Hall & Oates
Album Reviews
Written by Edwards de Oliveira,
Brazil,
12/14/2006, visit his website:
edwardsoliveira.wordpress.com
This is a pleasantly
challenging album to review - I tried to refresh my memory on
some musical terms, and discussed the finer points of the vocals
with an accomplished singer (who happens to be my mother).
Hopefully I can give readers an appreciation of what Daryl Hall
and John Oates have achieved with this recording:
1. Overture/First Noel
The first Noel the angels did say
Was to certain poor shepherds
In fields as they lay,
In fields where they lay
Keeping their sheep
On a cold winter's night
That was so deep.
Noel Noel Noel Noel!
Born is the King of Israel!
They looked up and saw a star
Shining in the East beyond them far,
And to the earth it gave great light,
And so it continued both day and night.
Noel Noel Noel Noel!
Born is the King of Israel!
The instrumental overture pays a loving homage to traditional
orchestrated Christmas music realizing the unique potential of
bowed strings to create and gently elevate the mood. It opens
with a lilting midtempo sway on the violins that continues as
the lower notes on the cello introduce the melody of "The First
Noel," until the high strings take the lead to give us a
foretaste of the second song "It Came Upon a Midnight Clear,"
with the cello now lending support below--there may be a viola
in the middle providing harmony for the melody on the violins.
Then the strings briefly slow and return to gradually oscillate
into a brisk trill before subsiding into a low plain of calm
waiting for the violins to sway back in to set up the beginning
of the song itself which opens in a decidedly but reservedly
Gospel mode. In writing the Overture, Rob Mathes wisely avoided
a heavy handed over-the-top arrangement, allowing them to take
full advantage of the strings without being bound to the
conventions one expects of "symphonic" music, resulting in a
smooth transition as they "take it to church" in a refined
gospel arrangement smoothly segued from the strings, opening
with a few notes on piano and one acoustic strum as the organ
and electric piano come in. Hall's opening high vocalizations
immediately introduce H&O's signature soulful backups putting a
light gospel-inspired melodic and stylistic twist on the "Noel"
repetitions in the refrain. These first vocal harmonies are H&O's
classic blend. But to my ear the origins of the style Hall uses
in the lead reach way back to the pre-Hall & Oates days when he
recorded with another group. The more precise articulation of "The
Reason Why" with the gospel feel of "A Lot of Changes Comin" (both
recorded with Gulliver around 1970) are here brought and blended
to perfection three and a half decades later. Hall sounds quite
youthful in the sensitive, straight-up delivery of these opening
lines, yet there's a lifetime of knowledge behind it--there's no
dramatic ad-libbing here, the distinctive charm is in the subtle
little touches in the phrasing and on individual notes. Hall is
an expert at turning a vowel to make it "sing" and avoiding
disruptive consonants, but in applying those vocal rules he
never loses touch with the comfortable familiarity of common
speech, and therefore has the ability to uplift the language
without ever falling into the contorted sterile pronunciation
that we hear in some forms of church music. Beginning with the
vocals we also hear a very light percussion, possibly including
brushes or light touches on shaken instruments. In the second
verse my mother liked the way he eschewed the old practice of
breaking "look-ed" into two awkward syllables, much preferring
the addition of "as" at the start. Other than that, the lyric
deviates very little from what appears in my old "New Blue Book
of Favorite Songs" (copyright 1915-46), the only other changes
being the pluralized "angel" and repeating "say" and "they"
instead of the original "was" and "and." Also note how on the
word "up" he goes up an extra step from the traditional melody.
The high strings from the Overture return for occasional accent,
as well as a lightly plucked little solo on the acoustic guitar
presaging the style of the song soon to follow. Throughout the
song, the vocal moves gradually toward Hall's present style,
until the 5-minute mark when he takes a dramatic turn into the
more improvised style that concertgoers have enjoyed in their
live shows--and here the song goes up another level. At the long
drawn out "Noel, born is the king, of Israel," the lead is
swirling up and cascading down on the first word and the last
two, but blending into the soft intervening phrase sung as a
backup to set them off--with beautifully harmonized supporting
vocals not too far in the background. After taking the song "to
church" Hall takes it home--punching out "He was" in the lead,
beginning the wave of alternating backups with Hall's harmonized
double tracked "Born is the king" rushing in, followed by the
same line (now with Oates singing) gently subsiding, then back
to Hall's more intense delivery of the line sung in the lead
this time while the backup drops out, then returning to the
to-and-fro swing of tension and release in the backups as the
ad-libbed lead heightens and intensifies the mood. Toward the
end Hall's multi-tracked backup line drops out alternately to
give a 1 to 2 ratio with the softer backup featuring Oates (which
is maintained throughout)--this could be to provide more space
to highlight Hall's lead as it works up into a more free-form
Gospel ending With soft sparing rhythmic touches on acoustic and
electric piano holding down the bottom, a strong simple "Noel
Noel Noel" progressively soars up with a final flourish into the
fade out--an understated yet powerful ending.
