• December 6, 1994
The Battalion • Page 3
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By Nick Georgandis
The Battalion
“Christmas Time”
John Anderson
BNA Entertainment
★ (out of five)
The label on John Anderson’s
“Christmas Time” promotional CD
reads “Not For Sale.” Oh, if only
America was so lucky.
Anderson’s attempt to play off his
stunning musical comeback with this
holiday release fails miserably. There
is a certain sound that Anderson’s
voice complements perfectly, and this
is not it.
The album’s 10 tracks include two
new holiday tunes written by Ander
son himself.
The second of these is the album’s
best song, “Jesus Our Savior,” a
somber, religious ballad that puts the
gift giving frenzy in perspective. An
derson keeps his voice low on this one,
letting the guitar and the lyrics please
the listener.
Other than that, the only track
worth listening to is Anderson’s re
make of “Jingle Bell Rock.” Anderson
has some leeway to jam a little, get
ting close to the rockabilly beat that
first made him a hit with “Swingin’”
and later spearheaded his surprising
comeback on “Seminole Wind” and
“Money in the Bank.”
The only other
highlight of the al
bum is the gorgeous
steel guitar on “The
Christmas Song.” It
takes the place of the
traditional Christmas
strings and does a
beautiful job. Unfor
tunately, the steel
guitar plays second
fiddle (excuse the
pun) to Anderson’s
half-hearted bellow
ing.
Rounding out the
album are Christmas
time favorites “Win
ter Wonderland,” “I’ll
be Home for Christ
mas” and “Silent
Night.”
Anderson also
butchers “Blue
Christmas,” the song
no one has done jus
tice to since Elvis
Presley recorded it and “The Night
Before Christmas,” in which Anderson
simply reads the Yuletide classic.
Anderson’s voice is made for rock
ing, not storytelling, and I can name
quite a few dozen people I’d rather
hear read this classic.
John Anderson
If you like country Christmas mu
sic, go with the Judds or George
Strait. If you like Anderson’s sound,
go with “Country ‘til I die” or “Semi
nole Wind.” It’s one or the other —
Christmas music and John Anderson
just don’t mix.
McLachlan graces '34th Street' Soundtrack
By Erin Hill
The Battalion
Various Artists
“Miracle on 34th Street”
Soundtrack
Arista Records
★ ★★★ (out of five)
The real miracle of the “Miracle on
34th Street” remake is the wonderful
soundtrack. Even if you have no
plans to see the updated version of
this Yuletide classic, you ought to
splurge for the album.
Sarah McLachlan’s exquisite rendi
tion of “Song for A Winter’s Night” is
reason enough. Since this song is not
featured in the movie, this is the only
chance you’ll have to listen to it.
Her ethereal soprano is its usual
breathtaking self and her musical nu
ances and expression restrained.
Unlike many singers who let loose
when they perform well-known songs,
she doesn’t overdo it. MacLachlan
sings of holding the hands of those she
loves in a tender voice that could
bring a tear to the eye.
This remake of Gordon Lightfoot’s
song should help to make the tune
part of our holiday consciousness,
right where it should be.
Joining Sarah McLachlan in the
ethereal quality category is the boys
choir featured in “Signing.” Two other
songs by the same composer are also
on the album, “Overture” and “Belle
vue Carol.” Both of these would be
nice as background music during your
holiday festivities — not too noisy or
annoying.
The rest of the album is far more
soulful, but just as solid. Aretha
Franklin and members of the Fame
Freedom choir boogie down on “Joy to
the World” and Ray Charles turns in a
bluesy version of “Santa Claus is
Coming to Town.” Both artists sing as
if they were having the time of their
lives.
Even Elvis makes an appearance,
vocally gyrating his way through
“Santa Claus is Back in Town” as a
reminder of why grandparents didn’t
want Mom and Dad to watch him on
the “Ed Sullivan Show.” Every note
he sings is sensual.
Mellow crooners like Natalie Cole
and Dionne Warwick are also featured
on the album. Cole, who is both an
accomplished pop and jazz artist,
milks “Jingle Bells” for all its worth
and demonstrates her proficiency in
both genres.
Her usual powerhouse voice is
See Soundtrack/Page 4
Allen's performance as Santa spurs 'The Santa Clause'
By Jan Higginbotham
The Battalion
“The Santa Clause”
Starring: Tim Allen, Wendy Crewson, David Krumholtz,
Peter Boyle
Directed by: John Pasquin
Rated: PG
Playing at Hollywood
★★★ 1/2 (out of five)
For those moviegoers looking for a feel-good movie to
get them in the Christmas spirit, “The Santa Clause” is
just the ticket.
Tim Allen, in a usual comical role, learns the hard way
what happens when Santa Claus falls off someone’s roof.
After Santa takes the fall into his yard, Allen slips into the
suit and immediately finds out the responsibilities in
volved with the jolly man’s job.
All the excitement comes just hours after Allen and his
ex-wife (Wendy Crewson) argue over whether or not to tell
their young son the truth about Santa. Allen insists that
his son should be allowed to use his imagination.
