Do You Hear What I Hear?

Standard

Christmas music is a joyous experience.

It’s pretty much the only time of year which comes with it’s own soundtrack. Oh sure, tracks like the Fresh Prince hit us and get us equipped for the summertime, but that’s a fairly long period (meteorological speaking – in Britain the actual summer lasts approximately three days, all while you’re at work).

But Christmas music, because you can’t listen to it all year round, does retain some of the magic of childhood. The excitement of putting the tree up, writing the list and general wonder that the season brings are all brought back with the songs of childhood Christmases past.

Although this idealised sense of wonder and nostalgia is starting to be crushed by the horrible underbelly of reality. Now That’s What I Call Christmas is starting to look very different in a post-Yewtree world. And that’s after the fact that this is the time of year where it’s widely accepted and encouraged to share the story of a member of the clergy breaking into children’s rooms to leave them gifts.

We’re no longer having Another Rock ‘n’ Roll Christmas as Gary Glitter remains otherwise engaged. Baby It’s Cold Outside feels a bit too sinister – “say what’s in this drink?”. All we need now is for Great Uncle Bulgaria to have fondled Orinoco to get himself a Wombling Merry Christmas, and our childhood is over.

I can’t remember the last time we had a decent Christmassy number 1. Now all we get at Christmas is a warbly rendition of an older song on the John Lewis ad, or this year’s X Factor winner, with their tearful claims that “It’s always been my dream and when my aunt’s neighbours chiropodists cat died I swore I’d make it happen. So this is for you, Tibbles”.

Except Rage Against the Machine. Rage Against the Machine fucking rock.

Advertisements