And all the bells on earth shall ring

Merry Christmas.

Here we have a traditional English Christmas carol. A variant of the tune “Greensleeves,” the earliest printed version of “I Saw Three Ships” dates back to the 17th Century.

Although the lyrics mention the ships sailing into Bethlehem, the nearest body of water is the Dead Sea about 20 miles away (and there was never much shipping there either).

The reference probably originates with three ships that bore the purported relics of the Biblical Magi to Cologne Cathedral in the 12th Century.  Founded in San Francisco (circa 1978) and often referred to as an “Orchestra of Voices,”

Chanticleer has developed a major reputation for its interpretations of Renaissance music. The ensemble was named for the “clear singing rooster” in Chaucer’s “Canterbury Tales”.

 LISTEN TO TODAY’S SELECTION – Christmas Day

I Saw Three Ships

I saw three ships come sailing in

On Christmas day, on Christmas day

I saw three ships come sailing in

On Christmas day in the morning.

And what was in those ships all three?

On Christmas day, on Christmas day

And what was in those ships all three?

On Christmas day in the morning.

 Our Savior, Christ, and His Lady,

On Christmas day, on Christmas day

Our Savior, Christ, and His Lady,

On Christmas day in the morning.

Pray, whither sailed those ships all three?

On Christmas day, on Christmas day

Pray, whither sailed those ships all three?

On Christmas day in the morning.

O, they sailed to Bethlehem,

On Christmas day, on Christmas day

O, they sailed to Bethlehem,

On Christmas day in the morning.

And all the bells on earth shall ring,

On Christmas day, on Christmas day

And all the bells on earth shall ring,

On Christmas day in the morning.

And all the angels in Heaven shall sing,

On Christmas day, on Christmas day

And all the angels in Heaven shall sing,

On Christmas day in the morning.

And all the souls on earth shall sing,

On Christmas day, on Christmas day

And all the souls on earth shall sing,

On Christmas day in the morning.

Then let us all rejoice amain,

On Christmas day, on Christmas day

Then let us all rejoice amain,

On Christmas day in the morning.

Fast, the night is fading

Christmas Eve 1980 and it was the end of a long journey. With the next day off we’d driven a rental car up from the Negev Desert, where we were involved in the construction of a new airbase. Now the sky-blue Peugeot was perched on a rocky outcrop across the valley from Bethlehem.

After setting up the tent and throwing a blanket on the hood of the car to serve as a settee, we made martinis and, while the holiest of Christmas carols rose-up from the tape player, leaned back to watch night descend on yonder town; its lights shining ever-more brightly and our brains swirling in wonder…plus a trace of inebriation. Ultimately we reached the unanimous conclusion that it would be nice just to get a bit…closer.

The road near storied Shepherd’s Field (“on earth peace, goodwill toward men,”) was the only one open to traffic, so that’s where we parked before setting out on foot, using the massive neon star atop the Church of the Nativity as our beacon.  It was farther away than it appeared and it took a while to make it to the heavily guarded barricade surrounding Manger Square.  It took even longer to work our way to one of the fortified entranceways on either end where everyone was prodded and frisked twice by the hyper-vigilant  security detail.

In the square itself hoards of “Christmas Pilgrims” brushed (and shoved) elbows with a fascinating continuum of local characters. And while recorded music drifted from loudspeakers mounted somewhere above the neon, ubiquitous vendors hawked their postcards, religious icons and camelhair hats.  It also became apparent that many here had recently partaken in refreshment (and were on the lookout for more) from any number of cafes and restaurants tucked within the barricade.  Who were we to argue?

While the glasses clinked and the evening wore on a series of discordant but enthusiastic church choirs from all over Christendom took turns serenading the masses from an outdoor-stage.  Though most awaited the midnight mass, our goal was to find a way into the ancient Church of the Nativity, which wasn’t easy on such a singular evening when only special groups were allowed entry.

