piece is “Dear Jane” which is very similar to “Dear Jill” from his days in Blodwyn Pig. Another great piece is the title song of the album “All Said and Done”, which is one of the two pieces which Gordon Murphy co-wrote.

While Mick’s pieces are very strong, one cannot ignore the cover tunes like “Black Night” by Jessie Mae Robinson, “Let Me Love You Baby” by Willie Dixon, and “I Wonder Who” by Alexis Korner. There are also two new arrangements of classic blues pieces. The first is “Billy The Kid” (originally by Reverend Andrew Jenkins), and the second is an amazing 11+ minute version of “Cat’s Squirrel” (originally by Charles Isaiah Ross) which has become Mick’s signature piece. (Dave_42)

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Personnel:
Mick Abrahams (guitar, vocals)
Bruce Boardman (piano)
Clive Bunker (drums, percussion)
Pete Fensome (bass)
Dick Heckstall-Smith (saxophone)
Dave Lennox (piano)
Gordon Murphy (saxophone)
Nigel Pegrum (drums, percussion)
Andy Pyle (bass)
Jim Rodford (bass)

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Tracklist:
01. Road Roller (Abrahams) 3.07
02. Watch Your Step (Parker) 3.51
03. Billy The Kid (Traditional) 3.33
04. Let Me Love You Baby (Dickson) 3.12
05. Black Night (Robinson) 6.24
06. All Tore Down (Abrahams) 5.22
07. Redways Of Milton Keynes (Abrahams) 3.59
08. Long Gone (Murphy/Abrahams) 3.14
09. Rock Me Right (Abrahams) 3.25
10. So Much Trouble (McGhee) 3.25
11. Dear Jane (Abrahams) 4.00
12. I Wonder Who (Korner) 6.46
13. All Said And Done (Murphy/Abrahams) 3.16
14. Cats Squirrel (Traditional) 11.25

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Dana Gillespie & Joachim Palden – Boogie Woogie Nights (1991)

FrontCover1“I believe the blues should be sung by an older person because it’s about emotions and experience. I couldn’t do”I believe the blues should be sung by an older person because it’s about emotions and experience. I couldn’t dojustice to it when I was younger because my voice didn’t have the edge it needed to convey the emotion, nor did Ihave the first hand experience to sing about blue themes convincingly.”

But after 45 years in music and over 60 albums Dana Gillespie is well qualified to sing the blues. A career that combined radio, theatre, film and sport (she was once British junior water-skiing champion) with music, Dana has been in the public eye since recording her first album at the age of 15. Her music has evolved from folk in the 60s through 70s Bowie-esque glam-rock to the raunchy in-your-face blues she performs today.

Dana Gillespie has been dedicated to the blues from an early age: “I discovered the blues when I went to the American Folk Blues Festival in 1962 and also to see the Yardbirds at the Marquee Club. I was in my early teens and hadn’t heard anything like it before – blues wasn’t easily available in the UK back then”. Bessie Smith especially inspired her because of her combination of sly, funny and bawdy lyrics. “Blues was my first musical love because it’s earthy, spiritual and honest.”

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In 1964 she recorded for Pye, with Donovan on guitar and became a regular on the folk circuit. She recalls: “[at that age] I was doing folk because I couldn’t afford a band and I hadn’t found my musical niche”.In those early years Dana got to know many of the top bands and people in the music business. Most shared her love of blues, and played their own version of it. Bob Dylan who was an old friend of Dana from the 60s  showed interest in her music in 1997, when he invited her to support him on his UK tour, which included a   sell-out show at Wembley. After a swathe of singles on Pye and two LPs for Decca, she moved to RCA and   made WEREN’T BORN A MAN in 1973, some titles being produced by David Bowie, whose management,   Mainman, also took care of her career.