2. It Came Upon A Midnight Clear
It came upon the midnight clear,
That glorious song of old,
From angels bending near the earth
With news of joy foretold,
Peace on the earth, good will to men
From heaven's all gracious King
The world in solemn stillness lay,
To hear the angels sing.
With all the times of sin and strife
The world has suffered too long
Beneath the angels voice has grown
Two thousand years of wrong
And men are born but man can?t hear
The love song that they bring
So stop this noise you men of war
And hear the angels sing
Peace on the earth, good will to men
From heaven's all gracious King
The world in solemn stillness lay,
To hear the angels sing
Reminiscent of their early 70's folk-soul fusion, this simple
arrangement by Hall and Mathes, beginning with guitar and vocal,
presents a traditional lyric with fresh instrumentation and
vocals that add a new but unobtrusive line of melody--an
intelligent and valuable complement to a song that has no formal
refrain/chorus. The first verse is sung word for word as written.
The second verse (which follows immediately) introduces light
strings and the same type of soft percussion used in the first
song--the lyric here has references that may sound contemporary,
but it's actually a lesser known verse (third in the 1850
original) with some modern English substituting for older
forms--"times" for "woes," "voice" for "strain," "can't hear"
for "hears not," "stop" for "hush," "you" for "ye," and a second
"war" instead of repeating "strife." But instead of intrusively
inserting new words or a complex musical phrase into a beloved
classic, they sing simple repetitions of the words "midnight
clear" (one line of the harmony seems to use the same note for
the first three syllables) stretching the words out into an
aural picture of the peaceful "stillness" described in the
lyric--like a smooth-as-glass lake under the stars. The backups
here seem to act as the lead, while Hall's gentle solo ad-libs
provide accent. These vocals provide a restful pause after the
verses and lead into a delicate solo on the guitar accented with
a little light strumming. Then Hall sings an intensified
repetition of the second half of the first verse, perhaps to
serve as a lyric refrain, which listeners of popular music
expect to hear. Their "midnight clear" interlude then returns to
complete the song, continuing through the extended ending. As in
the vocal on "The First Noel," there is great attention to the
details in enunciation--here it is essential to creating the
atmosphere of the song, for each sound is important in this
minimal arrangement meant to evoke a "pin drop" quiet. But the
color of the vocal is a bit darker and weightier, incorporating
the texture and style of Hall's 1990s and later recordings. The
finger picking style on the guitar was an ideal choice for this
song--the feeling of a crisp winter night accented by the
clearly audible sound of fingernails plucking the strings.
3. No Child Should Ever Cry on Christmas Family Christmas
What a memory Just a child On this here day Round the world Are
so many families Not enough to keep But still the faith to pray
Let the Holy star above Shine a silver light of lovin'
Turn this world around
(Chorus)
No child should ever cry on Christmas
No child should ever be afraid
No child should ever cry on Christmas Day
Come the morning
Toys and laughter
Yeah that's the way
It's supposed to be
Then all the mornings
Ever after
Bring us hope and joy and harmony
Let the Holy star above
Shine a silver light of lovin'
Turn this world around
Repeat Chorus
Let the Holy star above
Shine a silver light of lovin'
Turn this world around
Repeat Chorus
A string section prelude gives us a lovely taste of the chorus
melody before the drum breaks the song into an adult
contemporary mid-tempo reflection on the ideal of Christmas. One
of two original songs, this one written by Oates has more of the
classic soul-music feel. The lyric nicely blends faith and
tradition with ever-present concerns expressed with hope for the
future. Vocally the song showcases Oates' falsetto and textured
mid-range (but this time decidedly on the sweet rather than
sensual side of soul), as well as the duo's signature harmonized
backups. The strings return only for accents in the chorus--the
main musical support coming from the percussion, electric piano,
and bass, with only minimal touches on acoustic and electric
guitar.