So we watched and waited until one came along, led by a tall, bespectacled pastor. The English matron bringing up the tail told us of their affiliation with the Anglican Cathedral of St. George in Jerusalem and shrugged when our Lisa, from North London, mentioned that she’d been a member of the Church of England for her entire life.

Seeing this as our chance we fell into their queue while it wended around the side of the boxy church, passed armed guards and proceeded through a dingy courtyard into the large, candlelit nave.  When the pastor came to shepherd-in his flock from the rear he looked at us over the tops of his glasses and never said a word.

“Our” group worked its way across the nave to the High Altar, where stairs led below into the Grotto of the Nativity.  We silently followed into the luminous, candle-lit chamber where everyone faced a very old, silver star set in marble marking…the…sacred…spot.

I looked around and noticed there were others here as well.  There was a group of nuns who sang like angels, and by the far wall an extraordinary sect of ebony-skinned people from the Celestial Church of Christ in Benin, dressed in immaculate, white robes, each solemnly kneeling toward that star.  Singing in French they knocked their foreheads on the floor whenever the Lord was mentioned in their song.

Next, one of the attendant sisters handed out sheets of lyrics and we earnestly sang “Away in the Manger.” It was an awesome, enchanting moment that I carry with me like a spot out of time, and it passed in a twinkling.

After exiting through the aptly named Door of Humility (only chest high it was constructed to keep mounted horsemen out of the sanctuary) we waved goodbye to our Anglican friends and found a table at a nearby coffee bar, where we nursed our glasses, said little and watched part of the Latin Mass being televised on a screen hanging down the side of the police station.  Now after midnight it was time to leave Bethlehem.

I, of course claimed to know the way and, certain of a shortcut, led our little expedition down a dark and crowded alley. Half an hour later…we arrived at the other side of Manger Square.  Again, we went through the security rigmarole at a different entryway, then pushed through the congested square and, after a stop for a falafel, attempted another escape.

And once more we were confronted with that awful, dark and crowded street. So this time we went left, away from the square and onto a road that descended into a valley and…(oh no!)…intersected with a dump, replete with barking dog.  We were lost, an astonishing feat in a town with but two major streets. And here the murky road ran sharply up in both directions.

Yes, I thought, this had all been a remarkable experience but now it was well after 2:00 a.m. and getting cold. So much for the supposed magic of Christmas, a callow notion if ever there was one.

Eventually a pair of headlights pierced the gloom and we roundly waved at the battered old van behind them, swearing sulkily when it drove by. But then it turned around.  I for one, got a little nervous, especially when the van stopped and its driver, who wore a keffiyeh (think Yasser Arafat), hopped out to ask in extremely broken English where we might be going.

“The road to Herodian,” I murmured.  The man’s eyes widened a little and he asked me to repeat myself, which I did.  Clearly we were off track and my directions were a little vague.Then he told us to get in…which we did, joining a host of others in the unlit van.

We learned that these were Arab Christian doctors and nurses just off duty from their hospital shifts and we were riding in their ambulance, which they regularly used to get home.  I did my best to describe the whereabouts of our car while to our absolute delight the women sitting cross-legged in the back began to sing in Arabic, with the men joining in on the chorus.

The singing was wonderful, a Christmas song I was told, and the van was warm and cozy.  So much so that I actually regretted it when we finally found our car, there by Shepherd’s Field.  I offered them money.  They refused, for now it was Christmas.  Then I remembered the bottle of gin decorated with garlands and stowed in the trunk for martinis.  This they gratefully accepted and singing once again, joyously drove on.

I awoke hours later to the sound of church bells pealing across the valley in that now familiar town. We made a fire near the tent and had a simple breakfast of fruit, nuts and cheese, washed down with instant coffee and Israeli liquer here on this balmy Christmas morning, with the soft blue-sky over Bethlehem looking every bit like a hand painted postcard.  I took some photographs, which have faded badly and certainly don’t do the moment justice.