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While her career in music was simmering away, she became better known for her appearances in London’s   West End theatres, in shows such as the first run of Jesus Christ Superstar (playing Mary Magdalene), The   Who’s “Tommy” (playing the Acid Queen) and the rock Othello, “Catch My Soul”. She also appeared with   Dudley Moore in the film version of “The Hound Of The Baskervilles” and starred in Ken Russell’s “Mahler”   among other movies. Her second RCA LP, AIN’T GONNA PLAY NO SECOND FIDDLE was just beginning to take off when her management company decided she should move to the USA, where she played and toured extensively for two years. Dana hosted a radio blues show in New York at the same time, which gave her the opportunity to learn more about the roots of the music.

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She has continued her interest in radio in Austria where she recently completed a 11-year stint hosting a weekly, international world music show on Blue Danube Radio called”Globe Trotting With Gillespie”. In the 80s, Dana toured Europe several times with the “Stars Of Boogie Woogie” tour,  singing either with the Mojo Blues Band or with Axel Zwingenberger. Her time with the  Mojo Blues Band, a purist outfit that backed all the American blues musicians visiting  Europe, lasted three years. “I lived, slept and breathed blues, because that was all they did.  It was a great experience.” She also developed her interest in Indian and Arabic music,  recording the single “Move Your Body Close To Me”, an Indian-influenced song with  synthesiser backing. It shot to #1 in Europe. (from the DG website)

But here you can hear Dana Gillespie as one of the finest female blues singers (like Maggie Bell) together with the Austrian musician Joachim Palden and his group Mojo Blues Band.

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This is a live recording … the show was recorded at the legendary Jazz-Land Club (December 1990) in Vienna.

If you like Blues & Boogie Woogie … then you should listen …

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Personnel:
Dana Gillespie (vocals)
Helmut Mejda (drums)
Joachim Palden (piano)
Christian Plattner (saxophone)
Martin Wichtl (saxophone)

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Tracklist:
01. My Man Stands Out (Yates) 3.43
02. Boogie Woogie For Spann (Instrumental) (Palden) 4.19
03. St. Louis Blues (Handy) 7.27
04. Blues Train (Instrumental) (Wichtl) 3.56
05. One Track Mind (Gillespie/Palden) 3.23
06. Empty Bed Blues (Smith) 6.21
07. I Want You To Be My Baby (Jordan) 3.59
08. Cry To Me (Russel) 5.17
09. No One (Gillespie/Palden) 5.43
10. You’re Moving Me (Benton/Otis) 3.11

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Mr. Big – Lean Into It (1991)

FrontCover1Lean into It is the second studio album by the American rock supergroup Mr. Big, released in 1991. The band’s breakthrough release, Lean into It peaked at number 15 on the Billboard 200 charts, while the single “To Be with You” became the band’s first and only song to hit number 1 on the Billboard Hot 100. The follow-up single, “Just Take My Heart”, was another Top 40 hit, peaking at number 16 on the Billboard Hot 100.Lean into It is the second studio album by the American rock supergroup Mr. Big, released in 1991. The band’s breakthrough release, Lean into It peaked at number 15 on the Billboard 200 charts, while the single “To Be with You” became the band’s first and only song to hit number 1 on the Billboard Hot 100. The follow-up single, “Just Take My Heart”, was another Top 40 hit, peaking at number 16 on the Billboard Hot 100.
The cover image is a picture from the Montparnasse train accident that occurred on October 22, 1895 in Gare Montparnasse station in Paris, France.
The “CDFF” prefix of the Jeff Paris-penned “Lucky This Time”, is the song “Addicted to That Rush” from the band’s 1989 eponymous debut album, played at a higher playback speed; hence the “CDFF” for “Compact Disc Fast Forward”. (by wikipedia)

Paul Natkin Archive
On its sophomore album, Mr. Big has covered all the hard-rock bases in search of a hit. There are lively, gutsy tunes like ”Never Say Never,” a mellow, radio-friendly number in ”CDFF — Lucky This Time,” and the weepily romantic ”Just Take My Heart.” And since the quartet sports two virtuoso players — guitarist Paul Gilbert and bassist Billy Sheehan — there’s a lot of instrumental fanciness sprinkled throughout. On ”Daddy, Brother, Lover, Little Boy,” the two even play their instruments with cordless drills in harmony (”Don’t try this at home, kids,” the lyric sheet warns). Lean Into It was released last March, but none of these tricks was able to keep it on the charts until the recent release of the single ”To Be With You.” This simple little ballad features acoustic guitar and hand-clap percussion, and is by far the best song on the album. So much for formulas and fretwork, eh, boys? (by ew.com; February 14, 1992)