4. Everyday Will Be Like a Holiday
(Chorus)
Every day will be like a holiday
With my baby
When my baby comes home
She's been alone such a long time
Christmas is coming
I've got her on my mind
I bought a present today
Some sweet perfume
I'll wait for my baby
You know she'll be home soon
Repeat Chorus
I'm never worried
I never sit by the phone
Cause come Christmas time
I'll never be alone
See everybody
On this holiday
I know this feeling somewhere
Never gonna go away
Repeat Chorus
Opening with a country-kissed chorus (before the soul inspired
verse) gives a nice twist to this cover of a song by the late
60's-early 70's female soul/gospel quartet "The Sweet
Inspirations"--this time with a male voice and an "unplugged"
feel. Nicely layered tracks of Hall's voice give the chorus a
full-bodied sound fleshed out with the rich acoustic guitar
strummed accompaniment--as mentioned previously on the
discussion board, it makes us wish we could play the guitar.
There are no strings here, just organ for accent. The music and
production, as other fans perceptively point out, recalls their
cover of "Starting All Over Again" from 1990's Change of Season
that opened the "unplugged" approach after the high tech sound
of the 80's. As the only song focusing on romantic love, the
lyric is broadly vague enough to cover separations in various
circumstances. Were it not for the explicit mention in the
lyrics, the jingling sleigh bells in the background would be the
only hint of a Christmas theme. The sing-along style simplicity
of the chorus stands in direct contrast to the more stylized
ad-libbed gospel on many of the other tracks.
5. Home for Christmas
Leaves are fallin'
December is callin'
Feels like that time of the year
Ooh and a chill in my bones
Got me thinking of home
And everyone I hold dear
If ever I miss my connection
Stranded and feeling alone
But no matter how mean
This hard road treated me
I always could find my way home
Don?t you know
(Chorus)
That you are in my heart
And I always come home for Christmas
We're living apart
We're so close
We're so far
I'll still come home for Christmas
It might be just for a day
But I'll still come home for Christmas
Oh how I wish I could stay
But the years slip away
I come home for Christmas
And I'll always come home
I see all the lights
Someone told me tonight
Putting the star on the tree
It's a feeling I know
I'll never let go
Like my first holiday memory
Sometimes we all miss our connections
We're stranded and feeling alone
But no matter how mean
This hard road seems to be
We always could find our way home
Cause you know
Repeat Chorus
But no matter how mean
This hard road treated me
I always could find my way home
Don't you know
Repeat Chorus
Opening with percussion suggestive of the sound and rhythm of
horses' hooves, the music recalls images of snowy carriage rides,
aided by the sleigh bells audible in the chorus. This equine
rhythmic element is a rare but occasional ingredient in rock pop
music (remember McCartney's "Listen to What the Man Said.") But
its usage here in the title track seems very much at "Home for
Christmas" and blends perfectly with the nostalgic reverie of
the lyric. The second of the two original compositions (this one
by Hall, Mathes, bassist T-Bone Wolk, and Greg Bieck), is
cleverly written from a life-on-the-road perspective, the words
play on the double meaning of travel and airport realities like
"missing connections" and being "stranded" to reflect on
relationships and the broader view of life's journey home. The
strings and organ provide accents, but the percussion and
acoustic guitar frame Hall's vocal with a down-home feel. Note
how the chord played with the first word of "feels like that
time of the year" brightens the cold December imagery. Singing
in the upper part of a normal register gives this affectionate
vocal just enough emotional edge to raise it above an overly
mellow sentimentality without losing touch with tradition. A
vibraphone-like wave and an almost Hawaiian-sounding guitar
provide unexpected touch of tropical warmth to the Christmas
theme--Hall wrote this one in the Bahamas and one can almost see
the palms swaying at the mini guitar solo. Just before the final
chorus the homey feel is briefly suspended with a surprisingly
tech-sounding echo that appropriately releases this radio single
from the fireside to the airwaves and out into space.
6. Christmas Must Be Tonight
Going down to Bethlehem, see the little son of man
Lying away in the manger, praise the Prince of Peace
Wheels start turning, fires start burning
Shine a light on the wise men journeying from the East.
