For Britain, 1965 began with The Beatles’ “I Feel Fine” at the top of the single’s chart. In December, the year bowed out with their double A-side “Day Tripper” / “We can Work it Out” in the same position. But 1965 was not just about The Beatles.
“I’ve been labelled as an angry young man / Because I don’t fit into the master plan / Under society’s microscope / I look funny but it’s no joke.
I’m a social end product so don’t blame me / I’m a social end product of society / It’s not my fault that I don’t belong / It’s the world around me that’s gone all wrong.”
The title Northern Soul's Classiest Rarities Volume 6 suggests this 24-track compilation might be a rag-bag; a collection of random musical floor-sweepings which couldn’t be collected under any other heading. Not a bit of it. Instead, every contribution is a gem. Anyone into soul – Northern, or any of its forms – will get a buzz from this collection.
French stylist Gaspard Royant has recorded at London’s garage-rock-central studio Toe Rag and been produced by Edwyn Collins. Both fit a worldview which encompasses collaborating with Eli Paperboy Reed, who crops up here on “Christmas Time Again”, a cover of Reuben Anderson’s wonderful, soulful 1966 ska single. Drawing a line between garage rock, Sixties urban R&B and soul with dashes of blues and nods to Lee Hazlewood, Royant is a Gallic cousin to Richard Hawley. Unsurprisingly, his first Christmas album is a knowing affair.
Scooping up tracks from Royant’s seasonal singles and marrying them to newly recorded cuts, Wishing You a Merry Christmas is cool, hip and opens with a swinging cover of “Christmas (Baby Please Come Home)” drawn from Phil Spector’s 1963 A Christmas Gift for You from Philles Records album. After this, the self-composed (“C'mon Baby) It's Christmas Time!” sets the tone for a ten-tracker which swims in less-obvious waters, even when a song is over familiar.
Royant’s take on John Lennon’s “Happy Christmas (War is Over)” sticks to the template vocally but otherwise injects a gentle dose of Sigur Rós' textural blur. Eels’ “Everything’s Gonna Be Cool This Christmas” is rendered straightforwardly, but Wham’s “Last Christmas” is given a Roy Orbison-esque makeover. The album ends with a fine, moody, Chris Isaak-indebted run through U2’s “New Year’s Day”.
Tastefulness is a rare commodity with Christmas albums, but Wishing You a Merry Christmas has it in spades. As a similarly classy but new contribution to an easily maligned genre, file it alongside Paul Revere & the Raiders’ bizarre A Christmas Present...and Past, Psychic TV’s Pagan Day, Etiquette Records’ Merry Christmas album, Les Disques Du Crépuscule’s Chantons Noël - Ghosts of Christmas Past and the Ze label’s A Christmas Record.
Overleaf: watch the video for “(C'mon Baby) It's Christmas Time!” from Gaspard Royant’s Wishing You a Merry Christmas
Disc of the Day reviews new albums, week in, week out, all year. Below are the albums to which our writers awarded five stars. Click on any one of them to find out why.
SIMPLY THE BEST: THEARTSDESK'S FIVE-STAR REVIEWS OF 2017
Alan Broadbent: Developing Story ★★★★★ The pianist's orchestral magnum opus is packed with extraordinary things
A strange and wonderful moment: the standing area at the rear of The Lantern, the smaller venue at Bristol’s Colston Hall, is suddenly transformed into a corner of Southern Albania.
This fourth studio album from pianist, vocalist, songwriter and producer Oli Rockberger highlights his remarkable knack of marrying instantly memorable chorus hooks with captivating harmonies steeped in jazz, soul, gospel and R&B.
In a sense, the air of tedium that surrounds Sam Smith is a wonderful thing. This is a person who can talk about having fluid gender identity and make it sound as if he's simply unsure whether he prefers boiled or mashed potatoes: that is, he's somehow able to dip into one of the spiciest political topics of the age without scaring your gran. It doesn't, though, make him a great pop star.
Singer Jessie Ware has long been considered a bastion of grown-up pop. A natural heir to the estate once tended by Sade; a scenic artist providing the background to relaxed conversations with good company; the eventual recipient of a recurring spot on Jools' Hootenanny in perpetuity.
Anyone who finds Eric Clapton and The Bee Gees’ Barry Gibb stepping up to offer their services as their producer is obviously special. It’s a view reinforced by knowing Rolling Stones’ manager Andrew Loog Oldham and Small Faces were already their champions. Only one person fits this unique bill.