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Personnel:
Paul Gilbert (guitar, background vocals)
Eric Martin (vocals, guitar)
Billy Sheehan (bass, background vocals)
Pat Torpey (drums, percussion, background vocals)

Tracklist:
01. Daddy, Brother, Lover, Little Boy (The Electric Drill Song) (Sheehan/Gilbert/Pessis/Martin/Torpey) 3.56
02. Alive And Kickin’ (Gilbert/Martin/Pessis/Sheehan/Torpey 5.29
03. Green-Tinted Sixties Mind (Gilbert) 3.30
04. CDFF-Lucky This Time” (Paris) 4.14
05. Voodoo Kiss (Martin/Pessis) 4.05
06. Never Say Never (Martin/Vallance) 3.49
07. Just Take My Heart (Martin/Pessis) 4.25
08. My Kinda Woman (Gilbert/Martin/Sheehan) 4.12
09. A Little Too Loose (Gilbert) 5.21
10. Road To Ruin (Torpey/Paris/Gilbert/Sheehan) 3.59
11. To Be With You (Martin/Grahame) 3.28

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The singles from this album:

Singles

Paul Simon – Paul Simon’s Concert In The Park (1991)

FrontCover1Paul Simon’s Concert in the Park is a live album released in 1991 by Paul Simon. It provided a survey of his two most recent albums, Graceland and Rhythm of the Saints, and also drew liberally from his earlier songbook including a number of tunes from the Simon and Garfunkel era. 600,000 people were initially claimed to have attended the show, which was held in Central Park, New York City on August 15, 1991.[1] The concert was similar to The Concert in Central Park, a reunion concert for Simon and Garfunkel held ten years earlier. The album was released on the 50th birthday of Art Garfunkel. (by wikipedia)

Ten years after playing a free concert in New York’s Central Park with Art Garfunkel, Paul Simon returned, backed by the New York session musicians and the native musicians from South Africa and Brazil who had enlivened his solo work. The show was PaulSimon01filmed and recorded, and the audio release was a 23-track double-disc set running nearly two hours. Half the selections came from his Graceland and The Rhythm of the Saints albums, but unlike the Graceland Tour of 1987, the Born at the Right Time Tour of 1991 made room for Simon’s earlier solo work as well as a few Simon & Garfunkel songs. Simon made such stylistically various material work together by front-loading the set with the newer stuff and rearranging some of the older solo stuff, so that “Kodachrome,” for example, was refitted with a guitar line courtesy of Graceland player Ray Phiri. (Wisely, except for a becalmed Africanization of “Cecilia,” Simon didn’t monkey with the S&G songs, most of which came at the end of the set.) But Simon also toned down the Brazilian percussion that had dominated the Saints material and sang it more convincingly, so that “Born at the Right Time,” for example, was far more effective than it had been in its studio version. On the whole, then, Concert in the Park managed to be an enjoyable and surprisingly cohesive career summary. (by William Ruhlmann)

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Personnel:
Mingo Araujo (percussion)
Cyro Baptista (percussion)
Chris Botti (trumpet)
Michael Brecker (saxophone)
Tony Cedras (piano, keyboards, accordion)
Dom Chacal (Percussion)
Steve Gadd (drums)
Sidinho Moreira (percussion)
Vincent Nguini (guitar)
Ray Phiri (guitar)
Barney Rachabane (saxophone, pennywhistle)
Armand Sabal-Lecco (bass)
John Selolwane (guitar)
Paul Simon (vocals, guitar)
Richard Tee (piano)
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background vocals:
The Waters:
Oren Waters – Maxime Waters – Julia Waters

Special guests: Briz, Grupo Cultural OLODUM and Chevy Chase join Paul, dancing to “You Can Call Me Al”.