In fact my memory of the remainder of that day has faded even more than the pictures. Though my memory of that simple Yuletide breakfast shines as brightly as David’s Royal City did on Christmas Eve,  as do those memories of the night that preceded it, when I came to believe, once and forever more, in the abiding magic of Christmas.

Performed by James Taylor, the lyrics to this Christmas Eve selection were written by Sally Stevens with music by Dave Grusin.

LISTEN TO THIS SELECTION – Christmas Eve 1980

Who Comes This Night

 Who comes this night, this wintry night,

As to the lowly manger?

The Shepherds and the Kings did come

To welcome in the stranger.

 Who sends this song upon the air

To ease the soul that’s aching?

To still the cry of deep despair

And heal the heart that’s breaking.

 Brother Joseph bring the light

Fast, the night is fading.

And who will come this wintry night

To where the stranger’s waiting?

Who comes this night, with humble heart,

To give the fullest measure?

A gift of purest love to bring

What good and worthy treasure.

 Brother Joseph bring the lamb

For they are asking for him.

The children come this starry night

To lay their hearts before him.

For those who would the stranger greet

Must lay their hearts before him

And raise their song in voices sweet

To worship and adore him.

 Brother Joseph bring the light

Fast, the night is fading

And who will come this wintry night

To where the stranger’s waiting.

Brother Joseph bring the lamb

For they are asking for him.

The children come this starry night

To lay their hearts before him.

Pure of heart this starry night

To lay their hearts before him.

Drink this wine and dream it will be

Born in Johannesburg, South Africa in 1967, David John Matthews’ family emigrated to Yorktown Heights, NY in 1969, where his physicist father was employed by IBM.  The family returned to South Africa after Matthews’ father died in 1977.

Faced with conscription into the South African military upon his high school graduation  Matthews, a Quaker, returned to New York in 1986, and he too worked for “Big Blue” prior to moving to Charlottesville, Virginia where his family had lived for a time.

Having played the guitar since the age of nine, he formed the Dave Matthews Band there 1991 at the bidding of German-born musician, Tim Reynolds, who has served as his lead guitarist and with whom he has worked on solo projects…as was the case with this 1997 live performance.

LISTEN TO TODAY’S SELECTION – Sunday 23 December  

Christmas Song

She was his girl; he was her boyfriend

She’d be his wife and make him her husband

A surprise on the way, any day, any day

One healthy little giggling dribbling baby boy

The wise men came, three made their way

To shower him with love

While he lay in the hay

Shower him with love, love, love

Love, love, love

Love, love was all around

Not very much of his childhood was known

Kept his mother Mary worried

Always out on his own

He met another Mary who for a reasonable fee,

Less than reputable was known to be

His heart full of love, love, love

Love, love, love

Love, love was all around

 When Jesus Christ was nailed to his tree

Said “oh, Daddy-o, I can see how it all soon will be

I came to shed a little light on this darkening scene

Instead I fear I’ve spilled the blood of our children all around”

The blood of our children all around

The blood of our children’s all around

So I’m told, so the story goes

The people he knew were

Less than golden hearted

Gamblers and Robbers

Drinkers and Jokers, all soul searchers

Like you and me

Like you and me

 Rumors insisted he soon would be

For his deviations

Taken into custody

By the authorities less informed than he

Drinkers and Jokers all soul searchers

Searching for love, love, love

Love, love, love

Love, love was all around

 Preparations were made

For his celebration day

He said: eat this bread and think of it as me

Drink this wine and dream it will be

The blood of our children all around

The blood of our children’s all around

The blood of our children all around

Father up above, why in all this anger do you fill

Me up with love, love, love

Love, love, love

Love, love was all around

Father up above, why in all this hatred do you fill

Me up with love, fill me love, love, love

Love, love, love

All you need is love

You can’t buy me love

Love, love, love

Love, love

And the blood of our children’s all around

So he said, “Let’s run, and we’ll have some fun…”

I’ll have to admit up front here that this song made me rather sad when I was very young, until one of my older sisters assured me, with great certitude, that when Frosty “…waved goodbye saying,“Don’t you cry, I’ll be back again some day,” he well and truly meant it.

