I love traditional Christmas carols, but my kids prefer to listen to pop singers, so we frequently take turns choosing holiday songs. Which means that we hear renditions of the same songs by numerous artists, from classical to jazz to country to gospel to pop. And each version has pros and cons. So here is my list of some of the most well-known Christmas songs that have been covered by multiple artists, along with my take on the different styles of each one. Hopefully, you might even discover some new favorite recordings of your old favorite classic Christmas tunes!
Do You Hear What I Hear?
Written in 1962 in the midst of the Cuban Missile Crisis, the song was intended as a plea for peace and a pushback against the commercialism of Christmas. The composer and lyricist, a married couple named Noel Regney and Gloria Shane, later commented that at the time they wrote it, neither could personally perform the entire song due to how emotional it made them.
The Harry Simeone Chorale made the original recording in 1962, following their success with The Little Drummer Boy. The only instrumental accompaniment for most of the piece is percussion, including snare drum and finger cymbals. The appearance of the king adds a brass fanfare and additional bells, as well as expanded harmonies in the choir.
Bing Crosby's 1963 recording is the first solo recording, and one of the most well-loved. Crosby's rich, clear baritone, accompanied by a quiet choir echoing the lyrics and oohing in the background, as well as a small orchestra, is simple and elegant. For those of us who grew up in this era, this is the classic version of this song.
Whitney Houston's 1987 recording, on the other hand, is fully gospel, with powerful, belty vocals, a funky, percussion-heavy accompaniment, and a much more involved backup choir. The final verse includes Houston playing with both melody and lyrics in a scat-like section over the choir's repeated chorus of "do you hear what I hear?", ending with a melismatic fade. If you like gospel music, this is the version for you.
Carrie Underwood's 2008 recording is the closest to the simplicity of Crosby's. She sticks to the original melody, with a clear soprano with minimal vibrato and no melisma. Instead of a full choir, she has a just a few backing vocalists echoing lyrics and occasionally adding a bit of harmony. The accompaniment is a full orchestra, but there are a few lovely featured moments for both piano and guitar. This version puts the focus on the beautiful melody and message rather than on the singer. Her version is my personal favorite.
Jordin Sparks' 2012 recording has a vocal quality and style very similar to Houston's, but both her instrumental accompaniment and backing vocals lean more towards jazz or funk than gospel. She incorporates more melisma and even more glory notes throughout, also imitating Houston's repeated "do you know?" to end the piece. A clear nod to Houston's rendition, but with her own vocal style.
Dave Koz's 2014 recording featuring Gloria Estefan is a very non-traditional arrangement, with a wailing sax and Cuban rhythms on the conga, along with funky, upbeat background singers. It also includes a lick of Little Drummer Boy before a somewhat abrupt ending.
O Holy Night (Cantique de Noel)
Based on a French poem written in the1840s by Placide Cappeau and set to music by opera composer Adolphe Adam, the English version was translated and adapted by John Sullivan Dwight in 1855. It has since become popular as a choral, solo, and orchestral piece. Its difficult and rangy melody requires a degree of technique and skill which makes it especially popular with operatically-trained singers.
Patti LaBelle's 1963 gospel version begins with an a cappella opening, unexpectedly simple and clear vocals, and a sense of restrained power, then adds a choir of rich gospel harmonies but still no instruments, eventually adding a piano as LaBelle's voice swells to shake the rafters, finally ending with a glorious gospel wail that drops back to an awed whisper. If traditional gospel music is your jam, this version will have you rocking.
Ella Fitzgerald's 1967 recording is also as far from operatic as you can get, but in a wonderful, jazzy way. Her voice is as warm and rich as honey, over a quiet orchestral accompaniment and background choir. Her tempo is faster than most recordings, which gives it more of a "contemporary carol" and less of an "operatic aria" feel. If you're less of a fan of classical music, this might be a good choice for you.
Celine Dion's 1998 recording begins with breathy, almost tremulous vocals over sustained strings and timpani, building gradually in both strength and volume, occasionally dropping back to a whisper before soaring again to effortlessly powerful, absolutely shimmering high notes. Brilliantly and emotionally paced, this recording is a masterpiece that gives me chill bumps every time.
Josh Groban's 2002 recording is the most traditionally operatic version of this group. Similar to Dion's rendition, his voice has a very gentle feel at the beginning, clear and sweet, but as the song builds so does the power of his vocals. Unlike most of these recordings, Groban maintains his power to the end, rather than dropping back, which works well, given the different feel of the high notes in a male register. Although I generally prefer soprano renditions of this song, it sits beautifully in his register and is a lovely version.
