When I want to get way down in my Wassail bowl during the Christmas season, I put on John Berry‘s 1995 album O Holy Night. This spectacular gift of a holiday recording celebrates the singer in equal measure with the season.
Prior to its release in September of 1995, Berry had recorded six self-produced albums, the first dating back as far as 1979. He landed a major label deal in Nashville with Liberty/ Capitol Records in 1993 based upon his regional stardom playing college clubs and coffeehouse in Athens, Georgia.
Berry’s debut eponymous album went platinum that same year and produced his first number one single “Your Love Amazes Me.” His sophomore album Standing on the Edge of Goodbye, went gold. Berry’s success was largely based on his intensity and insanely dexterous tenor. The Nashville Scene said, “ If there is a more commanding vocalist in country music than Berry, we have yet to hear from him.” Country Song Round Up said, “ It would be next to impossible to find a more talented vocalist in country music today.” Music City News said, “ Rugged, soulful, and passionate – a voice like his leaves an indelible mark.” Robert K. Oermann said, “ When he sings, he has the ability to make time stand still.”
As for singing Christmas music, he had been doing that at his local Athens church since the late ’80s, performing with his wife Robin and her sister-in-law. They continued doing well-received Christmas shows for a number of years before he broke in Nashville. When he recorded a full Christmas album for his third collection of songs on Capitol, Billboard described it as “So lovely and exquisite it almost hurts.”
The album was a simple assembly of hymns and holiday standards. There was not an original song in the bunch. I recall being absolutely floored by the elegance he brought to each performance of these potentially overly familiar and stale songs. He backed off his recent pop-country success and inclinations to quietly and faithfully serve these intentionally chosen songs.
As with Ricky Van Shelton’s Ricky Van Shelton Sings Christmas, O Holy Night amplified and accentuated Berry’s special talents as a vocalist better, and more fully, than his first two albums. It turned out, all the praise was not industry hyperbole and mere salesmanship, Berry said, “I love to sing. I am real intense about that. Some people ride horses or play baseball. But I just love to sing. I sing all the time. I walk around singing. And I am thrilled to death that I get to do it, that I get to share this gift with people. It certainly isn’t anything that I came up with, I didn’t design this voice. I am just thankful that I am able to use it and that it touches people.”
Given his talents, Berry could have run roughshod over these songs with that voice. He could have turned up the volume, gone big. And been bombastic. Instead, he opted for humble restraint.
“O Holy Night” is an exquisite performance, full of adoration and awe. Country Universe writers have commented on this noteworthy performance in the past. “O Come Emmanuel” is equally as reverent. Leann Ward has previously championed this performance at Country Universe as well. Berry even somehow makes “The Christmas Song” and “The Little Drummer Boy” sound new again.
Personally, I love his interpretation of “Joy to the World.” It is the perfect exultant opening to the album and functions as an overture for the ten song collection. The celebratory sense of joy and wonder sets “O Holy Night” apart as rare example of sincere yearning and rejoicing in a country music Christmas recording.
Two different kinds of retrospectives this week from two of the greatest male vocalists in country music history: John Berry and Raul Malo. It’s almost comical trying to compare any male vocalist played on country radio today to either of these guys who could sing better than them while underwater.
I was also blown away by this album and John Berry’s general take on Christmas music. I didn’t realize he was touring the country doing Christmas music tours until he showed up a few years ago at the theater in my hometown of Albert Lea, MN. Unfortunately, it was on a weeknight and I couldn’t make it, but I’m really glad for Berry that he found his niche and continues to make a name for himself in the aftermath of his commercial heyday. I heard his recording of “O Come All Ye Faithful” on my car radio on Black Friday just last month!
Yes, this is a very good Christmas album. I especially love his versions of “O Holy Night” and “Oh Come Oh Come Emanuel.” I didn’t even like the latter song until I heard his vesion and then I’ve subsequently counted it among my favorite Christmas songs in general since then.
One of the nineties’ truly unsung heroes; he enjoyed a modicum of success, but he also should’ve been collecting every male vocalist of the year trophy along the way.