Allen’s feelings change, however, when he and his son
jump in the famous sleigh and take off to deliver Santa’s
goodies to children all over the world. After making his
deliveries and heading back to Santa’s workshop, Allen
gets a tour of the big guy’s headquarters.
The elves tell Santa he has 11 months to get all his af
fairs in order before he takes over the big guy’s position for
good.
Allen’s son (David Krumholtz) begins to believe that his
father is the real thing, but Allen tries to discourage the
thought. But the elves and the reindeer are just too con
vincing for the young boy.
Allen wakes up Christmas morning in his own bed after
falling asleep in Santa’s bed, believing that the entire San
ta experience was a dream. His son, however, believes
otherwise. The young boy goes overboard, telling his
See Santa/Page 4
Rockers mangle holiday tunes
By Erin Hill
The Battalion
Various artists
“So This Is Christmas”
Atlantic Records
★★ (out of five)
‘Tis the season for celebri
ty Christmas compilation al
bums. The alternative crowd
didn’t want to be left out, so
they got some grungesters to
gether and recorded their of
fering, called “So This Is
Christmas.”
Unfortunately, it leaves
the reader saying “So this is
it?”
To be fair, there are some
nice moments. Tori Amos’
“Little Drummer Boy” is one
of them. Her piano arrange
ment is creative and her
lyrics are understandable.
Evan Dando’s “Silent
Night” is also a treat. He
chooses to go the acoustic
route and turns out a folksy
rendition of the most beloved
Christmas tune out there. It
works, but it’s nothing to
write home about.
If only Bad Religion been
as thoughtful. Their version
of “Silent Night” is out of tune, out of
style and out of touch. The lead vocal
ist’s straining for the high notes is dis
tracting and the background noise takes
away from the meaning of the song.
This is probably the worst song on
the album, but Daniel Johnston’s
“Rudolph the Red-Nosed Reindeer” is a
close second for that dubious honor.
Shane Evans, Will Turpin, Ross Childress, Ed
Roland and Dean Roland of Collective Soul.
Tori Amos
The album cover he drew is his only
worthwhile contribution to this album.
The song is rough and the backing vo
cals are so off-pitch it’s hilarious. John
ston’s wobbly voice has a certain off
beat charm, but he sounds as if the song
is brand new to him, not something he
has practiced.
Too many of the tracks
sound that way, as if the
artists were just singing
something for the first time
without any practice or polish.
Despite their various musical
talents, they sound ragged.
Even the current darling of
the folk world, Victoria
Williams, sounds a bit unre
hearsed, though her twang is
firmly in place.
Hootie and the Blowfish
are adequate on “The Christ
mas Song” but even their com
petent contribution doesn’t in
spire the listener to want to
hear more.
Collective Soul also does a
decent job on “Blue Christ
mas.” At least they sing in
time.
It is an adequate ending to
an OK album. Nothing too
bad, but nothing too special
either.
Richard Attenborough and Mara Wilson in “Miracle on 34th Street.”
'Miracle' a classic remake
By Michael Landauer
The Battalion
“A Miracle on 34th Street”
Starring: Richard Attenborough,
Elizabeth Perkins, Mara Wilson
and Dylan McDermott
Directed by Les Mayfield
Rated PG
Playing at Sehulman Six and Post
Oak Mall
★ ★★★ 1/2 (out of five)
In the old days, all movies were
Christmas movies. Or at least it
seems that way. Our parents all have
huge Christmas video libraries and
make sure that we are well versed in
the Christmas cheer of Frank Capra.
As a good student of black and
white (or at least colorized) Christmas
movies, I was scared of the prospect of
seeing “Miracle on 34th Street,” John
Hughes style.
Modern Christmas movies just
aren’t the same. The plots lack some
thing.
But my apprehension about this re
make of “Miracle on 34th Street” was
needless worrying. Hughes’ screen
play has created a modem Christmas
classic. And he did it by rehashing an
old plot that will never lose its magic.
Many Christmas movie remakes
are huge disappointments.
But this is part of the wisdom be
hind “Miracle on 34th Street.” Al
though Hughes tinkers with the
movie, he does not change the theme.
He emphasizes it even more than the
original and makes it relevant to mod
em society.
The movie does not just show us
how important it is to look beyond the
commercialism of the season, but it
shows us what the spirit of Christmas
is.
Hughes reminds us that Christmas
is a celebration of believing in some
thing that we can’t see. He reminds
us of the importance of faith.
Yes, this movie does have religious
overtones. After all, Christmas is still
a religious holiday for at least a few
people. Yes, it is fairly cheesy and un
realistic. But it is a classic in the
making. And ‘tis the season to be as
sappy as you want to be.
Not only is this a good remake, it is
a good movie in its own right. It
brings modern romance, greed and
cynicism into a great script.
There have been several Christmas
movies released in the past few years,
but none have caused so much excite
ment. If you have heard people talk
ing about “Miracle on 34th Street” and
wondered why no one is talking about
See Miracle/Page 4