Carrie Underwood's 2008 recording brings to mind the words "delicacy" and "precision." The instrumental accompaniment is a simple and traditional piano arrangement with just a few backing strings, and Underwood's vocals are powerful, heartfelt and unpretentious, with just a hint of her country roots in the occasional rasp or twang. Her controlled, gentle vibrato lets the melody soar while adding a little shimmer. The emotional impact of this version is easily the equal of Dion's. I would be hard-pressed to choose between the two.
Kelly Clarkson's 2017 recording is almost a cross between LaBelle's and Underwood's versions, with an a cappella opening leading to the addition of a backup gospel-style choir but still no instrumentation. Clarkson adds more ornamentation and melisma than most other vocalists in this list, but it works with the bare-bones accompaniment. If you prefer your Christmas music more straight and traditional, this isn't the version for you, but if you like fresh takes on old classics, this is a great option.
Jennifer Hudson's 2024 recording, like Clarkson's, plays around with the melody significantly more than most. Her version has a much more gospel feel, from the non-traditional piano arrangement to the backing vocals, but there are long stretches when Hudson's restrained power shines in being exposed. But then about halfway through, the piano suddenly launches into a gospel lick and Hudson lets her voice sail in full gospel mode, wailing through until the final chorus, where she pulls back to a whisper, then scats back and forth with the choir. If you prefer contemporary gospel stylings, this is the version for you.
Santa Baby
Written in 1953, this controversial holiday song has appeared on both "best of" and "worst of" Christmas song lists ever since. Both the original recording by Eartha Kitt (for whom it was commissioned) and many subsequent cover versions have charted in the US, UK, and multiple other countries.
Eartha Kitt's 1953 recording, despite being deemed "too suggestive" for a holiday tune by some - perhaps due to the vaguely racy lyrics, perhaps due to Kitt's distinctively sultry "purr" - was the best-selling Christmas song that year. Love it or hate it, this is the seminal version of this song.
Madonna's 1987 recording wisely did not attempt to imitate Kitt's throaty sound, but instead gave a very "Betty Boop" vibe. It leaned into the novelty and cutesy-ness of the song, much more along the lines of kitschy tunes like I Saw Mommy Kissing Santa Claus and I Want a Hippopotamus for Christmas rather than romantic ones like Baby It's Cold Outside and Merry Christmas, Darling. It has a bit of a forced feel to me, and there are some pitchy moments, but I'll admit it's cute if you're looking for a light-hearted rendition.
Kellie Pickler's 2007 version had more of a country feel, with its strummy guitar and "scoopy" vocal style. Pickler's natural voice is charming and unaffected, sexy without being sultry and cute without being cutesy. This version really worked for me, although Kitt's will always be my favorite.
Michael Buble's 2011 adaptation, which is still titled Santa Baby despite the lyrics being consistently "Santa Buddy" (or occasionally also "Santa Pally"), is deservedly a regular on lists of the worst Christmas songs. The tempo is too slow, and frankly, it comes off a little creepy. I adore Michael Buble, but give this one a skip.
Ariana Grande's 2013 version featuring Liz Gillies is a surprising mix of Grande's breathy vocals and Gillies' retro crooning style. I found it unexpectedly fun, and I particularly like the idea of the two women alternating begging Santa for presents. I recently discovered Gillies' wonderful Christmas album with Seth MacFarlane, so if you like this version of Santa Baby, be sure to check out the whole "We Wish You the Merriest" album.
Gwen Stefani's 2017 version was much closer to "legit" vocals than either Kitt's throaty growl or Madonna's affected chirp. Her backing vocals are very 1950s harmonies, which is a good choice of style for this piece; however, I feel like it's neither a funny novelty piece nor intended to be sultry and sexy, and instead comes off as a little bland. It's not terrible, but in a world of better recordings, I'd skip this one.
(Everybody's Waitin' for) The Man with the Bag
Los Angeles club owner Hal Stanley commissioned writers Dudley Brooks and Irving Taylor to write this song for his wife, singer Kay Starr, in 1950.
Kay Starr's original 1950 recording is backed with a full, jazzy big band and Starr's rich, peppy vocals and fast vibrato will make you want to jump up and dance, especially during the instrumental sax breaks and brass blares.