Booklet03A

Tracklist:

CD 1:
01. The Obvious Child 4.39
02. The Boy in the Bubble 4.49
03. She Moves On 6.26
04. Kodachrome 4.13
05. Born At The Right Time 5.12
06. Train In The Distance 4.45
07. Me And Julio Down By The Schoolyard 3.14
08- I Know What I Know 3.14
09. The Cool, Cool River 5.41
10. Bridge over Troubled Water 5.16
11. Proof 5.39

CD 2:
01. The Coast 7.06
02. Graceland 5.31
03. You Can Call Me Al 5.10
04. Still Crazy After All These Years 3.42
05. Loves Me Like A Rock 2.54
06. Diamonds On The Soles Of Her Shoes 9.30
07. Hearts And Bones 6.17
08. Late In The Evening 4.45
09. America 3.23
10. The Boxer 4.18
11. Cecilia 3.24
12. The Sound Of Silence 5.45

All Songs written by Paul Simon

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The Waters

 

Joni Mitchell – Night Ride Home (1991)

FrontCover1Night Ride Home is the fourteenth album by Canadian singer-songwriter Joni Mitchell, released in 1991. It was the last of four albums she recorded for Geffen Records.

Songs on the album include “Cherokee Louise” about a childhood friend who suffered sexual abuse, “The Windfall (Everything For Nothing)” about a maid who tried to sue Mitchell, and the retrospective single release “Come in from the Cold” about childhood and middle age. The title song “Night Ride Home” (originally titled “Fourth of July” and first performed during promotion for her previous album in 1988) was inspired by a moonlit night in Hawaii.  Though the album contained no charting singles, the track “Come in From the Cold” received airplay on AOR stations.

This was Mitchell’s first album not to be distributed by the WEA family of labels. She had been signed to WEA’s Asylum and Reprise labels in the past, and Warner Bros. Records had been the distributor for Geffen Records from 1980 to 1990. That year, Geffen was sold to MCA Music (now Universal Music Group), as a result, the album was distributed by Uni Distribution Corp. (the distribution arm of MCA Music), which also took over the rest of the Geffen catalogue.

A home video release, Come In From The Cold, was released the same year and features promo videos for five tracks from the album along with an interview with Mitchell discussing the inspiration behind them.

As of December 2007, the album has sold 238,000 copies in the US to date. (by wikipedia)

Cutting back on the guest musicians of her previous effort and paring down to a basic small group of musicians helps add immediacy to Night Ride Home. While this release features several of Joni Mitchell’s favorites, nothing here would become a hit, as Joni tended to buck trends and follow her own beat. Very involved and a rather tough listen, but well worth the attention, this would be her last for Geffen, where she languished unnoticed while the label went heavy metal crazy. (by James Chrispell)

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Personnel:
Alex Acuña – percussion on 01., 02., 05. 06 – 08.)
David Baerwald (background vocals on 07.)
Vinnie Colaiuta (drums on 03. – 06.+ 10.)
Bill Dillon -(guitar on 02. + 07,  pedal steel guitar on 01,)
Larry Klein (bass, percussion on 01 – 03., 05. – 06., keyboards on 07., guitar on 06.)
Michael Landau (guitar on 10.)
Joni Mitchell (vocals, guitar, keyboards, percussion, billatron on 06.,  oboe on 08., omnichord on 08.)
Karen Peris (background vocals on 03.)
Brenda Russell (background vocals on 09.)
Wayne Shorter (saxophone on 03. + 09.)

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Tracklist:
01. Night Ride Home (Mitchell) 3.22
02. Passion Play (When All The Slaves Are Free) (Mitchell) 5.25
03. Cherokee Louise (Mitchell) 4.32
04. The Windfall (Everything for Nothing) (Mitchell) 4.16
05. Slouching Towards Bethlehem (Mitchell/Yeats) 6.55
06. Come In from The Cold (Mitchell) 7.31
07. Nothing Can Be Done (Mitchell/Klein)  4.55
08. The Only Joy In Town (Mitchell) 5.12
09. Ray’s Dad’s Cadillac (Mitchell)  4.34
10. Two Grey Rooms (Mitchell) 3.59

 

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Genesis – We Can’t Dance (1991)

FrontCover1We Can’t Dance is the fourteenth studio album by English rock band Genesis, released on 28 October 1991 by Atlantic Records in the United States and 11 November 1991 on Virgin Records in the United Kingdom. It is their last album recorded with drummer and lead singer Phil Collins before his departure in 1996 to pursue solo projects. Production began after a four-year period of inactivity from the group, following the commercial success of Invisible Touch (1986) and its tour.