(Chorus)
How could a little baby boy, be bringing down so much joy
Son of a carpenter, Mary carried the light
It must be Christmas, must be tonight
See the shepards on a hillside, looking up at the sky
On a cold winter night they hear the angel's sing
In a dream I heard a voice, said fear not, come rejoice
It's the end of the beginning, praise the new born King
(Chorus)
Just a little baby boy, he's brining us so much joy
Son of a carpenter, Mary carried the light
It must be Christmas, must be tonight
(Repeat Chorus)
Then it came to pass, the child was born at last
Happened right before the star that shines on high
(Chorus)
How could a little baby boy, be bringing down so much joy
Son of a carpenter, Mary carried the light
It must be Christmas, must be tonight
(Repeat Chorus)
Must be tonight, it must be tonight
Christmas must be tonight
Son of a carpenter, Mary carried the light
All right and it's all right, Mary carried the holy light
This perfect example of acoustic-driven rock gives off good
vibes from start to finish--it's not just a great Christmas
song, it's a great song period. In fact, there is nothing in the
music itself that says "Christmas"--not even jingling sleigh
bells. It's all in the lyric--a contemporary re-telling of the
Nativity--and other than Los Lonely Boys "How Far Is Heaven,"
it's hard to think of another recording with religious content
that's as radio-friendly as this lovingly re-envisioned cover of
a song written by Canadian Robbie Robertson in 1977 and recorded
by his group "The Band." (Robertson also wrote "Broken Arrow"
beautifully remade by Rod Stewart.) Compared to the original,
this new version has lyric variations throughout--mostly in the
verses--but the basic narrative and imagery of the song are
intact. The most obvious deletion is that they use only the
second half of the last verse, which gives it more emphasis. In
both the original and this new version the pictures painted by
the lyrics seem to be separate little vignettes rather than a
unified chronology. Though the style is up-tempo and
guitar-oriented, Hall sings with the same sensitivity to content
that we hear in his rendering of the traditional carols, but
modified to suit the popular music genre. The delivery is
streamlined and simplified befitting the faster pace of a song
that moves right along--the nicely tight structure doesn't leave
much room for ad-libs, so the emotion must be fully expressed
through the verses and chorus. I've never heard Hall's voice
exude so much warmth with such appealing simplicity--the closest
would be "Life's Too Short"--another feel-good acoustic rock gem
from "Do It For Love." Yet there is a difference here
necessitated by the subject matter--both songs are upbeat, but
while "Life's Too Short" is lighthearted and playful, "Christmas
Must Be Tonight" has just the right amount of reserve to give it
a gentle but joyful poignancy. As many times as I've heard Hall
sing the word "Baby" throughout the years, without my mother's
perceptive observation I might not have noticed how differently
he treats the word on this song (and the two that
follow)--clearly he is voicing the word differently--one can
almost tell he is singing about an infant and not a girlfriend.
He keeps the "b" consonant soft but not sensual, and simplifies
the vowel sounds. With no vibrato on the syllables, the second
one clipped, he uses rhythm and a brightened tone to make the
word pop with pure joy. Throughout the whole song in fact, he
uses not only volume but vocal color to highlight certain words
and phrases (like "how could a little baby boy"), while
softening others as the in the final verse "the child was born
at last." The harmony in the chorus is so close (and
particularly smooth on "Son of a carpenter--Mary carried the
light") that it is difficult to tell who is singing--I believe
Hall is double-tracked. Hall's vocal expertise is all under the
surface here--any obvious sophistication in the performance
would smother the song; he makes it sound deceptively easy--and
what greets the ear sounds refreshingly uncomplicated. Some fans
have noted how certain songs on the album reflect certain
musical phases of H&O's career--"It Came Upon A Midnight Clear"
(Abandoned Luncheonette), "Everyday Will Be Like A Holiday"
(Change of Season). Yet their most commercially successful 80's
period of number one hits seems to be stylistically absent
here--except perhaps for the "It Must Be Tonight" backups toward
the end of this song that have a characteristic clipped,
percussive, half-sung/half-spoken effect that punctuates several
songs on "Voices," "Private Eyes," and "H2O." (For a same-word
comparison listen to "tonight" in the backup on "Friday Let Me
Down Tonight" from 1981.) But compared to these more structured
backups, the line "It must be tonight"--though seemingly
delivered in that same speech register--has a more
conversational tone as the song draws to a close. The
instrumentals are minimal--the drums draw no attention to
themselves, and there are no strings. The organ provides light
support and subtle accents, and it seems a series of four
well-placed strums takes the place of the usual electric guitar
solo. Though the guitars recede into the background for the
verse, the acoustic come in stronger to propel the chorus, and
the electric dig in between the vocals grounding the
instrumental with an earthy richness without ever detracting
from the lyric. Perhaps it shouldn't be so surprising that the
organic quality of the music is a charmingly natural medium for
such uplifting words, which indeed express the joy of finding
wonder and awe in the most unexpected and seemingly ordinary
places.
7. Children Go Where I Send Thee
Going down to Bethlehem, see the little son of man
Lying away in the manger, praise the Prince of Peace
Wheels start turning, fires start burning
Shine a light on the wise men journeying from the East.