Brian Setzer Orchestra's 2002 recording is focused on the orchestra, but includes raspy male vocals. This version is faster, jazzier, and rougher than the others on this list, so it has less of a traditional holiday sound, but it's still a lot of fun.
Seth MacFarlane's 2014 version features a terrific big band with a deliciously honking bari sax and plinky bells, and his vocals are nicely syncopated and jazzy. He holds back just a hair from his sometimes overblown Sinatra imitation, relying on his own natural vocal style, which is terrific, and he plays with the melody in a couple verses in a very fun (and legit jazz) way.
Jessie J's 2015 recording was originally made for an ad for Boots and was later included on her 2018 Christmas album. Her version is quite similar to Starr's original, with a slightly faster tempo and a brighter, sharper brass sound.
Darrin Criss's 2021 version also features Adam Lambert. Opening with a tight jazz burst from the orchestra and some cute chatter, their individual voices at the beginning don't seem like anything special, but wow, when they go into harmony, it's fantastic! There's also a killer sax break with more banter, and after the break, both men let loose with plenty of playing with the melody and low belting, and the final high note and harmony lick are worth the price of admission. Love it! The winner for me, by far.
Voctave's 2021 jazzy a cappella version is slightly slower and more laid-back than some others, with sometimes boppy and sometimes smooth as cream backing vocals and super-tight harmonies. Be sure to listen for their trademark stratospheric soprano at the very end.
Santa Claus is Comin' to Town
Composed in 1924 and first recorded by Harry Reser and His Orchestra, it became a hit in 1934 with a recording by Eddie Cantor.
Bing Crosby and the Andrews Sisters' 1947 recording was at the height of popularity for both, and this version shows why. All four know how to play around with a tune just enough to jazz it up without losing the original. Crosby's rangy croon and the sisters' tight harmonies work together for a fun rendition.
Tony Bennett's 1968 rendition is typical of his swingy style, with strings and muted brass swooping around in the background and no backup vocals. The middle verses are very straight, and he laughs through some of the lyrics, which is a pure delight. Other than Crosby, this is the most traditional version of the bunch.
Jackson 5's 1970 recording is totally Motown, from the tight "woo-oo" harmonies to the funky, electric instrumentation, to young Michael's high yelps. It doesn't have the feel of a traditional Christmas song, but it's certainly happy and upbeat.
Mariah Carey's 1994 version actually begins with a piano lullaby, some humming, then jingle bells and funky piano before Carey's iconic melisma comes in. With rich harmonies in the background carrying the melody while Carey dances all over the scale, this is another version that's not quite traditional but still carries the spirit of the season.
Bruce Springsteen had been playing this song in concerts since 1975, but his live recording from 2003 is the one that plays on the radio. It's charming and delightful, if also a little pitchy. ("Clarence, you been rehearsin' real hard now, so Santa'll bring you a new saxophone, right?") It drives my husband crazy, but it's my favorite version of the song. If it doesn't put you in the Christmas spirit, you have a cold, dead heart.
Michael Buble's 2011 version gets back to basics in a very jazzy Sinatra-esque croon. Accompanied by a restrained orchestra & piano, Buble totally redeems himself from Santa Baby with his rich, laid-back vocals. He sounds like he's singing with a glass of whiskey in one hand and a cigar in the other, but there's also a plate of Christmas cookies on the table.
Have Yourself a Merry Little Christmas
This song was written for the 1944 movie musical, Meet Me in St. Louis. In the film, the song is song by Esther (played by Judy Garland), to cheer up her young sister, Tootie. Director Vincente Minelli, as well as Garland and co-star Tom Drake, objected to the darkness of some of the original lyrics, which resulted in lines like "It may be your last / Next year we may all be living in the past" turning into "Let your heart be light / Next year all our troubles will be out of sight."
Judy Garland's 1944 recording from the film was released as a single and became a huge hit, especially among American troops stationed overseas. Just edging on being saccharine, Garland's trilling vocals are emotional but sincere, and the original version may still be the most moving. It's a classic for a reason.
Frank Sinatra's 1957 recording highlights his rich baritone, lightly orchestrated and backed with plenty of "oohs" and "aahs" from a choir, which takes a turn singing a harmonized verse in the middle, in a very 1950s style. He plays around with the tempo a bit, but generally this version is pretty straight. It's good background music for sitting by the fire enjoying the Christmas tree and maybe a glass of egg nog.