We Can’t Dance was a worldwide commercial success for the band. It became the band’s fifth consecutive No. 1 album in the UK and reached No. 4 in the U.S., where it sold over 4 million copies. Between 1991 and 1993, six tracks from the album were released as singles, including “No Son of Mine” and “I Can’t Dance”. The latter received a Grammy Award nomination for Best Pop Performance by a Duo or Group With Vocals. Genesis toured in support of We Can’t Dance in 1992 which saw the band play large stadiums and arenas across North America and Europe.

We Can’t Dance was Genesis’s first studio album in five years, following the international success of Invisible Touch in 1986. After the tour for that album ended, the band took a long hiatus to focus on solo careers. Both Tony Banks and Mike Rutherford expected Collins to leave the band during this time due to his huge solo success, but he stayed until 1996. The album reached No. 1 in the UK and No. 4 in the U.S., selling several million copies (including 4 million in the U.S. alone). The album also spawned several hit singles, including “No Son of Mine”, “Hold on My Heart”, “I Can’t Dance” and “Jesus He Knows Me”, the latter two supported by humorous videos. Two songs, “On the Shoreline” and “Hearts on Fire”, were cut from the album, because “there wasn’t enough room on the record.” Both songs were released as B-sides.

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Contrary to popular belief, “Since I Lost You” is not about a broken relationship. The lyrics were written by Collins for friend Eric Clapton. On 20 March 1991, Clapton’s four-year-old son Conor died after falling from the 53rd-story window of his mother’s friend’s New York City apartment, landing on the roof of an adjacent four-story building. Collins played it to him before putting it on the album to get his approval.

Most of the songs were written through improvisation, and rehearsed and recorded at The Farm, their recording studio in Chiddingfold, Surrey in England.

We Can’t Dance was released on 28 October 1991 by Atlantic Records in the United States and 11 November 1991 on Virgin Records in the United Kingdom. The album was a success in the charts, going to number one on the UK Albums Chart for one weeks from 23 November 1991. In the United States, it debuted the Billboard 200 chart at number four, the week of 30 November 1991. It stayed at its peak for one week during its 72-week stay on the chart.

Booklet05A
On 1 December 1991, the album was certified double Platinum by the British Phonographic Industry (BPI) for shipment of 600,000 copies. A year later, sales grew to reach quadruple platinum, signifying 1.2 million copies sold. The album reached quintuple platinum status in March 1997, for 1.5 million copies sold. In the United States, We Can’t Dance shipped 1 million copies by 27 December 1991. Five years later, the album was certified quadruple platinum by the Recording Industry Association of America (RIAA) for four million copies sold.

Rolling Stone chiefly commented on the album’s lyrics. They criticised “Tell Me Why” and “Way of the World” for being soulless and impersonal social commentaries, but regarded most of the songs as outstanding, and summarised “Although We Can’t Dance doesn’t quite achieve the vulnerable grace of Duke or the exuberance of Abacab, Genesis has nevertheless delivered an elegantly spare – and even adventurous – album.”

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AllMusic similarly criticised the lyrics of “Tell Me Why” and “Way of the World”, calling them “paeans for world understanding that sound miles away from any immediacy”. However, they praised the album for returning to a less pop-oriented direction, and especially complimented the grittiness of “No Son of Mine”, “Jesus He Knows Me”, and “I Can’t Dance” (which received a Grammy Award nomination for Best Pop Performance by a Duo or Group With Vocals in 1993).

David Browne of Entertainment Weekly gave a lacklustre review, stating: “At a time when everything is uncertain … you almost have to admire a record like We Can’t Dance. … You know there will be a couple of fleeting moments when the band breaks out of its torpor – for instance, on the very polite primal stomp of ‘I Can’t Dance’ – and that such moments will just as quickly be subsumed by the rest of the musical quicksand.”

