John Denver’s “Christmas in Concert” features joyous renditions of many Christmas classics and a touching “O Holy Night.”
I have a pretty broad collection of Christmas music that expands every year. One of the albums I’ve been listening to this year is John Denver’s Christmas in Concert (2001). And one of the highlights of the album is Denver’s rendition of “O Holy Night.”
The live album was recorded in Washington, D.C. in December 1996, so the Christmas spirit throughout is real, unlike Christmas albums recorded in July. Denver sticks to a holiday theme throughout the performance, with the exception of giving the audience a handful of Denver classics at the end. For listening purposes, it is refreshing that the non-holiday songs are at the end rather than mixed with the holiday songs.
The album’s holiday songs range from several classics like a fun version of “Jingle Bells” to the odd “Please Daddy (Don’t Get Drunk This Christmas).” The latter’s awkward happy chorus, accompanied by a children’s choir, would unlikely make the cut today. And even in 1996, Denver introduces the song that had appeared on his 1975 album Rocky Mountain Christmas in a way that recognizes he was reassessing the song he recorded as a younger man (Denver did not write the song). Finally, unlike on many Christmas performances, Denver also embraces more religious-based classics like “Away in a Manger.”
OnChristmas in Concert, Denver is backed on various songs by the World Children’s Choir and the National Symphony Orchestra. But it is often Denver’s voice that is the star, an that is most true on his performance of “O Holy Night.” When we think of Denver, I often overlook what a wonderful tenor voice came out of the man. And when he gets to the high notes of “O Holy Night,” it can make believers out of the most cynical.
Below is a 1996 performance of Denver playing “O Holy Night.” While it is not the same one from the album, this tribute clip appears to be from a Today Show appearance he mentions on the album.
“O Holy Night” comes from an 1843 poem by Placide Cappeau, set to music in 1847 by Adolphe Adam (with the English version is by John Sullivan Dwight). It remains one of the most religious of the Christmas classics, and one that carolers may avoid due to being more difficult to sing than other Christmas songs.
Denver on October 12, 1997, so the album captures Denver during his last Christmas, reminding us we can never know which will be our last. So, check out the John Denver Christmas in Concert album this holiday season, during a time when we all could use some faith in something or someone who knows our needs and is not a stranger to our weaknesses.
Or at least we can settle for a short respite. Wishing love, faith, hope, comfort, and good health to you and yours.
Cass Elliott was an amazing talent who left us too soon in 1974. With the Mamas and the Papas, her voice always stood out. Similarly, John Denver had a wonderful tenor voice and was a great songwriter (although some music fans ignore the talent as a reaction to Denver becoming so popular in his heyday). Despite their talents, one might think they never crossed paths due to being in slightly different music genres. But one night on television in 1972, Elliot and Denver joined forces on one of Denver’s classic songs, “Leaving on a Jet Plane.”
The duet is from the August 19, 1972 premiere of the 90-minute NBC television show The Midnight Special. Those of us who grew up in the 1970s remember the Friday night show fondly. As a kid, I would stay up late to watch the show to see the latest music. Long before we had MTV, The Midnight Special was one of the few places to regularly catch current rock and pop stars performing on television.
So, one night on television in 1972, Elliot and Denver joined forces. Their voices intertwined on the choruses to create something special. Check it out.
This episode ofThe Midnight Special featured the Mamas and the Papas and Denver. And it was a special treat to hear Elliot and Denver together on the song. The tune had originally been a hit for Peter, Paul & Mary when they released it in 1969. But by 1972, Denver had become so popular, he could keep the songs he wrote as hits for himself.
In addition to being wonderful singers, both Cass Elliot and John Denver were involved in important social causes during their lives. You hear a little of that in Elliot’s introduction to the song about the importance of voting.
The country was divided at the time, as the Vietnam War continued with President Richard Richard M. Nixon in the White House. Two days after the Elliot-Denver performance, the Republican National Convention nominated Nixon and Spiro Agnew for a second term. But amidst the divisions in the country at the time, Mama Cass and John Denver showed America a little harmony.
One of my favorite live albums is An Evening With John Denver. Denver recorded the double album on August 26 through September 1, 1974 at the Universal Amphitheatre in Los Angeles during a time when his career was soaring. The album reveals an artist confident in his choices before a crowd hanging on every note. Additionally, the album also has special meaning for me.