The Carpenters' 1978 recording is one of the few that includes the introductory lyrics: "Christmas future is far away, Christmas past is past. Christmas present is here today Bringing joy that will last." The song was made for Karen's smoky contralto voice, which brings across the emotion in a very different way than Garland's recording. This version also includes a choir (which I assume is multiple tracks of Richard and Karen) taking a short verse in the middle. Another good one for listening while sitting by the tree, but maybe with a hot toddy instead of nog.
John Denver's version from his 1979 Christmas album with the Muppets opens with honky-tonk piano, and Rolf the dog (voiced by Jim Henson) roughly talk-singing, then Denver's delicate, clear tenor takes over, with the two disparate voices alternating and then joining together in a remarkably pretty blend. It shouldn't work, yet it does. Christmas candy itself isn't any sweeter than this.
Sam Smith's 2014 recording opens with Smith's a cappella voice crooning alone for a moment before a piano accompaniment joins in. Smith's melisma works well with the simple melody, although the break when he moves into falsetto could be smoother. This version is just a hair overwrought for my taste.
Norah Jones and Laufey's 2023 recording tosses the vocals back and forth between the two women, as well as harmonizing between the two. Jones' relaxed piano and Laufey's gentle walking bass line provide a soothing accompaniment to this laid-back jazz rendition.
Chestnuts Roasting on an Open Fire (The Christmas Song)
Mel Torme and Robert Wells wrote this song in 1945, during an exceptionally hot summer, with the lyrics written more to "stay cool by thinking cool" than with a thought of writing a hit song.
Nat King Cole recorded the song in 1946 (twice), 1953, and 1961, with various accompaniments. The 1961 version, backed by a full orchestra and recorded in stereo, is considered the "definitive" version. Cole's easy vocals and piano stylings, along with the sweeping strings, are as cozy and rich as a mug of cocoa. Torme may have written it, but Cole owned it.
Perry Como's peppy 1953 recording has a very different feel than many recordings. Rather than a slow, gentle, croon, Como's version features busy sleigh bells and tootling flutes, along with very strict rhythms. The style suits his sweater-wearing persona on his Christmas specials, but it's probably not what you're looking for when you think of this usually mellow song.
Mel Torme's 1955 recording was one of six he made (the others being in 1961, 1970, 1990, and 1992, as well as a 1963 duet with Judy Garland). His light, mellow voice (his nickname was "The Velvet Fog"), with the occasional trill or other vocal adornment, add interest to this lovely and simple version.
Christina Aguilera's 1999 recording begins with chimes and some hummed melisma, then coasts gently into Aguilera's raspy lyrics, occasionally backed with a high solo descant or a harmonizing choir. She adds a lot of details into the melody, but it actually kind of works, as long as you're not looking for mellow and laid-back.
Pentatonix's 2017 a cappella version includes bright harmonies and pulsing background rhythms. It has a soothing feel despite being more upbeat and modern, particularly in the middle section, which breaks into a delightful "muted trumpet" solo.
Lauren Daigle's 2018 version is a traditional arrangement beginning with piano, then Daigle's smoky vocals along with some soft percussion join in. Her vocals have a very different sound than the 1950s versions, but her recording has a similar laid-back, soothing feel. A nice contemporary take that's true to the spirit of the original.
I'll Be Home for Christmas
Written in 1943 to honor soldiers at the front wishing they were back home, it was recorded by Bing Crosby and became the most requested song at Christmas USO shows. As with a number of Christmas songs of this era, the song has an introduction that is frequently cut from recordings: "I'm dreaming tonight of a place I love Even more than I usually do. And although I know it's a long road back I promise you..."
Elvis Presley's 1957 recording is not completely typical of his style, although his distinct vocal sound is there. It opens with a simple string and choral introduction before skipping the lyrical introduction. The melody is crisp and distinct with only a few Elvis-like warbles above the standard oohing backup singers. Overall, it's a little boring unless you're a huge Elvis fan.
Johnny Mathis' 1958 rendition includes the oft-discarded introduction. This version is completely typical of his warbling, crooning, fast vibrato style, with ethereal background singers and light chimes and high strings dancing over the vocals. It's smooth like butter.
Amy Grant's 1992 version opens with a piano and swooping string intro that includes a lick of "Santa Claus Is Comin' to Town" before Grant's vocals begin the rubato introduction. Her plaintive contralto is perfect for the wishful mood of the song, and hits the right balance between the original "squared-off" style of the song and more freestyle contemporary versions.