Stevie Chick of The Guardian has dismissed the album as “blandness”.

The album garnered Genesis an American Music Award for Favorite Pop/Rock Band, Duo, or Group and two further nominations for Favorite Adult Contemporary Album and Favorite Adult Contemporary Artist. At the Brit Awards in 1993, the album was nominated for Best British Album while Phil Collins was nominated as Best Male British Artist for his contribution to the album. (by wikipedia)

Singles
The singles from this album


Personnel
Tony Banks (keyboards)
Phil Collins (drums, percussion, vocals, drum machines)
Mike Rutherford (guitar, bass)

Booklet01A

 

Tracklist:
01. No Son of Mine 6.39
02. Jesus He Knows Me 4.16
03. Driving The Last Spike 10.08
04. I Can’t Dance 4.01
05. Never A Time 3.50
06. Dreaming While You Sleep 7.16
07. Tell Me Why 4.58
08. Living Forever 5.41
09. Hold On My Heart 4.37
10. Way Of The World 5.38
11. Since I Lost You 4.09
12. Fading Lights 10.16

All songs written by Tony Banks, Phil Collins and Mike Rutherford.

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Illustration

 

Various Artists – An Easy Christmas (2001)

frontcover1This is just a sampler, full with 20 old and classic christmas songs, performed by many stars in the easy listening style.
You can hear singers like Don McLean, David Bowie, Andy Williams, Nat King Cole, Doris Day, Perry Como and Al Green.

“This is my most favourite christmas album ever-I had to order a second copy as the first had a scratch on. I listen to it all the time. Not your average Christmas album!”(by miss r aughton)

“Great to listen to while wrapping presents” (by Zoe Bell)

And I guess, I will play this album (amongst others) on December 24, 2016 … Enjoy this romantic and sentimental sampler.

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Tracklist:
01. Andy Williams: Most Wonderful Time Of Year (2001) (Pola/Wyle) 2.34
02. Nat King Cole: Christmas Song (1963) (Chestnuts Roasting On An Open Fire) (Tormé/Wells) 3.14
03. Eartha Kitt: Santa Baby (1953) (Javits/Springer) 3.26
04. Dean Martin: Let It Snow Let It Snow Let It Snow (1965) (Cahn/Styne) 1.58
05. Judy Garland: Have Yourself A Merry Little Christmas (1944) (Martin/Blane) 2.45
06. Harry Belafonte: Mary’s Boy Child (1957) (Hairston) 2.59
07. Bing Crosby: White Christmas (1954) (Berlin) 3.04
08. Al Green: Silent Night (1963) (Gruber/Mohr) 3.19
09. Crystal Gayle: Rudolph The Red Nose Reindeer (1996) (Marks) 2.57
10. Anne Murray: Snowbird (1978) (MacLellan) 2.11
11. Don McLean: Winter Wonderland (1991) (Bernard/Smith) 2.54
12. Charles Brown: Please Come Home For Christmas (Christmas Finds Me Oh So Sad) (1961) (Brown/Redd) 3.18
13. Doris Day: I’ll Be Home For Christmas (1964) (Gannon/Kent/Ram) 2.27
14. Andy Williams: Sleigh Ride (live) (2001) (Anderson) 2.22
15. Crystal Gayle: Silver Bells (1996) (Livingston/Evans) 4.09
16. Don McLean: Santa Claus Is Comin’ To Town (1991) (Coots/Gillespie) 3.06
17. Perry Como: God Rest Ye Merry Gentlemen (1959)(Traditional) 2.56
18. Al Green: What Christmas Means To Me (1963) (Story/Gaye/ Gordy) 3.44
19. Bing Crosby + David Bowie: Peace On Earth/Little Drummer Boy (1977) (Fraser/Grossman/Alan Kohan/Simeone/Davis/Onorati) 2.38
20. Michael Ball: Happy New Year (1999) (Andersson/Ulvaeus) 4.18

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singles
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