I always loved John Berry’s voice/music. I have a lot of good memories listening to this Christmas album as a kid, as it was played a lot in my house. It still remains a part of my Christmas playlist, as does another Christmas album he did back in 2016, “John Berry Christmas”.
That’s one of the neat things about this time of year: you hear music from lesser known artists in decades prior, and it gives you a chance to rediscover them in a way. I heard SheDaisy’s version of “Deck the Halls” recently, and remembered…”you know, I forgot… they did a really good Christmas album”.
…i know it’s getting hectic now and christmas albums are very much an “each to their own” thing. still, which of this season’s new (or re-)releases did you perhaps happen to listen to and enjoyed the most?
to kick things off: the swiss were curious enough and came up with some brief comments afterwards on some of them. among the chosen ones two popular artists on this site.
Christmas Time – Trisha Yearwood
If beautiful voices are what get you into the spirit, Trisha Yearwood is exactly where you want to be. Twelve songs, two‑thirds of which — thank heavens — don’t belong to the “indispensable” seasonal standards, are arranged in ways that let even Blue Christmas feel surprising again. Muted and brass‑y, as if played by a Salvation Army band with an unbelievable singer standing out front beside the donation kettle.
Then comes Cool Yule in classic New York big‑band style — a cool holiday greeting from a time when these days weren’t yet called the Christmas season. In stark contrast, Rodgers & Hammerstein’s cheerful My Favorite Things turns dramatic here, worlds away from Julie Andrews’ version in The Sound of Music. Who counts as a black banana with a slippery black peel in a seasonal context? She tells you — but we won’t.
You should only listen to Years when a few drops of salty liquid won’t ruin the cookie dough. Note to self: must call mama. This is the album for Advent Sunday afternoons.
Greatest Hits Christmas – LeAnn Rimes
If Trisha Yearwood is the lady from the nicer side of the neighborhood, then LeAnn Rimes is the neighbor across the street — the one with the slightly worn handbag, the skirt a touch too short, the tight tops, and a voice that could make any pastor on earth fall to his knees begging her to join his Christmas choir… while perhaps battling a few unseemly thoughts in the process.
She doesn’t waste time. She sticks to the classics, unapologetically, but spices and brightens them just enough that you catch yourself doing little dance steps in the kitchen or pulling gift ribbon with such gusto that the curls practically spring off the packages.
This 16‑track Christmas album is made for those special women who, even in sub‑zero temperatures, find themselves gazing at slingback heels in festive shop windows — and thanking God for the upcoming SALE and for Klarna.
“Put a little holiday in your heart, put a little shuffle in your step …”
…and a slightly less favorite one (here) too:
“Snow Globe Town” – Brad Paisley
At least there’s one guy out there who, come Christmas time, doesn’t forget about us men with perfectly tidy garages and a soft spot for Telecaster riffs. The kind of guys who consider stadiums and big box hardware stores with massive parking lots the greatest architecture imaginable.
He could’ve skipped the roasting chestnut classic — just do it, don’t sing it. With That Crazy Elf (On The Shelf) he makes up for that little moment of weakness. Then comes the next pothole: My Favorite Things picked in Muddy Waters style — can be done, for sure, but why not go full Hendrix while you’re at it? And more importantly: why not throw in a few actual favorites like cordless power tools, Liam Neeson movies, flannel pajamas, or perhaps even garter belts? Last Year (with Kelleigh Bannen) might — at first glance — trigger severe cable car in the alps flashbacks for the Last Christmas generation. Initial relief is followed by some disappointment: turns out it’s just another “Home Alone”-type number.
Anyone mainly into contemporary Christmas music may be better off sticking with the Pistol Annies. Or just hit repeat on Lit and Leave The Christmas Lights On For Me and keep the refills coming.
