Every year modern artists will release their interpretations of classic Christmas songs, whether via singles or even an entire album. And maybe they’ll even sprinkle in a few originals if you’re lucky. But the problem is most of them don’t stand out in any way. You’ll listen to it once, say “that’s neat” and then go right back to listening to the same old songs you always listen to around the holidays. Occasionally though someone will actually release something worthy of earning a spot in your Christmas songs rotation and this year that’s Wade Bowen’s new Christmas album Twelve Twenty-Five. I had a great feeling about the Texas country artist’s first Christmas album when it was announced, and it went beyond even my own expectations.
Bowen opens with his rendition of “Christmas (Baby Please Come Home)” and he knocks his performance out of the park. It’s infectious, fun and gets the Christmas energy on this album kicked off perfectly. And I’m happy the production doesn’t go over the top like it usually does when other artists cover this song. “O Holy Night” is next and this is admittedly one of my favorite religious Christmas songs. That’s because I feel it truly captures the joy and meaning of Christmas through the Christian lens and Bowen’s performance truly does justice to it, which isn’t surprise considering he released a great gospel album.
“Santa Claus is Coming to Town” is next and I can tell that Bruce Springsteen’s version of the song influences Bowen’s own version. It’s got a more rocking feeling rather than the classical approach many take and even banters in the song like Springsteen. But Bowen pulls it off so much better than Bruce because he doesn’t over sing it (stay tuned for further elaboration on why I hate the Boss’s take on the song), and the guitars and pianos don’t blast the listener. Less can be more. “I’ll Be Home for Christmas” showcases why I enjoy Bowen in more stripped-down songs. His voice just fits these piano ballads and the song also properly captures the feeling I look for in the covering of this song: mostly somber, but with bits of optimism and hope.
Bowen’s son Brock joins him on “Holly Jolly Christmas” and I must admit I usually hate children singing. But I actually enjoy this performance because it’s endearing, and Bowen goes full dad in the bridge of the song. It’s hilarious while also avoiding being corny and feeling forced. It feels real and as the listener I can appreciate and enjoy this. When I think of “Please Come Home for Christmas” the first version I think of is The Eagles’ version, as I believe it to be the best. And while I don’t think Bowen’s version tops it, it’s still pretty damn good, as he captures the yearning and wanting needed in his vocal performance.
Bowen is joined by another one of his sons, Bruce, on the Irving Berlin classic “White Christmas.” This performance is much different than the other one, as both take this song more seriously and Bruce sounds pretty good. Their harmonies sound great too. You can tell the apple doesn’t fall too far from the tree, as he may one day follow his father’s footsteps. It’s a heartfelt and enjoyable performance from the father and son duo.
I have to say I was surprised to see Wade Bowen cover the Mariah Carey classic “What I Want for Christmas is You,” as the song’s high popularity and sterling reputation amongst critics and listeners alike makes it a challenging song for other artists to tackle. Not to mention it requires some serious pipes to pull off. But he does a fantastic job! It’s a different take that I think is worthy of being in anybody’s Christmas playlist. Again, if you’re like me and you get sick of Christmas songs going a little too far with production at times these more minimally produced Christmas songs are a fresh change of pace. If you don’t want to spend time with this whole album, this is one of a few songs that should absolutely be heard.
“Til The Season Comes Round Again” is great to hear covered, as this song is a classic that often gets overlooked. It’s a warm blanket next to the fire type song that Bowen along with the soulful feature of Sean McConnell cover really well. The addition of McConnell harmonizing with Bowen is really the cherry on top to make it a memorable performance. Dolly Parton’s “Once Upon a Christmas” is covered next and I will never complain about a Dolly song showing up. While this is one of the my less favorite takes on the album (it has the unenviable task of living up to Dolly and Kenny Rogers), it’s still solid and I like the Texas influences that are incorporated into the song.
The great Cody Canada joins Bowen for a rendition of Merle Haggard’s brilliant “If We Make It Through December.” I remember growing up I found this song to be kind of depressing and it is, but it’s also important that this unpleasant and for some people, really real look at the other side of Christmas be presented. It shows that Christmas doesn’t always go like it does in the movies and that reality and what you want don’t always align. In other words, why we love country music: it’s real.
Bowen goes to the other end of the spectrum with his cover of Wham!’s “Last Christmas.” And for some this might be sacrilegious to say, but I find Bowen’s cover to be better than the original by George Michael. The reason is 1) I hate the excessive synth on the original and 2) Bowen’s more stripped-down version allows the great lyrics to shine. Both these points play into each other, as the synths and overall cheesy feeling of the original really takes away from the quality of the lyrics that tell the complicated story of love lost around the holidays. This was easily an immediate standout on this album. Appropriate, the album closes with “Silent Night.” It’s just a natural closing song for a Christmas album and Bowen delivers a stirring and soulful rendition of this Christmas staple.
Twelve Twenty-Five is a modern Christmas album done right and I applaud Wade Bowen for accomplishing something that surprisingly so many modern artists screw up. Bowen takes classic songs and instead of trying to add some “twist” to make it stand out, instead just delivers them through his own voice with a country flavor while respecting the original takes on them. And don’t dismiss this as just a great country Christmas album. This is a great Christmas album against any genre.