(Chorus)
How could a little baby boy, be bringing down so much joy
Son of a carpenter, Mary carried the light
It must be Christmas, must be tonight
See the shepards on a hillside, looking up at the sky
On a cold winter night they hear the angel's sing
In a dream I heard a voice, said fear not, come rejoice
It's the end of the beginning, praise the new born King
(Chorus)
Just a little baby boy, he's brining us so much joy
Son of a carpenter, Mary carried the light
It must be Christmas, must be tonight
(Repeat Chorus)
Then it came to pass, the child was born at last
Happened right before the star that shines on high
(Chorus)
How could a little baby boy, be bringing down so much joy
Son of a carpenter, Mary carried the light
It must be Christmas, must be tonight
(Repeat Chorus)
Must be tonight, it must be tonight
Christmas must be tonight
Son of a carpenter, Mary carried the light
All right and it's all right, Mary carried the holy light
I grew up listening to a great old version of this song by the
Les Baxter Balladeers--slightly different lyrics, folk oriented
and fast as The Beatles' "I've Just Seen A Face." Hall and Oates
take the tempo down a notch for this organ-accented Southern
gospel rendition flavored with a bit of country-blues-twang in
the acoustic guitar. In dropping the folk-style rhythm, they've
given the song a rollicking gospel choir sway as one discussion
board poster noted. A counting song presents particular
challenges--the lyrics repeat with a single line added each
time--there is no formal verse or chorus. Anyone familiar with
Hall's freewheeling live vocal improvisation might expect him to
let loose in this one. Yet, as befits the unique structure of
the song, his lead is markedly unlike any of his past
recordings--pulsing with a controlled excitement (like a race
horse capable of pulling away but holding back, as my mother put
it). While Hall keeps the song on track, the more emotive lines
are sung by Oates and their guest vocalists, David Sancious and
Klyde Jones, who also provide a richly soulful backup. Each line
(a "numbered" short phrase) is nearly identical in melody and
rhythm, building tension until the final release of "born in
Bethlehem" which is set up by a phrase (for number one) that is
double the length of the others--a rather rare variant that I've
only heard from Michael McDonald. Given the repetition, it's no
surprise that musically speaking the driving force behind the
song is the beat, and the percussion almost steals the show,
making even the most melody-minded wish they'd spent some time
behind the drum-kit. But Hall sustains that concentrated
intensity to keep the vocal in focus all the way through eight
cycles, until the instruments drop out to leave only the beat,
as he sets up the ending with "that's how the whole thing
started, way down in the manger"--and then rewinds the song all
the way back to the beginning with one final countdown to
"Bethlehem."
8. Mary Had A Baby
Mary had a baby (oh Lord)
Mary had a baby (oh Lord)
Mary had a baby
Mary had a baby
Mary had a baby (oh Lord)
She laid Him in a manger (oh Lord)
She laid Him in a manger (oh Lord)
She laid Him in a manger
She laid Him in a manger
She laid Him in a manger (oh Lord)
What did she name Him (oh Lord)
What did she name Him (oh Lord)
What did she name Him
What did she name Him
What did she name Him (oh Lord)
She named Him King Jesus (oh Lord)
She named Him King Jesus (oh Lord)
She named Him King Jesus
She named Him King Jesus
She named Him King Jesus (oh Lord)
Mary had a baby (oh Lord)
Mary had a baby (oh Lord)
Mary had a baby
Mary had a baby
Mary had a baby (oh Lord)
After a soulfully spare electric piano intro with a
bluesy-gospel downward progression on electric guitar and what I
can only describe as a drum roll on the bass strings, the sense
of anticipation is immediately relaxed by the playful
informality of Hall's opening vocal. The intimate mood sold me
on this song right from the start. It sounds as if it's being
sung in a home studio among friends, not unlike the way he
begins "Rich Girl" live at the electric piano and plays with the
song before the drum and other instruments come in. This
particular style of gospel suits his voice to a T--he's never
sounded more comfortable. The carefree sound of Hall's voice
belies the attention given to the little details. The vocal has
a subtle charm expressed in slight variations on the same
words--inflections, timing, melodic twists, and the way he
strings certain sounds together--as the liquid "glides" in the
transition to the "l" and "r" sound in "Lord." Here also the
word "baby" seems to be pronounced differently than it is in
lyrics about romantic love. A vocal coach could explain the
change more precisely; it may be in softening the 'b" plosive
(named for the consonant's explosion of air) or in modifying the
vowels. Yet only twice, after the guitar solo when the
instruments are held back to accentuate the lead and backups,
does he clearly accentuate the long "e" of the dictionary
pronunciation, as is associated with simplified speech used with
children learning to talk. The difference is more elusive
here--more felt than heard, perhaps due to the more earthy style
