Who's ready to dance with a sword? Dance with a sword in the sand?
Anyway, in case you were born a child of neglect and spent your formative years handcuffed at the ankle to a soiled mattress and rusty bed frame in your foster parents' basement, Jimmy Buffett is one of those polarizing artists that folks tend to either adore or despise. While I can see the criticism he often receives, namely that his music is gimmicky ('cause everything he made after he transitioned from his country roots in the '70s and leaned hard into his island phase is definitely gimmicky), I personally love it. Jimmy made a fortune mashing together his country roots with tropical escapism and calypso, creating a brand new genre that is tailor-made for boats, beaches, palm trees, and - arguably most of all - drinking.
I'm not going to waste time reviewing Jimmy Buffet the artist, because most of us (except for those of us who spent most of our time trapped in a foster home basement, obviously) already know this guy's work inside and out. Instead, I want to focus on how this Holiday album differs from his other Holiday album that we reviewed on this blog eight years ago. 'Tis the Season was a much more polished affair that saw a decades-older Jimmy Buffet (2016), far past the point where he performed for the sheer joy of it, and certainly no longer needing the money, more or less phoning it in. It was a clean, overly-produced set of songs performed (I assume) by hired studio musicians without any heart going into it whatsoever, and I was incredibly let down upon giving it a spin for the first time.
On this earlier (1996) recording, Christmas Island, we have a Jimmy still in his 50s, still having fun with his Coral Reefer Band, and laying down some original tracks as well as his take of Holiday standards with the same sort of energy you would find on his famous 'greatest hits' album, Songs You Know By Heart. Before going forward, I should go ahead and state the obvious here: if you're one of those people who can't stand Jimmy Buffett's music, because you don't like how he's always singing about boat drinks and drifting away and the sea and all that stuff, you're probably not going to like this. And you should probably just go ahead and skip the rest of this review.
Jimmy's original songs on this album are all great songs, and that's saying something because if we've learned anything here in this ol' blog of mine over the last ten years, it's that including one's original Christmas songs on a Holiday album is rarely a good thing. I've heard more comically bad Christmas originals that most, and rarely have I been impressed by them. Considering there's nearly a hundred of free, public domain Holiday music out there to choose from - dating back hundreds of years to Christian carols penned to traditional medieval tunes - it's not a risk a lot of artists choose to take (and rightfully so.) Still, just as many artists fall victim to hubris and believe that they alone are capable of adding their holiday originals to the Christmas Canon.
The stand-out track on this album, in my opinion, is Jimmy's own, "Ho Ho Ho and a Bottle of Rhum," (a sly play on words from the traditional pirate "Yo Ho Ho") an original that sounds like it could have been included on Songs You Know By Heart. It features his natural story-telling lyricism, the arrangement is flawless, and you can hear just how much f***ing fun him and his band are having recording it. This is what makes Jimmy Buffet an amazing artist for me: every upbeat song of his is a party, and everyone's invited. And in this song's case, Santa is first on the guest list.
Originals aside, Jimmy and the Coral Reefers do a sound job on the seven or eight traditional numbers on this album. In order to pull off a successful recording or performance of a cover, you can either a.) perform it so well that it doesn't distract from the original, or b.) put a little spin on it and make the song your own. They go back and forth with this, with some songs - like Chuck Berry's "Run Run Rudolph" or Bing Crosby's "Mele Kalikimaka" - are straight-forward covers that are performed close to the originals. You can tell who's performing them, sure, but Jimmy opts to avoid using a lot of his island muscle in the instrumentation. They had the marimba and steel drums wheeled into storage for these recordings.
This is a safe play, sure, but I definitely still prefer the originals in both cases (it's hard to top Chuck Berry, folks.) Other covers get more of the Key West bar band approach, as if you were stumbling into Sloppy Joe's (my favorite Key West Bar - highly recommend going if you ever get the chance, Hemmingway drank there), and saw an island-themed cover band performing Christmas songs on the rum-soaked stage. The steel drums and marimba are wheeled back out, there's a few ukuleles on hand, plenty of harmonica (obviously), and a slew of background vocalists and percussionists fighting for a spot to stand on the crowded stage. "Jingle Bells" and "Up on the Housetop" are both rollicking numbers that play to Jimmy's strengths, namely that he's a fun artist that makes fun music.
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