All posts by Matthew Callan

Christmas Carol Commentary Tracks: The Most Wonderful Time of the Year

Did you know you know that record labels used to release special commentary tracks to play along with 45s, much like the ones available on your modern DVDs? It’s true! This holiday season, Scratchbomb has transcribed some Yuletide examples of this bygone format and presents them to you now for your reading pleasure. Today, the commentary track for “The Most Wonderful Time of the Year.”

EDWARD POLA, LYRICIST: This was a really fun song to write. We were tapped to come up with a few songs for the first Andy Williams Christmas album, and they wanted something really rollicking, a song that captured the fun aspects of all the hustle and bustle of the season. Funny story: the label was not a huge fan of the song and tried to promote Andy’s version of “White Christmas” as the big single. But before long, “Wonderful Time” took on a life on its own, in a way that was really flattering.

GEORGE WYLE, COMPOSER: Ed read off his lyrics to me, and they sounded pretty great, exactly what we were looking for, until he says something about “scary ghost stories.” I said to him, “Ed, this is supposed to be a Christmas song.” And he says, “Yeah, that’s why I put in the line about the scary ghost stories.” I stared at him for a while and said, “You know what holiday Christmas is, right?”

POLA: My family comes from a somewhat obscure Eastern Orthodox sect that believes Christmas should be a combination of joyful gift-giving and terror. It used to be so hard for me to go to sleep on Christmas eve because I was so excited about Santa coming, and because my father would rap on my window and shriek demonically through this strange metal horn of his own design. Sounded like a goat being whipped. The next morning, we would all run to the tree and see who got what they wanted and who received the box full of mousetraps and snakes. Mother would make us hot cocoa and lovingly read to us from H.P. Lovecraft’s Cthuhlu tales. And of course, there was the traditional Yuletide bloodening.

WYLE: I told Ed we couldn’t put that line in the song; it would just confuse and disturb people. Everything else is great, just take the line about your childhood of horror.

POLA: I can be pretty stubborn when I want to be, especially when it comes to lyrics. I know what fits the meter perfectly when I see it, and I saw it with “scary ghost stories.” It’s not like I went into graphic detail about our yearly Barn Dance Macabre, or talked about the purification rituals.

WYLE: Ed wouldn’t budge. It got so bad I went to the record label and asked them to do something about it, but it turned out Ed had gone behind my back and talked to Andy Williams first. Andy was behind the idea 100 percent.

ANDY WILLIAMS, SINGER: Ed’s lyrics really took me back to my own childlike wonder and terror. My old man used to wake us up on Christmas morning with pitchforks!

Being and Nothingness by the Long Island Expressway

When I walk my daughter to school in the morning, we take a shortcut up a service road by the L.I.E. It is noisy, and each exhaust-choked breath I take makes me a little nervous for my future health, but it’s the quickest route we can take, and I’ll be damned if I let carcinogens slow my commute.

One morning, I noticed a fence surrounding a parking lot along the way that had a sign hanging from it. The sign featured a stick man getting squished by a closing gate, basically warning you DON’T BE THIS GUY.

It amused me, because I am ill. And because I like to spread my illness among the world, I pointed it out to my daughter, who proceeded to laugh. “He’s getting crunched!” she howled, thus proving Mel Brooks’ great line about what constitutes comedy: “Tragedy is when I prick my finger; comedy is when you fall into an open manhole and die.”

My daughter is just learning to read and is very enthusiastic about deciphering the world of words and letters. She wanted to know what the words on this sign said, so I read them to her.

Of all the words on this sign that were unfamiliar to her, she wanted to know what “death” meant. This is at 7:30 in the morning, by the way.

When you die, you’re dead, I said. That’s death.

She nodded. She has a vague idea of what this means, as much as any five year old does, I suppose. I’ve had to inform her that many of the people I talk about–my grandparents, my father, the aunt we named her after–are dead. She’s been to more than a couple of funerals in her young life, a lot more than I had attended at that age, although in her world I think a funeral is just another occasion where she gets to see her family, except we’re all wearing suits.

She likes to tell me stories that I’ve told her about myself, as if she’s informing me of what happened in my own life. So every now and then she’ll tell me that some family member of mine is dead, and say it in this weird tone that’s half consoling and half instructive.

She has also told me someone I love is dead the way you’d say it if you were playing army or spaceman with your friends, almost taunting. “Pew! Pew! C’mon, you’re dead, I shot you like 20 times!” On these occasions, I’ve had to tell her, “It’s not funny when someone’s dead and you shouldn’t joke around about it.” She’s seemed to understand this as much as any kindergartener could.

“So that gate could make you dead?” she asked.

Yes, I responded. If you didn’t pay attention, it could crush you and hurt you really bad. She made a crunching sound, we laughed, and moved on.

Every day after that, I would make sure to point out the gate sign so we could laugh about it on our commute. Sometimes she’d say “crunch!” or mimic the stick figure saying “agh!” Before long, she began to say “death!,” in this mocking, sinister tone. It always cracked me up, hearing her little voice say such a, well, deadly word with such carefree abandon.

Earlier this week, we passed by the sign, I pointed it out, and she said “death!” I laughed, and then she got very serious all of a sudden.

“Why did you laugh?” she asked.

Because what you said was funny, I said.

She scolded me. “Death isn’t funny, Daddy.” She’d taken my scoldings to heart, all of a sudden.

You’re right, I said. Death isn’t funny. It’s the unfunniest thing there is, pretty much.

“So why did you laugh?” she asked.

The way you said “death” was funny, I said. Sometimes if you say things that are unfunny and scary in just the right way, you can laugh about them and not be so scared anymore.

“Oh,” she said, and added a crunch. We laughed and moved on.

Christmas Carol Commentary Tracks: I Saw Mommy Kissing Santa Claus

You might think that the phenomenon of the commentary track began with the invention of the DVD. In truth, the commentary track dates back to the invention of the laserdisc. Shows what you know. Jerk.

But even before that failed home video format, did you know there were special commentary tracks recorded for 45s? It’s true! Several record labels experimented with releasing Commentary Sides, which were meant to run at the same time as the song itself. They contained remarks about the song you were listening to by some of the musicians and composers involved with its creation.

Of course, in order to fully enjoy this feature with the technology of the time, you needed at least two record players and a friend to help you sync up the two. The time and energy involved explains why it never caught on with the general public, and it became one of the more notable “gimmick” failures in the history of the recording industry, almost as bad as Capitol Records’ disastrous “Scratch n’ Sniff Singles.”

However, such discs were produced for decades for a niche collectors’ market, and it just so happens, an eccentric uncle of mine just gifted me his collection of Commentary Sides, just in time for the holiday season. (He needs more space for his Hummels.) So I thought I would present transcriptions of commentaries from some Yuletide favorites. First up, the classic Christmas song “I Saw Mommy Kissing Santa Claus,” released in 1952.

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