Written in 1950 by Steve Nelson and Walter “Jack” Rollins (who also wrote “Here Comes Peter Cottontail” and is credited with creating Smokey the Bear), “Frosty the Snowman” was sent directly to Gene Autry and the Cass County Boys who were looking for a follow up to the chart-topping hit they’d had with “Rudolph the Red-Nosed Reindeer” in ’49. Although “Frosty” didn’t quite make it to Number 1, it was still a top-ten hit at Number 7.

Interestingly, whereas “Rudolph” was a song based on a children’s book (published in 1939 through Montgomery Ward), “Frosty” was a song that was subsequently adapted into a children’s storybook. Of course in the 1960s both characters were featured in their own animated television specials that have since become holiday classics in their own right, and were watched, no doubt by little Fiona Apple McAfee Maggart, who was born in Manhattan in 1977.

Now known as Fiona Apple, she was raised in a household full of performers – her mother was a singer, her father an actor, her grandmother a popular revue dancer, her grandfather a big band singer, her elder sister a cabaret performer, and then there are the two half brothers, one a successful film director, the other a successful actor.

Signed to a record deal at the age of 17, the musician, songwriter and singer (with a contralto range) released her debut album, Tidal, in 1996.  Not only did the album go “triple platinum” but “Criminal” one of the tracks released as a single, garnered her the Grammy Award for Best Female Rock Vocal Performance, while another, “Sleep to Dream” won the MTV Music Award for Best New Artist.

Today’s selection was included on the 2003 Alternative Rock collection, “Christmas Calling.”  Surprisingly, to those who listen to this song, Apple is well-known for her brooding, angst-ridden demeanor.  Hmmm, I wonder if she too was once saddened by poor “Frosty’s” demise.

LISTEN TO TODAY’S SELECTION – Friday 21 December 

Frosty the Snowman

 Frosty the Snowman

Was a jolly happy soul

With a corncob pipe and a button nose

And two eyes made out of coal

 Frosty the Snowman

Is a fairy tale they say

He was made of snow

But the children know

How he came to life one day

There must have been some magic

In that old silk hat they found

For when they placed it on his head

He began to dance around

Frosty the Snowman

Was alive as he could be

And the children say

He could laugh and play

Just the same as you and me

Frosty the Snowman

Knew the sun was hot that day

So he said, “Let’s run

And we’ll have some fun

Now before I melt away”

Down to the village

With a broomstick in his hand

Running here and there

All around the square

Saying, “Catch me if you can”

He led them down

The streets of town

Right to the traffic cop

And he only paused a moment

When he heard him holler, “Stop!”

 Frosty the Snowman

Had to hurry on his way

But he waved goodbye

Saying, “Don’t you cry

I’ll be back again some day”

The ox and the lamb kept time

You might say she’s one of this town’s more long-standing residents.  Born in Missouri in 1892, Katherine Kennicott Davis came east to study music at Wellesley College, where she remained as a teaching assistant while studying at the New England Conservatory of Music. After further studies abroad she returned to Massachusetts, to teach music at Concord Academy.

From the age of 15 Davis was also a celebrated composer, writing more than 600 pieces in her lifetime, many of them specifically for school choirs.  Although much of her work was highly acclaimed, the one piece that she’ll be best remembered for is this song written in 1941, originally entitled, “Carol of the Drum.” Apparently inspired by a Czech carol, she is said to have written it while trying to take a nap.

The song appealed to the von Trapp Family singers, who were the first to record it in 1955, shortly before they retired.  Then, a conductor and arranger named Harry Simeone who had worked on a number of Bing Crosby movies, re-arranged the piece with his friend Henry Onorati. He also gave it a new name.