Brian McKnight's 1998 recording also opens with a relatively long piano introduction, but cuts the vocal introduction. Backed by only a trio of piano, drums, and bass, his high, clear tenor shines through with just a hint of jazzy accompaniment and syncopation underneath. This is an unexpected favorite for me.
Josh Groban's 2007 version opens with messages from soldiers stationed overseas to their families, which adds a poignancy before he even starts to sing. He has the best rendition of the vocal intro, and his voice melts your heart throughout. Then, as if that weren't enough, it closes with messages from the families at home to their soldiers. I'm not crying, YOU'RE crying.
Kelly Clarkson's 2012 recording opens with the smoothest jazz trumpet you've ever heard, then her vocals dive right into the lyrics in a jazzy style that belie her country roots. I love the a cappella ending followed by a trumpet lick of Jingle Bells.
The Most Wonderful Time of the Year
Written in 1963 and recorded by Andy Williams for his first Christmas album the same year, this song has consistently been on the pop charts for decades. Since the mid-1990s, it has also been used in a popular back-to-school ad for Staples.
Andy Williams' original 1963 recording features a jazzy orchestra and poppy backup singers in an arrangement that is heard at high school and community choir concerts throughout the country every year. Williams' homespun style fits nicely with the lyrics reminiscing about Christmas traditions - including the family sitting to watch his annual Christmas special. Even the trumpet missing the high note at the end feels like a taste of childhood.
Peabo Bryson's 1997 recording has a very 90s feel, with a very electronic/synth-heavy accompaniment. Bryson's vocals are very reminiscent of Johnny Mathis, with just a little vocal adornment. A harmonica solo mid-song adds a charming note. Bryson adds just the right amount of melisma to end the song.
Toni Braxton's 2005 recording opens with a solo guitar and then some whispery vocals, adding in piano and percussion for a slow build. Her vocal style is a little at odds with the song, and she takes breaths in the middle of words and phrases which is a bit off-putting. But the guitar break in the middle is charming, and if you enjoy her singing style, you may enjoy this version, but it's not for everyone.
Harry Connick, Jr.'s 2008 version has a Brazilian jazz feel, with conga drums, muted trumpets, unexpected chords, syncopated rhythms, and a LOT of playing around with the melody. Definitely non-traditional, but if you're a fan of Connick's style or of jazz in general, you'll like this version.
Stevie Mackey, Jennifer Lopez, and The Eleven's 2020 recording begins with some cute chatter, then Mackey and Lopez trade off surprisingly straight vocal lines before joining in unison with backing harmonies from The Eleven, with a few more spoken comments scattered in. I was surprised and impressed at how traditional this arrangement is, and it reminded me that both Mackey and Lopez can SING. It felt like a version you'd hear at Disney, and that's a compliment.
Dan + Shay's 2024 version is probably the most "straight" of these versions. Backed by an orchestra with plinky piano and a minimum of backup vocals, it's a fairly "vanilla" arrangement. So if you're looking for a non-jazzy, traditional recording with solid vocals, this is for you.
Sleigh Ride
Arguably composer Leroy Anderson's most well-known work, it was written as an orchestral piece between 1946 and 1948 and was first performed by the Boston Pops (for whom it is a signature number to this day, having made recordings under the batons of conductors Arthur Fiedler, John Williams, and Keith Lockhart). Anderson also wrote arrangements for wind band and solo piano. The lyrics were written by Mitchell Parish and the first vocal recording was made by the Andrews Sisters in 1950. Although it is considered by many to be a Christmas song, the lyrics make no mention of any holidays, merely the winter season.
Johnny Mathis' 1958 recording uses much of the original orchestral arrangement, complete with pizzicato strings, jingle bells, and woodblocks, lacking only the whinnying trumpet. This is probably the most familiar vocal version to most listeners, and I'd say it's the gold standard, as well.
Ella Fitzgerald's 1960 recording is quite jazzy, with syncopated rhythms, blaring brass, and plenty of brushes on the drums. Her version is laid-back and her vocals are warm and rich, generally true to the melody but playing around with tempo and rhythm. The trombone break in the middle is fantastic and jazzy, as is the hint of scat in the ensuing "giddyap". She also ends clearly, rather than the fadeout that other versions use.
The Ronettes' 1963 version is do-wop to the max, with a traditional opening, followed by whinnying horses, then breaking into do-wop accompaniment and harmonies. It ends with a whinnying horses and fading sleighbells, which adds a bit of whimsy. If your idea of Christmas music is "Rockin' Around the Christmas Tree" and Elvis' "I'll Have a Blue Christmas," this is the version to add to your playlist.