of the music itself, which doesn't sound babyish at all--gospel
can groove, and this recording certainly does. As such, some of
the most affecting vocals are almost subliminal--just audible
under the surface of the music. The only obvious mini-climax is
the release of energy at the second "Jesus" which is nicely set
up by the little delay of the word "Lord" ending the previous
line. But toward the end, instead of winding down, the
excitement seems to wind up to a series of high
syncopated-sounding notes on the electric guitar, vocally echoed
seconds later as the song comes to a swirling finish, (like a
vortex of water speeds up as it flows out), subsiding into a
final almost hypnotic mood of heightened awareness as the lead
and supporting vocals weave together till Hall's one falsetto
note signals them to come to rest on "Lord." I think the
old-time gospel singers from whom he learned the style would be
proud to hear the fruits of their tutelage in its original
context. In focusing on the lead we shouldn't miss the quality
of the backups (sometimes solo Hall multi-tracked--"and they
call him the king," mostly with their blended voices possibly
including both guest vocalists)--perfectly in character (even
imitating the sound of the "train" in the latter part of the
lyric)--they sound like a professional Gospel choir. This
traditional song--with a simple lyric with many variants
possibly growing out of call-and-response work songs--has been
described as a "southern Christmas spiritual." As with the
previous counting song, the simple repetitions of the lyric
(without the standard verse/chorus form) lend themselves to a
rhythm-driven arrangement, and here too the quality of the
drumming is striking. The organ provides accents (as in the
intro), befitting the gospel style, while the electric piano and
guitar are more prominent, but there are also some
southern-sounding strings arranged by Hall himself. In so doing,
he taps into that great tradition of using instruments of
European origin to express a very American sound--the most
well-known examples being Gershwin, Aaron Copland, and Seven
Brides for Seven Brothers. Younger music aficionados might
better recognize the sound of the strings in the richly
atmospheric extended ending of U2's "All I Want Is You," which
is slow and entirely dissimilar in mood, but similarly steeped
in the sound of the American South. It should be noted that
"Mary Had A Baby" and the two preceding songs work very well
together as an up-tempo block.
9. The Christmas Song
Chestnuts roasting on an open fire
Jack Frost nipping at your nose
Yule-tide carols being sung by a choir
And folks dressed up like Eskimos.
Everybody knows a turkey
And some mistletoe
Help to make the season bright
Tiny tots with their eyes all aglow
Will find it hard to sleep tonight.
They know that Santa's on his way
He's loaded lots of toys
And goodies on his sleigh
And every mother's child is gonna spy
To see if reindeer
Really know how to fly.
And so I'm offering this simple phrase
To kids from one to ninety-two
Although it's been said
Many times, many ways
Merry Christmas to you
Long-time fans already knew that John Oates could beautifully
deliver a vocal in styles as varied as folk, do-wop, funk, soul
(of course), and even a little country-blues, but what a
delightful surprise it was to hear him deliver a sweetly
charming, yet jazz-savvy vocal on a very traditional treatment
of the Christmas song. The spare but soulful electric piano and
the playful Motown-flavored back-up harmonies give this familiar
arrangement a distinctively Hall & Oates feel. It was written
around the time they were born and you can almost feel Mel Torme
smiling down on this heartfelt rendition recorded over a
half-century after he penned it. The vocal leans more toward
Johnny Mathis' straight-up wholesome delivery rather than
Torme's ultra-smooth jazz twists. It can't be easy to sing a
line about a "turkey" with just the right amount of
emphasis--but Oates hits the mark here and throughout the song.
My mother was particularly impressed with his "sweet 'n' low"
notes--a rare combination. He blends that fresh crispness of
Mathis with his own huskier tone in a more natural
conversational style, while adding a touch of sophistication in
matching the jazz phrasing of the saxophone (as in the relaxed
vocal cascade of the fourth in the slightly varied ending series
of "Merry Christmas to you"). The light touch on the drums
(achieved with brushes I believe) and the vibraphone-style wave
on the keyboards are in keeping with the jazz club influence, as
are the organ flourishes. Notice the airy quality on the final
notes on sax blending in with the vibe waves and soft
percussion. Those who've seen the Hall & Oates band live know
that saxophonist Charlie DeChant can play an up-tempo
jazz-rock-soul fusion, but this slow, soft, laid back style
shows yet another side that gives an appreciative nod to the
1940's. Oates seemingly has lost nothing in range or technique
over the years. The mellow mood brings out the character in his
voice, not only the textured low range but also the ability to
produce subtle melodic variations on one line of music.