Recorded in 1957 as a track on the (recently formed) Harry Simeone Chorale’s very first album, “Sing We Now of Christmas” (on which Simeone and Onorati received joint credit with Davis, though they had only served as arrangers) it was re-released as a single every Christmas from 1958 to 1962.  By which time “The Little Drummer Boy” had became a holiday classic.

With an august body of work that included choruses, cantatas, operas, piano pieces and popular songs, Katherine K. Davis continued to write music well into her 80s.  Upon her death in 1980 she was interred here in Concord’s Sleepy Hollow Cemetery and the considerable proceeds from her many musical compositions were left to Wellesley College’s Music Program.

Of “The Little Drummer Boy” she once quipped how it had been “done to death on radio and TV.”  Yet  musicians everywhere still continue to perform it, with over 225 cover versions recorded in seven languages…and a broad range of music genres.

A small sampling includes: Bing Crosby (solo and then with David Bowie), Johnny Cash, Jonnie Mathis, Marlene Dietrich, Rosemary Clooney, The Supremes, Stevie Wonder, Jimi Hendrix, the Brady Bunch, Emmylou Harris, Joan Jett, Bob Seger, Neil Young, Grace Jones, Destiny’s Child, Celtic Woman, The Black Eyed Peas, The cast of Glee…

…and this version by Oregon based, 13-member Pink Martini, which (appropriately) draws inspiration from numerous genres all over the world.

LISTEN TO TODAY’S SELECTION – Thursday 20 December 

Little Drummer Boy

 Come they told me, pa rum pum pum pum

A new born King to see, pa rum pum pum pum

Our finest gifts we bring, pa rum pum pum pum

To lay before the King, pa rum pum pum pum

Rum pum pum pum, rum pum pum pum,

 So to honor Him

Pa rum pum pum pum

When we come

 Little Baby, pa rum pum pum pum

I am a poor boy too, pa rum pum pum pum

I have no gift to bring, pa rum pum pum pum

That’s fit to give the King, pa rum pum pum pum

Rum pum pum pum, rum pum pum pum

 Shall I play for you

Pa rum pum pum pum

On my drum

 Mary nodded, pa rum pum pum pum

The ox and lamb kept time, pa rum pum pum pum

I played my drum for Him, pa rum pum pum pum

I played my best for Him, pa rum pum pum pum

rum pum pum pum, rum pum pum pum

 Then He smiled at me

Pa rum pum pum pum

Me and my drum

 

Who wouldn’t go?

Popularly recorded by generations of singers, it’s a song that became internationally recognized in 1952 as the last in a series of instant holiday classics performed by singing cowboy, Gene Autry, which included “Here Comes Santa Claus” in 1947, “Rudolph the Red-Nosed Reindeer” in 1949, and both “Frosty the Snow Man” and “Peter Cottontail” in 1950.

But “Up on the Housetop” (aka “Up on the Rooftop”) was actually published in 1864, technically making it the first-ever secular Christmas carol – although “Jingle Bells” was published in 1857, it was originally intended as a song to celebrate Thanksgiving.  Written by Benjamin Russell Hanby of New Paris, Ohio it is also the first to feature jolly St. Nick.

Actually a melding of the British “Father Christmas” and the Dutch “Sinterklass”, our image of Santa Claus (the Americanized name dates back to 1773) has much of its basis in the 1823 poem “A Visit From St. Nicholas” (aka “The Night Before Christmas”) by Clement Clarke Moore, in addition to the iconic depiction drawn by illustrator Thomas Nast.

As for the 17th Century origins of Father Christmas and Sinterklass, they’re believed to have roots in both Germanic pagan tradition (where Odin would descend one’s chimney during the winter solstice) and in the 4th Century Greek-born Nikolaos of Myra.  Also referred to as Nikolaos the Wonderworker, the (now) multi-denominational “Saint Nicholas” was revered for easing the plight of impoverished children and wrongly condemned prisoners and is still commonly recognized in port cities everywhere as patron saint of sailors and ships, offering safe voyage and protection from storms at sea.