Amy Grant's 1983 recording is uptempo and homespun with just a hint of her southern roots. The spoken comments can be a little goofy ("Yoo-hoo!" "Come on, let's go!"), but there is a small-town charm to it, kind of like those terrible Hallmark Christmas movies. It's cheesy, but it feels right somehow.
She & Him's 2011 version (vocals by Zooey Deschanel & M. Ward) has a kind of 60s jazz feel, with plunky electric guitar with wawa pedal work, a very squared-off beat, and some particularly open vocal harmonies. It's a little less traditional than some versions, but it's fun if you're into that. It splits the difference between a fadeout and a crisp ending with a repeated refrain of "come on, it's lovely weather for a sleigh together with you" before a quick percussion tag.
Seth MacFarlane & Liz Gillies' 2023 jazzy recording sounds like a Rankin & Bass special, with a poppy orchestra in a slightly-different-than-the-original arrangement. Their voices blend in a very Steve and Edie way, and they provide themselves just a hint of background vocals as well as a few harmonized licks. Probably the most traditional version on this list, it's a great addition to any holiday playlist.
Let me know if I missed any of your favorite recordings of these numbers!
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Pre-cut parchment sheets ($4 from Target, box of 30 sheets). Parchment under cookies means minimal scrubbing of cookie sheets, minimal sticking, and you can even lift off a whole tray of cookies at once to get ready for the next batch. These pre-cut sheets are easier than the rolls, which are never quite proportioned right for my cookie sheets and require folding. These sheets fit both my large and small cookie sheets, and the only issue is that if your cookies are small and the dough is light, the center fold will sometimes push them aside or create a "wall" at one side so the cookies don't come out perfectly round. I just save those for the family. 
4-cup Pyrex measuring cup ($9 from Williams-Sonoma). So many of my cookie and other recipes call for 2-3/4 or 3 cups of flour, so instead of using a 2-cup plus a 1-cup, I use my big 4-cup and then I have room to whisk in my other dry ingredients. Plus, the top is big enough around that I can sift the flour with my big sieve, which goes much faster. It's also great for making pancake batter to pour directly onto the griddle!
Mini offset spatula/turner ($5 from Target). This spatula is just the right size for brownies, fudge, and bars made in an 8"x8" or 9"x9" pan and cut into squares. You can easily pop out even the first square. It's also handy for taking batches of smaller cookies off a cookie sheet. 
First slice pie spatula ($4 from Walmart). You know how that first slice of pie always comes out kind of messy? Tuck this pie spatula in your pie plate, cover it with crust and filling and bake, then use the exposed rim as a guide to cut on either side of the slice. Then lift the spatula and out comes that perfect first slice. Brilliant!
Pastry blender ($9 from Amazon). I mostly use this to cut in the shortening for pie crust, but it's also very handy if you're baking cookies with butter and it's not quite soft enough. Chop it up with this handy tool before you hit it with the electric mixer and it'll cream like, well, butter. 
Apple corer ($10 from Amazon). Apple pie and apple crisp are holiday staples in our house, as are a number of apple-based appetizers (chicken salad on apples; feta, apple, and hazelnut crostini; chickpea, broccoli, and apple salad), not to mention garnishes for cider-based cocktails, so this handy tool gets a seasonal workout. I love that this version opens, scissor-style, to neatly release the apple core, rather than having to wrestle it out of the shaft. It also has a large, ergonomic grip that's easy for my arthritic hands to manage, as well as a serrated blade that requires less pressure to cut through even thick-skinned fruit. 
Pastry scraper ($10 from Williams-Sonoma). Although I use it most often when I'm baking bread, it also comes in handy when you're dividing cookie dough into halves or thirds to chill it, or de-sticking rolled cookie dough like gingerbread or sugar cookies. It's also a great tool for marking and then slicing church window cookies, Yule logs, cinnamon rolls, or any other dough that needs to be rolled and then evenly divided. 
Silicone-lined pot holders ($19 from Target, pair). I have a hard time managing mitten-shaped oven mitts, but sometimes traditional pot holders are too small, too thin, or too slippery. These oversized, rectangular KitchenAid pot holders have a pocket so you can slip your hand inside if you choose, and the opposite surface is covered with silicone dots that insulate and grip. They hold up perfectly well under machine washing and drying, which is great, because I need to launder them nearly daily during the holidays. You will literally have to pry these from my cold, dead hands to get me to give them up. 
Double Pie Crust
