Get in the holiday mood with Carrie Underwood, Dolly Parton

Carrie Underwood

Carrie Underwood, “My Gift” (Capitol Nashville)

Carrie Underwood takes fans to church with her first holiday album, “The Gift,” a set of hymns and traditional Christmas classics that invoke the spiritual and religious themes of the season.

Underwood’s interpretations of songs like “Silent Night” and “O Holy Night” are simply produced with lush strings, allowing her to showcase her vibrato as she soars to the top of her range. You could imagine yourself in a pew, head bowed as you listened to her sing “Joyful, Joyful, We Adore Thee,” and all that would be missing is a children’s choir and the smell of incense.




But while Underwood could probably sing the Bible and sound great, the album’s more interesting tracks are original songs, including “Let There Be Peace,” a song she co-wrote where she’s backed by a choir on a rousing R&B gospel track.

On one of the album’s 11 tracks, Underwood is joined on “Little Drummer Boy” by her 5-year-old son Isaiah, whose singing about “pah-wump-pah-pah-pump” and “dwums” is adorably cute, but it borders on saccharine.

But the best song is her duet with John Legend on an original called “Hallelujah,” which Legend co-wrote. These two Grammy winners push each other to new and impressive heights as they raise their voices to the heavens. More of that, please.

— Kristin M. Hall

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Dolly Parton, “A Holly, Jolly Christmas” (Butterfly Records)

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Leave it to Dolly Parton to know just how to brighten up pandemic blues with a full dose of cheery holiday nostalgia.

Her first Christmas album in 30 years sounds like it could have been made decades ago — even if she recorded it masked, gloved and appropriately socially distanced this past summer.

Despite touches of pop culture — Jimmy Fallon and Miley Cyrus are among her duet partners — the feeling is more Sinatra and Nat King Cole.

The first track, “Holly Jolly Christmas,” sets the tone with a “ding, dong, ding” choral opening, honky-tonk undertones and Dolly’s folksy banter.

“All I Want for Christmas Is You” delivers a flirty duet with Fallon as the two playfully trade gushy confessions and Parton teases at the end: “Oh, you sexy boy.”

Several tunes are Parton originals, including “Christmas on the Square,” also the title of her new Netflix holiday musical. It’s a delightfully hokey offering, a vision of friends and families gathering for singing, dancing, snowball fights and other nostalgic fare. That may all be off the table this holiday season, but Parton at least gives us a welcome taste.

— Lindsey Tanner

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Meghan Trainor, “A Very Trainor Christmas” (Epic)

Put down that eggnog and go to Spotify right now: The winner of the best Christmas album of 2020 is clearly Meghan Trainor.

The 18-track “A Very Trainor Christmas” is a marvel, a multi-textured triumph led by Trainor’s warm, retro and soulful voice — perfect for a holiday album.

It boasts six excellent originals alongside smart covers of such songs as “Last Christmas” by Wham! and a ukulele-led “Winter Wonderland.” Trainor has somehow infused new energy and verve to old chestnuts. Her 1960s-meets-2020 “Sleigh Ride” is like hearing a new song, and her “Silent Night” is churchlike, respectfully glorious.

Trainor has her family join her for some songs — cousins and her dad — and Earth, Wind & Fire stop by to help on an old-school, propulsive funky “Holidays.” (Seth MacFarlane is the album’s only odd note, taking himself far too seriously in a version of “White Christmas.”)

Of the clutch of new songs, there’s the gloriously funky-EDM “I Believe in Santa,” the trop-pop “Naughty List,” the sad violin ballad “Christmas Got Me Blue” and the gleeful “Christmas Party.”

America, rejoice: We just got a great early Christmas present.

— Mark Kennedy

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Leslie Odom, Jr., “The Christmas Album” (S-Curve/BMG)

What is one thing you can count on when a Broadway star creates a holiday album? The vocals will not disappoint.

Tony and Grammy winner Leslie Odom, Jr. has delivered a vibrant melting pot of holiday classics and original songs with “The Christmas Album.”

Odom’s voice lends itself well to multi-genre music, making him an ideal candidate to bring forth some holiday cheer. From his jazzy rendition of “It’s Beginning to Look a Lot Like Christmas” to the pop-forward “Last Christmas,” his album is — simply put — easy listening.

Among the traditional yuletide tunes, Odom’s personally penned songs hold their own. “Snow” is a cold weather earworm, while “Winter Song” finds Odom’s smooth falsetto complimented by Cynthia Erivo’s sultry pipes.

While most of his holiday covers are close in sound to their predecessors, the “Hamilton” star brings a unique South African influence to “Little Drummer Boy” with the help of the Mzansi Youth Choir and strips down the New Year’s Eve classic “Auld Lang Syne” to create tenderness.

Not exclusively limited to Christmas songs, Odom delivers a brilliant, intimate performance of “Ma’oz Tzur,” accompanied by his wife, Nicolette Robinson, and a piano.

“The Christmas Album” celebrates diversity and comfort in a year when both are sorely needed.

— Ragan Clark

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Tori Kelly, “A Tori Kelly Christmas” (Capitol/Schoolboy)

Kenneth “Babyface” Edmonds is easily one of the greatest music producers and songwriters of all time. So him in the producer’s chair plus Grammy-winning vocalist Tori Kelly in the vocal booth equals STUNNING, SENSATIONAL, EXTRAORDINARY and PHENOMENAL.

Kelly is a top-notch performer throughout “A Tori Kelly Christmas,” which features traditional classics like “Silent Night,” “O Holy Night” and “Joy to the World,” where her vocals will instantly transport you to a church that people not only attend to praise and worship, but also to hear beautiful and exquisite music.

Even the original tracks are cute and pleasant, including “Gift That Keeps on Giving” and “25th,” where Kelly sings sweet lyrics like “no more silent nights/I’ll be by your side” and “got nothing on my list/don’t you know my only wish is to hold you on the 25th?”

She closes the album with an excellent and clean cover of Leonard Cohen’s “Hallelujah,” and it is so good we’re sure Cohen is smiling from above with his approval.

— Mesfin Fekadu

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