Which may seem to be a long way from the Central Till Plains Region of Indianapolis, Indiana, where this short track was included on the 2007 album, “Jingle Sax” by the Indianapolis Sax Quartet… but then again (“click, click, click”) one mustn’t forget the old boy’s alternative method of getting around…

 LISTEN TO TODAY’S SELECTION – Wednesday 19 December

Up On The Housetop

 Up on the housetop

Reindeer pause

Out jumps good old Santa Claus.

Down thru’ the chimney

With lots of toys

All for the little ones

Christmas joys

Ho, ho, ho!

Who wouldn’t go!

Ho, ho, ho!

Who wouldn’t go!

Up on the housetop

Click, click, click,

Down thru’ the chimney

With good Saint Nick

 First comes the stocking

Of little Nell

Oh, dear Santa

Fill it well

Give her a dolly

That laughs and cries

One that will open

And shut her eyes

Ho, ho, ho!

Who wouldn’t go!

Ho, ho, ho!

Who wouldn’t go!

Up on the housetop

Click, click, click

Down thru’ the chimney

With good Saint Nick

 Next comes the stocking

Of little Will

Oh just see

What a glorious fill

Here is a hammer

And lots of tacks

Also a ball

And a whip that cracks

Ho, ho, ho!

Who wouldn’t go!

Ho, ho, ho!

Who wouldn’t go!

Up on the housetop

Click, click, click

Down thru’ the chimney

With good Saint Nick

Deer might fly, why not? I met you.

The pheromones were surely swirling, the neurons tap-tap-tapping for indie folk singers, Deb Talan and Steve Tannen on that illustrious evening in Harvard Square.  Each had a thriving career as an independent singer-songwriter-performer and although they’d never met, each was a huge fan of the other’s music.

Tannen, from New York City, later claimed to have played Talan’s solo album “constantly,” even singing along in harmony, while Talan, from Pelham, Mass (which borders Amherst) maintained that she was so captivated by Tannen’s music that she had “formed a kind of a relationship” with it. Then in 2001, Talan attended one of Tannen’s shows at Club Passim in Harvard Square and not only did they quickly become musical collaborators, they fell in love.

Now a married couple with two children, they regularly tour as a duo, calling themselves The Weepies.  According to Deb Talan it’s a name that was inspired by “…those old movies that were called weepies, where…if you needed a good cry, you could go and see one and bring your hanky and have a good time. And we want to provide that for people. We want to make music that touches them and moves them in that way, the place where tears come from, for joy and for sorrow.”

This seasonal song comes from their first album together, released independently (appropriately enough) at Club Passim in 2003.  Entitled “Happiness” the album was written and recorded in three weeks “in the white heat of their artistic and personal connection,” noted one reviewer, and though The Weepies wouldn’t land a record deal for another two years it sold more than 10,000 copies.

LISTEN TO TODAY’S SELECTION – Tuesday 18 December 

All That I Want

 Out in the harbor

The ships come in, it’s Christmastime

The kids all holler carols ‘cross the water

Stars that shine

 All that I want, all that I want

Above the rooftops

The full moon dips its golden spoon

I wait on clip-clops, deer might fly

Why not? I met you

 All that I want, all that I want

 And when the night is falling

Down the sky at midnight

Another year is stalling

Far away a good bye, good night

All that I want, all that I want, all that I want

So small a turning

The world grows older every day

An ache, a yearning

Soften when I hear you say

 All that I want, all that I want

 And when the cold wind’s blowing

Snow drifts through the pine trees

In houses lights are glowing

Likewise in your eyes that find me here

With all that I want

 Out in the harbor

The ships come in, it’s Christmastime

It’s Christmastime

It’s Christmastime

 

 

 

I would teach my feet to fly

Referring to the record years later she said, “there’s hardly a dishonest note in the vocals. At that period of my life, I had no personal defenses. I felt like a cellophane wrapper on a pack of cigarettes. I felt like I had absolutely no secrets from the world and I couldn’t pretend in my life to be strong. Or to be happy. But the advantage of it in the music was that there were no defenses there either.”