10. Jingle Bell Rock
Jingle bell, jingle bell, jingle bell rock
Jingle bells swing and jingle bells ring
Snowin' and blowin' up bushels of fun
Now the jingle hop has begun
Jingle bell, jingle bell, jingle bell rock
Jingle bells chime in jingle bell time
Dancin' and prancin' in Jingle Bell Square
In the frosty air
What a bright time, it's the right time
To rock the night away
Jingle bell time is a swell time
To go glidin' in a one-horse sleigh
Giddy-up jingle horse, pick up your feet
Jingle around the clock
Mix and a-mingle in the jinglin' feet
That's the jingle bell rock
Jingle bell, jingle bell, jingle bell rock (repeat verse1's
Jingle bells chime in jingle bell time last 4 lines)
Dancin' and prancin' in Jingle Bell Square
In the frosty air
What a bright time, it's the right time
To rock the night away
Jingle bell time is a swell time
To go glidin' in a one-horse sleigh
Giddy-up jingle horse, pick up your feet
Jingle around the clock
Mix and a-mingle in the jinglin' feet
That's the jingle bell
That's the jingle bell
That's the jingle bell rock
Then they take us back to the malt shop with an ultra retro
remake of their 80's cover of Jingle Bell Rock, complete with
50's style electric guitars and high piano keys quickly tapped
out. Completing the effect are the tinny AM radio effects
rhythmically fading in and out at the end. Hall's vocal is a
soft sell compared to the more punched out style of his earlier
version, and the more casual style seems to add to the nostalgic
feel. A redo of an almost kitschy-cute classic like Jingle Bell
Rock might seem a strange segue into "Oh Holy Night" which one
expects to be done in the traditional grand manner.
11. O Holy Night
O holy night,
The stars are brightly shining;
It is the night of
Our dear Savior's birth!
Long lay the world
In sin and error pining,
Till He appeared
And the soul felt its worth.
A thrill of hope,
The weary world rejoices,
For yonder breaks
A new and glorious morn.
Fall on your knees,
O hear the angel voices!
O night divine,
O night when Christ was born!
O night divine, O night,
O night divine!
To love one another;
His law is love and
His gospel is peace.
Chains shall He break
For the slave is our brother
And in His name
All oppression shall cease.
Sweet hymns of joy in
Grateful chorus raise we,
Let all within us
Praise His holy name!
Fall on your knees,
O hear the angel voices!
O night divine,
O night when Christ was born!
O night divine, O night,
O night divine!
Grand it is, but not in the traditional manner--though the lyric
itself is nearly a word for word rendition of the most well
known translation, first and third verses only with the familiar
refrain. As this song was originally written in French, there
are slightly different English versions from which they could
choose. The use of the "our" variant sings more fluidly and
warmly (rather than "the dear savior"). Also, note the American
abolitionist reference from the 1855 English translation. As for
the music, prior to the release, this song was the most
difficult for me to imagine in the Hall and Oates style. But as
the preview audio clips were released and "O Holy Night" (the
final track on the album) was held in reserve, I wondered if
they had indeed saved the best for last. The 1941 "New Blue Book
of Favorite Songs" directs that "O Holy Night" be sung "slowly
and majestically," and indeed the track opens with a brief
reprise of the beautiful orchestral overture that begins the
album. Then a subdued percussion starts the song itself as
evenly repeated groups of three notes on the electric piano and
strings (triplets I think--three beats per quarter note?)
unexpectedly send the song in a slow, steady "doo-wop" direction
subtly echoed in the opening line of Hall's vocal. (The versions
I knew and loved had no strongly defined rhythm, and it was
totally unexpected to hear them gently support the song with a
soft beat). This surprising stylistic choice, reminiscent of the
vocal groups that inspired 60's "soul," roots this beloved carol
in the American tradition without being derivative. At this
point we might think that musically the album ends where Hall
and Oates began--reflective of the 1950s vocal style and
harmonies in which they found inspiration. But that evocative
feel fades as the vocal develops with nuanced gospel and
European influences. It is worth noting that the first and this
final track open with traditional orchestration--"Oh Holy Night"
has additional strings arranged by Hall. Fittingly there is a
more refined enunciation in the vocals on these two, reminiscent
of a more European form of singing, traces of which can be heard
in Hall's pre-duo recordings with Gulliver--particularly "The
Reason Why" which also has orchestral accents. Much of the
phrasing in both "The First Noel" and this closing song has an
idealism that we might expect in a younger singer. (By way of
contrast, the phrasing in "It Came Upon a Midnight Clear" is
equally beautiful but a bit darker--perhaps to blend with the
song's sadder notes in the second verse--the more folk-oriented
style of the acoustic arrangement evoking an era of American
music that often addressed more somber realities.) There is a
purity of tone and strength in the notes that I haven't heard
before, not even in the years when one would expect Hall's voice
to have reached its technical peak. Note the clarity given to
the first syllable of "shining" by eliminating the vibrato.
