Let’s get back to some positivity around here. There have been many appreciative reviews of Christmas in the Heart, and here’s a smattering of those.
From U.S. Catholic and John Christman (yes, that’s his name, folks): Bob Dylan puts the mystery back in Christmas.
For some it’s a perplexing mess: traditional instruments, back-up singers who seem to have recently stepped out of a studio session with Patsy Cline, mention of former presidents “Nixon, Bush and Clinton” with reindeers Donner and Blitzen, and finally, Bob Dylan sings in Latin. But some may find delight where others find confusion. But when Dylan sings “Winter Wonderland” it is certainly a musical landscape filled with bizarre and strange wonders.
But with this album, Dylan has given us a little of the mystery that lies at the heart of Christmas. Childhood memories of Christmas, for many, do recall a sense of wonder. Dylan’s unexpected handling of Christmas music can remind us of the unexpected that resides at the heart of Christmas: the Incarnation. That mystery continues to perplex and delight.
This is not to say that I think Dylan intended this mystery as the central focus of his Christmas album. But, the gift of mystery or a true surprise at Christmas can be wonderful for those whose lives are burdened by hardships and the relentless mundane routine of Christmas festivities. Something new that strikes of mystery is welcome. I, for my part, had to wipe the tears from my eyes as I laughed whole heartedly at Dylan’s curious renditions.
From Detroit’s Metro Times, Bill Holdship gives us: Croakin’ around the Christmas tree.
One probably imagines blindly that a vocalist like Dylan should never croon “Do You Hear What I Hear?” or “Have Yourself a Merry Little Christmas” — but neither rendition is at all bad, and they’re even actually kinda touching. There are parts of “Little Drummer Boy,” where he harmonizes with the choir, that are actually quite beautiful. And when he verbally croaks (literally) on other parts of the album, a true fan might simply think, “Well, that’s Bob!” and be kinda touched by that as well. He’s never been a traditional “singer,” but he’s almost always been able to “sell” a song.
[…]What almost no one mentions about this album, though, is its great production, once again by Dylan under his “Jack Frost” pseudonym. Musically, it sounds just like those albums baby boomers of a certain age certainly, but I’d imagine most Americans in general, grew up hearing every year around this time, right down to the female backing singers. You could almost substitute Bob’s voice with Andy Williams’; that’s how authentic it sounds. Bottom line: You may very well hate this album, especially if you’re not a fan of Christmas music or Bob Dylan. But if you are a fan, you may think that — even though it’s one of the most inconsequential albums of Dylan’s career — it’s still pretty damn good … and a total hoot on top of it all.
From Douglas Newman in Houston’s Culture Map, we have: Isn’t it ironic? Dylan surprises again with holiday CD.
Surreal? That’s an understatement. A colossal miscalculation on par with the “Self Portrait” debacle of 1970? Not even close. While it certainly confirms his Colbert-sized testicles and a penchant for sly humor, more than anything else it solidifies his standing as a master stylist whose interpretive skills nearly match his songwriting acumen.
Once I got over the initial shock of hearing Dylan in such a warm and fuzzy setting, I soon realized that his haggard croak and simple arrangements added new life to these old chestnuts. “Silver Bells” is rendered as a stately waltz with an underpinning of pedal steel and Dylan’s overly-deliberate delivery. “Little Drummer Boy” marches along at a mellow pace, nudged forward by a haunting guitar reverb and steady drum roll, all of which is layered beneath Dylan’s vocal and the harmonies of a female back up singer. You can almost envision this song sitting alongside some of the darker tracks on “Oh Mercy” or “Time Out of Mind.”
I like how both of the reviewers above give props to Dylan’s production and to the musicians and vocalists on the album. Too many articles I’ve seen (written by people who’ve never made records themselves) have been dismissive of these elements, as if making the album sound like it does was effortless for all involved. No: it only sounds effortless.
From Cross Rhythms, Darren Hirst says a lot including this:
The first track, “Here Comes Santa Claus”, tells us a lot about where this album is going. The backing vocalists and Dylan’s lead vocal are hopelessly at odds. The backing vocalists sound like they’ve stepped out of another era. Imagine a pre-second world war vocal group who have not aged and who have not been effected by any musical ideas that have washed up on the world’s shores since that time. That is what you have here. Dylan, by contrast, sounds every bit of his 68 years and every bit an old blues singer who has been on the road for ever. There is a line on Dylan’s previous album about him having the blood of the land in his voice. You can hear here what he means by that sentiment. He sounds as old as the earth.
Also the childishness of the song, a real appreciation of the sentimentality of the holidays and the true meaning of Christmas come face-to-face in another clash of ideas: “Peace on earth will come to all/If we just follow the light/Let’s give thanks to the Lord above/.Because Santa Claus comes tonight.” On one hand, it might seem ridiculous but on the other it might actually work. I think it might depend on how much you like Christmas songs and how much you can tolerate Dylan’s voice.
That sense of three things coming together is all over this album – right down to its design.
We could go on forever here. And certainly, for every positive and appreciative review you can find a completely flummoxed and negative one, but that’s to be expected. I think all in all Dylan ought to be pretty happy with the press.
Currently in the U.S. charts Billboard has it at number 1 … in the category of “Folk Albums;” number 21 in “Holiday Albums” (where it originally entered at number 1); number 24 under “Rock Albums,” and number 95 overall on the main album chart.
With some gift copies that I have yet to buy (and I know I’m not alone), I would expect its sales are going to pick up further towards December 25th …