In the early 1970s, we saw and heard John Denver everywhere. In 1971, he scored a hit with “Take Me Home, Country Roads.” In 1972, he released “Rocky Mountain High,” followed by four number one hits in 1974-75 (“Sunshine on My Shoulders,” “Annie’s Song,” “Thank God I’m a Country Boy,” and “I’m Sorry”).
An Evening With John Denver appeared as a television special, winning the 1974-75 Emmy for Outstanding Special, Comedy-Variety or Music. Watching the show now on YouTube, I’m reminded that there were of course additional parts of the show that do not appear on the double album, like appearances by Jacques Cousteau and Danny Kaye.
The special begins with Denver flying an airplane by himself. It would be the same way he would die decades later in 1997.
“An Evening With John Denver” Through the Years
Denver continued to record and tour until his death. And I would periodically listen to new music from him, but those amazing successful years in the 1970s must have had a special resonance for him. He gave joy to a lot of people in those years, including me.
Sometimes it is hard for a reviewer to separate a personal connection from the objective perspective. And that is especially true when I think of this album, which remains one of my favorite live albums. Yet, I cannot say whether or not it objectively is one of the best. All I know is what the album means to me.
Although the album was recorded during the summer months, it remains a winter album for me. Denver released the album in February of 1975. And my mom bought me the album at a local five-and-dime store during that especially snowy Ohio winter. I listened to An Evening With John Denver repeatedly through several school snow days.
Since then, I have periodically returned to An Evening With John Denver throughout my life. Changing technology has altered the ways I’ve listened to it. The album is among the few I have saved in LP form, but I subsequently owned cassette, CD, and MP3 forms of the album too. Later versions added some additional bonus recordings, but for the most part, the recording is still the same for me.
Now, listening to An Evening With John Denver as it streams from my uploaded collection on Google Play, I cannot help thinking back to the first times I played the record in a warm house as the winter winds blew. In it, there remains something comforting for me, like a cup of hot chocolate after shoveling snow.
All of the people who lived in that house where I first played the album are gone except for me. But I am listening to Denver sing now in my own house this winter, looking out the window at the snow while my wonderful wife is downstairs. And I cannot help but think of the thread between that winter in 1975 and now.
One of the powers of music is the connections it brings us — and the way it can bring us home.
What is your favorite live album? Leave your two cents in the comments.
In 1975, Charlie Rich announced the “Entertainer of the Year” award at the Country Music Association Awards show, confusing everyone by setting fire to the card announcing winner John Denver.
Charlie Rich was at the center of one of the most fascinating moments in award show history. Today, people still wonder about why the singer burned an award card announcing the winner as John Denver.
In the early 1970s, Rich, who had a long career of making great music, suddenly found himself with a huge hit album with the 1973 release of Behind Closed Doors. The title track was one of the most popular songs of the time. And it was followed by the equally popular hit, “The Most Beautiful Girl.”
The Country Music Association named him Entertainer of the Year in 1974. But it would be his return to the CMA Awards stage the following year that many would most remember.
The Burning
The following year on October 13, 1975, Rich returned to the Country Music Association Awards show to pass the torch to the new “Entertainer of the Year.” After Rich announced the nominees, which included a bit of rambling, he opened the envelope. After picking up the dropped announcement of the winner, he set it on fire. After a brief pause, he said the winner’s name, “My friend, Mr. John Denver.”
Then, John Denver appeared via satellite, apparently unaware of what just happened. But when the camera returned to the stage, host Glen Campbell looked a little confused.
Why Did Rich Do It?
Many regarded Rich’s actions as a protest against giving the award to Denver. Some speculated that Rich thought Denver was not “country” enough.
That reasoning does not seem quite right, as Rich himself was not a traditionalist, having started out with rock music at Sun Records. Further, his previous year’s success came from an album with a non-traditional country “Countrypolitan” sound based on a suggestion from producer Billy Sherill.
Rich himself never claimed that the act was one of protest. If one watches the video, one sees the more logical explanation: Rich was drunk and/or on drugs. His speech sounds slurred, he rambles at times, and he struggles to open the envelope. Further, there does not seem to be much time for reflection between clumsily opening the envelope and pulling out his lighter. Thus it does not seem to be a reaction to John Denver’s name but something he was going to do no matter what (although one might argue that maybe he knew the winner ahead of time).