Despite the success of her first three albums the onset of 1971 was apparently a rough time for Joni Mitchell, who had just gone through a bumpy breakup with her longtime companion, Graham Nash. So she stopped performing, left California and decided to travel around Europe.  Somewhere along the way she began to write about her feelings and much of it ended up on album number four.

Released later that year, “Blue” was hugely successful, hitting Number 20 of the Billboard Album Charts and Number 3 in the UK, all of which inspired her to return to live performing.  As David Crosby later said, “By the time she did “Blue” she was past me (as a songwriter and musician) and rushing toward the horizon”

Although never released as a single, this, the album’s eighth track, is the third-most widely covered of any Joni Mitchell song after “Both Sides Now” and “Big Yellow Taxi”.

 LISTEN TO TODAY’S SELECTION – Monday 17 December 

River

 It’s coming on Christmas

They’re cutting down trees

They’re putting up reindeer

And singing songs of joy and peace

Oh I wish I had a river I could skate away on

 But it don’t snow here

It stays pretty green

I’m going to make a lot of money

Then I’m going to quit this crazy scene

Oh I wish I had a river I could skate away on

 I wish I had a river so long

I would teach my feet to fly

I wish I had a river I could skate away on

I made my baby cry

 He tried hard to help me

You know, he put me at ease

And he loved me so naughty

Made me weak in the knees

Oh, I wish I had a river I could skate away on

I’m so hard to handle

I’m selfish and I’m sad

Now I’ve gone and lost the best baby

That I ever had

I wish I had a river I could skate away on

 Oh, I wish I had a river so long

I would teach my feet to fly

I wish I had a river

I could skate away on

I made my baby say goodbye

 It’s coming on Christmas

They’re cutting down trees

They’re putting up reindeer

And singing songs of joy and peace

I wish I had a river I could skate away on

Though our hearts be wrapped in sorrow, from the hope of dawn we borrow, promise of a glad tomorrow…

I live near Emerson Field here in Concord.  It’s a lovely common area surrounded by pretty houses and it features an enormous flagpole that is lit at night.  Last evening was incredibly somber because though the Christmas lights were merrily shining from all the houses, the flag at the very center was at half-mast.

The grief in Newtown must be unimaginable and the initial reaction of every parent among us was surely to hold our little ones close, regardless of their age.  But the human heart is awesomely commodious and (especially in this season) “though our hearts be wrapped in sorrow” there’s always room for a little comfort and just a touch of joy.

“Ar Hyd y Nos” (All Through the Night) is a Welsh folksong sung to an old tune that was first published in 1784 by Edward Jones’ in his “Musical and Poetical Relics of the Welsh Bards” with lyrics written (in Welsh) by John Ceiriog Hughes.  Since translated into many languages there are numerous versions, including the relevant one below.

“The Wassail Song” (with selected verses here) is a traditional English Christmas carol, circa 1850, and refers to the 19th Century practice of ‘wassailing’, where groups of orphans or vagabonds would dance their way through the wintry streets and offer to sing good cheer if a householder would give them a drink from his wassail bowl or even allow them to stand beside the warmth of his hearth for a few moments. The wassail bowl itself contained a hearty combination of hot ale, apples, spices and mead… “just alcoholic enough to warm tingling toes and fingers of the singers”

This short medley is found on Yo Yo Ma’s sublime 2008 album, “Songs of Joy & Peace”