(translations courtesy of ms-copilot)
I’ve been OBSESSED with Trisha’s Christmas album for weeks now, playing it non-stop. I seriously cannot get enough. David Campbell’s arrangements are perfect—they compliment every song flawlessly without overpowering anything. Not too bombastic, never sleepy. You nailed it, Tom, when you said “Twelve songs, two‑thirds of which — thank heavens — don’t belong to the “indispensable” seasonal standards, are arranged in ways that let even Blue Christmas feel surprising again.”
I’ll fully admit when Trisha said she was about to go in and make a Christmas record (I think she only recorded this in August of this year) while doing interviews for The Mirror, I groaned. I’m beyond exhausted by what Christmas music has become, that I flat out didn’t want it. But this has turned into the album I didn’t know I needed. Trisha has made a “for adults, by adults” record, which will always be my favorite kind of album to listen to.
It’s also led me to completely recontextualize Trisha as an artist. After “My Favorite Things,” “You’re A Mean One” and “Pure Imagination,” I now want a full big-band Broadway/Soundtrack album from her. After the deluxe edition of The Mirror drops Jan. 23, I’m so excited for the four new songs, I cannot wait to see where she goes from here.
If you had told 8-year-old me, who couldn’t get enough of “Believe Me Baby (I Lied)” every time it came on the radio, I would be more enamored with Trisha at 37 than ever before, I wouldn’t have believed you, but here we are. I couldn’t be happier about it.
John,
Did you like her Lets Be Frank album, which is an entire big band album? I love it. I love the Christmas album too. I was just listening to it, in fact.
Yes! I love it, too.
I was lucky to see Trisha live when she toured this record a couple weeks back here in Atlanta. Gorgeous concert, backed by the Atlanta Symphony Orchestra, and she sounded flawless. And she brought out a few non-holiday hits for good measure (a scorching Wrong Side of Memphis was the highlight, though I was thrilled to see her excavate That’s What I Like About You, which I’d never seen her perform live in the previous six times I’ve seen her).
Leann’s new compilation is also excellent and is another one I’ve been listening to alot this season. For a non-country recommendation, Gwen Stefani has reissued her Christmas record with a couple of new tracks; she goes non-traditonal on alot of the traditional holiday tunes as far as production and arrangements go–her version of White Christmas may be my favorite ever–and she sprinkles in a generous sampling of horns and Andrews Sisters-style bgvs to make the whole thing nigh irresistible.
I have to admit that I like the Gwen Staffani Christmas album too. She does a good job with Christmas. I actually like her original songs the best. She does a much better job with “Cheer for the Elves”, which she wrote, than Blake did. I think it’s a fun original christmas song.
Oh, I love the originals on that album, particularly Cheer for the Elves, Secret Santa, Under the Christmas Lights and My Gift Is You. The Blake duet on the title track is actually my least favorite of the new ones.
Merry Christmas Eve Day!
I am hoping a hard copy of Trisha Yearwood’s new Christmas album is under the tree for me! I am so excited to hear it. The enthusiasm for Gwen Stefani’s Christmas album has certainly piqued my interest.
One recent holiday album I highly recommend is Fred Eaglesmith and Tif Gin’s “A Christmas Card” from 2023. The entire album is original songs. The album sounds like a Christmas Eve spent in a pub listening to a live performance. It is cozy, intimate, fun, and unexpectedly percussive.
Another album I have been enjoying a lot is Brett Eldridge’s 2024 “Merry Christmas(Welcome to the Family). He is at his best performing Christmas songs.
As for a Christmas single, I just discovered Kathleen Edwards’ “Merry Christmas (Let’s Just Survive). I have been “meow, meow, meowing” all season since I first heard it.
Eldredge’s first Christmas record Glow has been one of my go-to’s for several years now; the low key Sinatra vibe actually suits him well.
@ Chris S: I completely agree. Eldredge achieves a certain coolness while also tapping into what sounds like genuine enjoyment singing Christmas songs, something I find eludes Michael Buble and Matt Dusk, as enjoyable as their holiday albums are.
Kathy Mattea’s “Good News” is playing right now…
I like Buble, but there’s something affected about his vocal delivery sometimes; it occasionally comes off as artificial and disingenuous.