Rich’s son has offered a similar explanation of the night. On his website, Charlie Rich Jr. explains how his dad was not one to judge other musicians and he also was friends with John Denver. He believes his father lit the announcement on fire out of a combination of bad judgment and believing it would be funny. Charlie Rich Jr. explains that his father was on pain medication for a foot injury and was also drinking gin and tonics that night.
He continues: “I know the last thing my father would have wanted to do was set himself up as judge of another musician. He felt badly that people thought it was a statement against John Denver.” Charlie Rich Jr. remembers his father later unsuccessfully trying to meet up with John Denver while on a trip to Colorado. But he does not know if his father ever got to explain things to Denver.
Years later, when asked, Rich explained he had no ill-will toward Denver and did not intend his act to make any kind of rebellious statement regarding Denver or country music in general. He simply called it “a mistake,” reflecting on his own “anxiety-panic disorder” while being at the awards show. He also reflected that during that time he had been overworked, and maybe unconsciously it was a way of saying he wanted to try something else with his career and not be pigeonholed as a country music artist.
Viewers still debate the meaning of Rich’s act. One commentator has speculated maybe it was a combination of all of the theories, thinking “the gesture was partly a joke, partly the result of mixing meds and booze, and partly a sincere expression of annoyance at the notion of John Denver as a country music legend.”
Rich’s Later Career
Unfortunately, Rich’s fire-lighting act before a large audience and the country music industry helped send his career into another slump. And the CMA banned him from future shows.
Rich eventually did record some great songs again. But he never again reached the level of the hits from Behind Closed Doors. Additionally, he had some bit parts in movies.
Rich’s last record was a wonderful jazz-influenced album released in 1992, Pictures and Paintings. He died in his sleep in 1995 of a pulmonary embolism at the age of 62.
Charlie Rich is one of my favorite artists of all time. If you only know him from his hit country songs in the 1970s, you should check out other parts of his catalog.
One of my favorite songs of his is “I Feel Like Going Home,” which appears in a jazzy version on Pictures and Paintings. But I especially love the demo version that features only the piano and that voice. The first time I heard this song, I was driving in my car and I had to pull over to listen to it. Here, it is a perfect bookend to the discussion of his fire at the CMAs.
Surprisingly, Charlie Rich is not in the Country Music Hall of Fame. For more information about lending your voice to supporting his membership, check out the Charlie Rich website. He also deserves to be in the Rock & Roll Hall of Fame.
In 2016, Memphis International Records released Feel Like Going Home (The Songs of Charlie Rich), a tribute album of Charlie Rich songs recorded by artists such as Jim Lauderdale, Will Kimbrough, Susan Marshall, Shooter Jennings, and Charlie Rich, Jr.
What is your favorite Charlie Rich song? Leave your two cents in the comments.
On September 22, 1985, the first “Farm Aid” was held in Champaign, Illinois. Willie Nelson, Neil Young, and John Mellencamp organized the benefit concert for struggling American farmers. Performers at that concert included a broad range of performers, including Bob Dylan, B.B. King, Hoyt Axton, Don Henley, Johnny Cash, Tom Petty, Merle Haggard, Emmylou Harris, Billy Joel, Waylon Jennings, John Denver, Loretta Lynn, Joni Mitchell, Charley Pride, Sammy Hagar, George Jones, and Lou Reed.
Reportedly, the idea for Farm Aid began when Bob Dylan played at Live Aid earlier in the year in July and suggested some of the money from that concert should go to American farmers. While some — including Live Aid organizer Bob Geldof — were upset that Dylan exploited the stage of a worldwide televised concert in support of African famine relief to focus on Americans, other artists used the comment as inspiration for the Farm Aid concert. And Farm Aid benefit concerts continue to this day.
That September 22 in 1985, the performers did not know that the work would continue for decades. But they joyously sang and played to try to give something back. Below is one of the performances that day in Illinois, featuring Willie Nelson, Arlo Guthrie, and Dottie West singing “City of New Orleans.”
What is your favorite Farm Aid performance? Leave your two cents in the comments.