Elvis Presley
Elvis' Christmas Album

THE REVIEW

Twelve Christmas songs made even more magical by the exceptional interpretation of the King of rock'n'roll, who, on his third LP release, undertakes the thematic project of the Christmas album.

In 1957, Elvis had already reached the peak of popularity. Thousands of frenzied teenagers flocked to his concerts, while the press, TV, and radio launched a massive denigrating campaign, scandalized by his songs and, above all, by his hip gyrations that earned him the nickname Elvis the pelvis and implied a sexual emancipation unimaginable until then in the bigoted and racist America of those years, which watched in amazement at that white boy who gyrated to the rhythm of R’n’R like black people in the grip of Gospel and Blues fever.

Perhaps it is also to placate the media and the adult public that, after releasing his first two albums, made up of compilations of his singles, Steve Sholes—the artistic director of RCA—decides that Elvis must record a "politically correct" album, we might say. And what better than a collection of Christmas songs to show America that the scandalous the pelvis is really just a slightly rebellious boy with good feelings?

In this regard, it would be better to delve into—but this is not the appropriate venue—the figure of Elvis, who, like a Janus, if on one hand was the immoral white interpreter (the first, although not the only) of the obscene music of the devil, on the other was the clean-cut thug, perfect for breaking into the white music market and becoming a "product" suitable for every palate, age, and social class, as indeed would happen.

In any case, Elvis enters the Radio Recorders Studios in Hollywood and, in just three days (September 5, 6, and 7, 1957), records the album.

On October 15, Elvis’ Christmas Album hits the shelves of record stores, and Irving Berlin, composer of "White Christmas," included in the record, tries in vain to block the radio broadcast of the song.

But this is one of those albums where everything works perfectly. There’s the King’s wonderful voice, great production, humor, joy, the warmth, and almost Dickensian spirit of Christmas. What could go wrong? Nothing. Indeed, the album enjoys tremendous success and will be the best-selling of the decade with seven million copies.

Elvis, over the span of thirty minutes of total duration, through his warm, sincere, and convincing voice, expresses his love for religious songs, which had inspired him since he was a child, like the gospels "I Believe," "Peace in the Valley," and "Take My Hand, Precious Lord," but also for rock and blues like "Santa Claus Is Back in Town" with its captivating bass line and the backing vocals of the Jordanaires, from Springfield, in full form, "Blue Christmas," and the boogie of "Santa Bring My Baby Back to Me." He then ventures into reverent versions of the evergreens "White Christmas," "I’ll Be Home for Christmas," and "Silent Night."

Elvis’ Christmas Album is one of the King’s brightest moments and, probably, the best Christmas album ever.