 LISTEN TO THIS EARLY SELECTION – Sunday 15 December

The Wassail Song

 Here we come a-wassailing

Among the leaves so green

Here we come a-wand’ring

So fair to be seen

 Love and joy come to you

And to you your wassail too

And God bless you and send you

A Happy New Year

And God send you a Happy New Year

We are not daily beggars

That beg from door to door

But we are neighbours’ children

Whom you have seen before

 Love and joy come to you…

God bless the master of this house

Likewise the mistress too

And all the little children

That round the tables go

 Love and joy come to you…

 Good master and good mistress

While you’re sitting by the fire

Pray think of us poor children

Who are wandering in the mire

Love and joy come to you…

 

All Through the Night

 Deep the silence ’round us spreading

All through the night

Dark the path that we are treading

All through the night

Still the coming day discerning

By the hope within us burning

To the dawn our footsteps turning

All through the night

 Star of faith the dark adorning

All through the night

Leads us fearless towards the morning

All through the night

Though our hearts be wrapped in sorrow

From the hope of dawn we borrow

Promise of a glad tomorrow

All through the night

 

Because it does what you want it to do

It only makes sense that her third album would have the rather drawn-out title, “Academy Award Performance: And the Envelope, Please”

After all, Maureen McGovern’s first album, “The Morning After” featured her 1972 Oscar-winning recording (ah yes) “The Morning After” from “The Poseidon Adventure.” And her second album, “Nice to Be Around” featured her 1973 Oscar-nominated recording (can you guess?) “Nice to Be Around” from “Cinderella Liberty”.  Clearly it was time to change things up a bit, even though this third album featured her 1974 Oscar-winning recording, “We May Never Love Like This Again” from “The Towering Inferno”.

Nice niche if you can get it.  The remaining tracks were covers of other Oscar-winning songs including today’s selection from the 1934 Fred Astaire/Ginger Rogers film, “The Gay Divorcee” which was adapted from the Broadway musical, “Gay Divorce” also starring Astaire. The Hays Office is responsible for the name change because, while a divorcee can be gay (and why not in every sense), it would be “unseemly” to have people thinking of divorce itself as being a lighthearted endeavor.

Although the screenplay followed the stage version’s plot line most of Cole Porter’s musical numbers (except for “Night and Day”) weren’t included.  Yet it seems to have been the right decision, as this number, written by Con Conrad with lyrics by Herb Magidson, won the first-ever Academy Award for Best Original Song.

McGovern’s subsequent cover version proved to be her only hit on the UK Singles Chart, peaking at Number 16. Unfortunately her musical finesse didn’t extend to talent management. Not only did her manager receive an outrageous 40 percent commission and grossly overpay her musicians, he also allowed her contract with 20th Century Fox to expire, leaving her in financial straits and forcing her to quit the business.

Eventually she would return to the lime light with better management – first with select performances, then with another Top 20 hit (this time for the theme song to the sitcom, “Angie”) and then with a successful career on Broadway – but in 1976 the two-time Oscar winner was reduced to taking a secretarial job under the assumed name, Glenda Schwartz…  Well slip me a slug o’ that wonderful Krug. Let’s hear it for second acts..!

LISTEN TO TODAY’S SELECTION – Saturday 15 December 

The Continental

 Beautiful music

Dangerous rhythm

 It’s something daring, the Continental

A way of dancing that’s really ultra new

It’s very subtle, the Continental

Because it does what you want it to do

 It has a passion, the Continental

An invitation to moonlight and romance

It’s quite the fashion, the Continental

Because you tell of your love while you dance

 Your lips whisper so tenderly

His eyes answer your song

 Two bodies swaying, the Continental

And you are saying just what you’re thinking of

So, keep on dancing the Continental

For it’s a song of romance and of love

 You kiss while you’re dancing

It’s continental, oh oh oh, it’s continental

You sing while you’re dancing

Your voice is gentle, oh oh oh, and sentimental

 You’ll know before the dance is through

That you’re in love with him and

He’s in love with you

 You’ll find while you’re dancing

That there’s a rhythm in your heart and soul,

A certain rhythm that you can’t control

And you will do the Continental all the time

Beautiful music

Dangerous rhythm

Beautiful music

Dangerous rhythm

The Continental