Singers tend to lose vibrato control as they grow older, but
Hall is at the height of his abilities throughout this song,
even modulating the speed of the waves in time with the beat or
for emphasis (and ending a note on a particular wave), but in a
less dramatic way than is evidenced at the end of the live "Wait
for Me" on Hall & Oates' 1984 Greatest Hits. The masterful
voicing and phrasing of particular words and phrases is worth a
closer look. Words like "shining," "pining," and "glorious" seem
to burst into being with a simple purity--as with "cold" and
"day" in "First Noel," and "baby" in "Christmas Must Be
Tonight"--there is no use of vibrato and no need for the more
common little ramp up into the plateau of a note. He delays the
start of "one another" after singing "love," giving that word
more weight. At times the idea of voicing a lyric in accord with
its content is reversed--feathery light on the word "error,"
while (as my mother noted) the "break" of the chains is softened
with no enunciation of the "k" plosive, suggesting a gentle
emancipation. The first time we hear "Fall on your knees," as
the song takes a subdued but dramatic turn, he draws it out more
meditatively--slow and serene, as if he's singing within
himself, almost inviting listeners to close their eyes. The mood
here feels more introspective, while in the second refrain the
quicker timing and speeded up vibrato in the last word of that
line give a sense of immediacy. An imperative lyric like "fall
on your knees" can be problematic--singers must avoid the
opposing temptations to pass over it meekly, or bellow it as a
thundering command. Hall finds just the right emphasis, and my
mother observes that it is the inner strength expressed in that
line that lifts the song up into another level. She also feels
that the ethereal quality of the vocal is partly due to the
blending of masculine strength with the sensitivity more often
associated with the female voice. The seemingly infinite colors
in his vocal palate allow him to express an amazing range of
emotional shades, and he has the sensitivity to know when and
how to use them. He even weaves different colors, styles, and
textures together in one compelling line: In the latter part of
the second verse, the dark breathiness of "joy" (which makes it
feel like a lower note), is immediately followed by an
enlivening contrast in the bright choir-boy delivery of
"grateful chorus raise we," again delightfully juxtaposed with
the more sinuous "let all within" sung with the classic
romanticism of a love song (perhaps the only such example on the
album), before the punctuation of the staccato "us" returns the
song to its dominant mood. At the second "fall" the vocal takes
flight in a beautiful melodic counter to the word's meaning.
This and the little pause and speeded timing in "on your knees"
with the faster vibrato in the last word gives the beginning of
this second refrain more immediacy and intensity compared to the
more meditative first. The poignant use of breath and breaks of
a note seem more emotive than a conscious art, yet the two are
not mutually exclusive as even an acquired facility can become a
natural mode of expression over time. For example, just a touch
of huskiness in the final word of the first "Oh night divine"
beautifully sets up that soft break at "Oh night when," just
before he breaths air into "Christ." The understated
near-whisper of certain words invites the listener's attention,
while the high note near the end brings the song to its climax
without the trumpeted over-the-top finale--the apex is reached
simply with one note of the human voice, and the song gently
subsides into a lilting fadeout accented with tinkled keys
adding twinkling bursts of notes to highlight the beautifully
varied repetitions of "O Night Divine." For Hall as a vocalist,
"O Holy Night" is a beyond-definitive recording, for he not only
reaches a heretofore-unrealized level, but does so in a
different realm. It is still his distinctive style--purified and
elevated. I suspect that in this song, the lamented gulf between
artistic inspiration and realization seemed to disappear. There
must have been something very special going on in that studio
when they recorded it--even beyond the palpably positive vibe
that emanates from the whole album. How refreshing it is, and
how fortunate we are, that after 3-and-a-half decades of
refining their art in the cynical world of popular
entertainment, Hall and Oates are still in love with making
music, and more fully able now than ever to give us this
beautiful and moving collection--a Christmas gift indeed.
©
Edwards de Oliveira-
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