Contemporary Carols

Last week, I blogged about the most iconic recordings of Christmas carols. My criteria then were that each song had to have multiple covers by other artists, and each artist had to be the one that most people thought of when they thought of that particular Christmas song. So I really only considered recordings that have been out for quite some time - as you can see from my list, the majority of the songs were recorded prior to 1970. But of course, there are some wonderful recordings from more contemporary artists and groups. So today's blog is a list of some of my favorite Christmas recordings from more recent years - let's limit it to recordings released in the last 20 years or so. Some of them are newer recordings of the same classics as my previous blog, but some are newer songs - but ones that I think should become classics down the road.

These are some of my favorite contemporary Christmas recordings, in no particular order.

Baby, It's Cold Outside: Michael Buble and Idina Menzel

This song has gotten a bad rap as the "date rape" song, and while I don't see it that way in its original context and time period, I appreciate that Buble and Menzel rewrote the lyrics to make it flirty instead of creepy. I also love the sweet video with two adorable tweens dancing and lip-synching, It gives it the cozy charm intended by the original composer, and Buble and Menzel have just the right voices and styles to keep it feeling retro but still fresh and contemporary.

Where Are You, Christmas?: Faith Hill

Originally recorded by a very young Taylor Momsen as Cindy Lou Who in Jim Carrey's version of "How the Grinch Stole Christmas," Mariah Carey recorded a pop version which was never released due to legal complications. Hill then released her recording, along with a video interspersing footage from the movie with Hill singing. Hill's version is poignant and emotional without (quite) being overwrought, and it shows off her spectacular and powerful voice.

The Man with the Bag: Jessie J

I've always loved this song, whether it's the original Kay Starr recording, the Brian Setzer Orchestra version, or anything in between. Jessie J's rich voice and laid-back delivery capture the saucy spirit of the original while still bringing a fresh voice to the song. And it doesn't hurt that she's backed by an absolutely rocking big band.

Holly Jolly Christmas: Harry Connick, Jr.

Picking just one Harry Connick, Jr. Christmas tune wasn't easy - I love (almost) all of his jazzy takes on Christmas classics, as well as some lesser-known holiday tunes. But his recording of "Holly Jolly Christmas,"a song made famous by Burl Ives' performance in the Rankin-Bass special, "Rudolph the Red-Nosed Reindeer," is one of my favorites, partly because it features his fabulous orchestra cutting loose for long stretches, with Connick's silky-smooth vocals playing around with the melody just enough to make it fun without losing the tune entirely. It's completely different from Ives' recording, yet equally delightful.

The Little Drummer Boy: Pentatonix

I'm not always a fan of combining beat-boxing with classic Christmas music, but for obvious reasons, it seems to work for this particular song. I love that each vocalist has his or her own style, yet they blend together so beautifully. The clear voices and perfect harmonies of this recording makes it one of my favorite Pentatonix holiday pieces.

Winter Wonderland: Lady Gaga and Tony Bennett

Weirdest pairing ever, right? But Gaga is nothing if not a musical chameleon, and she sells this song with her rich, belty jazz vocals, and Bennett's voice belies his age. The two sound like they're having the time of their lives, with a surprisingly good blend of both sound and style. And I love Gaga's delighted, "Tony! It's snowin'!" at the end.

O Holy Night: NSYNC

This lovely a cappella arrangement is a little jazzy without straying too far from the original, and it is proof positive that these guys can sing. I adore this piece in its classical, operatic setting, but this recording proves it can be equally beautiful and moving when performed in a completely different style.

Jingle Bells: Diana Krall

By now I'm sure you're sensing that my favorite new recordings stray just far enough but not too far from the originals, and Krall's "Jingle Bells" is no exception. She sings the first couple of verses pretty straight, playing just a hair with the rhythms but generally sticking to the melody. But then she and the band let loose and jazz out - vocals, orchestra, and keyboard. So much fun!

It Came Upon a Midnight Clear: Josh Groban

Groban's rich voice is perfect for this lovely, gentle carol, and I love the way this recording builds from simple piano accompaniment and a single voice, to adding a second voice on harmony and a few strings, and finally soaring to a full orchestra and full chorale accompaniment in a gospel style.

O Little Town of Bethlehem: Sarah McLachlan

The guitar accompaniment allows McLachlan's gorgeous vocals to shine. I love the way she completely rewrites the melody within the original chord structure so it still feels as familiar as the original. Her distinctive almost-yodel as she pops between her head voice and chest voice works beautifully in this arrangement.