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The result was just about the only Christmas album worth listening to in its own right since Spector's A Christmas Gift

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The result was just about the only Christmas album worth listening to in its own right since Spector's A Christmas Gift For You, though for entirely different reasons. Several of the acts featured on this indie festive anthology - compiled by radio station XFM as a benefit album for The Big Issue - have taken Low's attitude to heart, though few manage to incite quite the uplift occasioned by the lovely mittened-up sleigh-ride of Low's own "Just Like Christmas" towards the album's end.It's a splendid collection none the less, featuring new (and mostly original) seasonal offerings from the likes of Belle & Sebastian, Grandaddy, Eels, Teenage Fanclub, Calexico, Flaming Lips and Gorky's Zygotic Mynci, with several artists equalling their best work. I'm thinking in particular here of Saint Etienne, whose version of Billy Fury's soul ballad "My Christmas Prayer", with its subtle organ shadings and heavily-reverbed ambience, is a thing of rare beauty.The straightest piece is surely Belle & Sebastian's arrangement of "O Come, O Come Emmanuel", a plaintive hymnal perfectly suited to their diffident style. The weirdest would be a toss-up between Giant Sand's "Thank You Dreaded Black Ice, Thank You" - an account of seasonal traffic problems, set to tack piano and swells of cymbals - and Grandaddy's "Alan Parsons In A Winter Wonderland", a light-hearted tribute to the prog-rock maestro picked out in layered keyboard arpeggios, with vocalist Jason Lytle celebrating the synthetic delights of "Digital snow/On the frozen pianos" and the like. Flaming Lips's "White Christmas" likewise takes liberties with a beloved standard, with a berserk theremin break and a raddled vocal that sounds like Jabba The Hutt dissolving.It's the more sincere offerings that bring the greatest successes, though, from "Everything's Gonna Be Cool This Christmas" - a typical Eels triumph of hope over adversity - to the intimate thrum of Snow Patrol's "When I Get Home For Christmas" and the maudlin grace of Departure Lounge's "Christmas Downer", a Travis-like assertion of melodic melancholy in the face of festive spirit.Calexico, however, come closest to crystallising the spiritual essence of the season with their "Gift X-change", in which a shimmering veil of cello, guitar and vibes parts to reveal the lines "What would it take to hear you say/The gift you give is love/The gift you give is enough".EL VEZ | Noelvezsi (Poptones) Of all the curiosities accumulated by Alan McGee for his new Poptones imprint, the Mexican Elvis impersonator El Vez is perhaps the oddest, though hardly the most original. Indeed, this collection of bowdlerised Christmas songs borrowing liberally from ill-fitting R&B and punk tunes comes in a poor third, chronologically and artistically, to Dread Zeppelin's amusing Elvis/Zep/reggae crossover and Jimmy Brown's Gravelands album of Presley-ised punk, goth and grunge covers.Noelvezsi seems a little piecemeal, especially when "Feliz Navidad" opens with PiL's "Public Image" riff only to abandon it almost immediately, as if (rightly) embarrassed.

El's strategies are all undertaken with a distinct lack of the conviction necessary to make them work, whether he's borrowing the Stones' "Dead Flowers" melody for the country-slanted "Oranges For Christmas", essaying a bland Chet Baker impression on the cocktail-jazz "Christmas Time Is Here", or using Santo & Johnny's classic slide-guitar instrumental "Sleepwalk" as the basis of his "Christmas Wish"."Sleigh Ride" is, more successfully, realised as a surf-punk guitar instrumental, and "Santa Claus Is Sometimes Brown" presented as a 12-bar blues - though even here, El Vez grasps at straws, with pitiful innuendo promising "Santa's coming up your chimney tonight". Tosh, I'm afraid.VARIOUS ARTISTS | A Thistle & Shamrock Christmas Ceilidh (Green Linnet) For those of a more fiddley-diddley persuasion, this compilation of Celtic folk offers a more reliable soundtrack to the festive season, though few of its constituents appear to have any specific Christmas connotation. Chosen by the Scots hostess of America's Thistle & Shamrock radio show, it's stuffed with droning pipes and dashing fiddles, driven along by the feverish bush telegraph of puttering bodhrans. For all their inherent virtuosity, there's an engaging modesty to instrumentals like Altan's "The Snowy Path" and The House Band's "Happy One-Step/Green Willis", the latter hinting at the close proximity of Celtic and Cajun modes.

Elsewhere, the fondness for multi-sectioned arrangements and sophisticated recording techniques suggests more serious intentions, particularly in the Breton and Galician stylings of the bands Touchstone and Milladoiro, whose convoluted pieces verge on prog-folk. Though impressive, they're fancy rather than fun, a rustic form that's shaken the mud off its boots and taken up residence in the study. And as the likes of Liz Carroll, John Renbourn and Patrick Street show, this music is a draught best taken neat - accordion virtuoso Phil Cunningham's technique on "Ceilidh Funk" is dazzling, with beautifully feathered trills, but the horrid keyboard-funk backing is disastrously inappropriate.. You can't say that the American pianist Bill Evans, who died in 1980 aged 51, has exactly been overlooked when it comes to posthumous editions of his recordings. In 1997 Verve issued an 18-disc retrospective contained in a nifty metal box designed to rust in an aesthetically pleasing way. By now impressively red, a thin film of oxidisation imprints itself on your fingers whenever you pick it up.

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