Holiday All-Stars: The Best Renditions of 25 Classic Christmas Songs

Christmas music presents a unique opportunity for artists of all ages and genres. Their threshold of creativity may seem limited, given the predominance of holiday standards and evergreen subject matter. However, those parameters often become the greatest precursor for individuality, inviting artists to put their own unique spin on the perennial classics we all know and love. Whether it’s by putting a modern twist on mid-20th century lyrics, or turning a simple melody into a playground for vocal acrobatics, the best artists know how to break through the noise and create holiday renditions that are truly memorable. And with the Christmas season in full swing, what better time to celebrate some of the all-time greatest renditions?

Before we begin, make sure to check out my holiday playlists on Spotify, YouTube, and Apple Music! I have a 28-hour mega playlist, as well as playlists with upbeat songs, smooth songs, gospel songs, Mariah songs … you get the point :)

Spotify: https://open.spotify.com/user/breakfastboy29?si=22c8fd42df034b42

YouTube: https://www.youtube.com/@thenorrisjay/playlists

Apple Music: https://music.apple.com/profile/thenorrisjay

“Away in a Manger”: Sounds of Blackness

A delightfully-upbeat take on a carol that’s usually performed via the slow-and-steady approach, the Sounds of Blackness’ rendition of “Away in a Manger” is far and away my favorite one. There are many reasons why I love this version so much, but more than anything, it feels like an onion. Not the most flattering analogy, I know, but with each passing section of the song, you unlock a new layer of musical greatness that endears this rendition to you even more than the previous section did. It opens with a dramatic series of organ strokes, before launching into a fast-paced jaunt through the first verse. The percussion picks up steam, and we are suddenly immersed within a chorus of “Hallelujah, Christ is born!” that could evoke a shoulder shimmy from Ebenezer Scrooge himself. This repeats for the second verse and chorus, after which we reach the bridge which kicks the song into an even higher gear … and then we get a key change! And then the chorus again! And then the bridge again, this time with twice as many lyrics packed in! And then the chorus again! And then the bridge again! And then a moment of a cappella to close! Mark my words, you will not be able to resist playing this song a second time … and a third … and a fourth … and so one and so forth.

Honorable Mention: The Four Tops

“Christmas (Baby Please Come Home)”: TIE between Darlene Love and Mariah Carey

A lively classic that masks its lyrics of longing behind a catchy wall of sound and song, “Christmas” was first performed by Darlene Love for Phil Spector’s iconic A Christmas Gift for You album. Year after year, she renewed the track’s status as a seasonal classic with her annual performance on David Letterman’s late night show. While Love’s version maintains its legendary status to this day, it shares its popularity with the rendition recorded by the Queen of Christmas herself, Mariah Carey. Featured on her 1994 Merry Christmas album, Carey’s version doesn’t stray far from the original composition, but Carey unleashes some truly resounding vocals in the latter half of the song that earn her rendition a spot at the top of the list.

Honorable Mention: Keke Palmer and Tori Kelly (Live on The Voice, 2021)

“Do You Hear What I Hear”: Whitney Houston

A song about the night of Jesus’ birth, “Do You Hear What I Hear” is often delivered with a subtle approach even by the most powerful of singers. But what the late and great Whitney Houston did with the song is truly remarkable. From the crescendo of the intro to the way that Houston’s vocals build throughout the song—especially after the key change at the song’s halfway point—her voice truly was and will forever remain “as big as the sea”.

Honorable Mentions: Yolanda Adams, Destiny’s Child

“Give Love on Christmas Day”: The Jackson 5

“What the world needs is love” … those words seem to ring true now more than maybe ever. And the way that Michael Jackson’s piercing voice delivers the track’s lines make them feel like both a conviction and a call to action. There are other renditions of the song that are similarly powerful, but something about hearing an 11-year-old deliver the much-needed message makes it all the more soul-stirring. Add the perfectly-placed background vocals and endearing instrumental, and you have a classic that will continue to endure through the decades.

Honorable Mentions: Yolanda Adams, Johnny Gill, New Edition, Rare Essence, Ledisi, Fantasia

“God Rest Ye Merry Gentlemen”: The Stylistics

One would be hard-pressed to find a Christmas song that oozes the cozy, smooth vibes of the season more than this rendition right here. A beautiful, intricate landscape of instruments provide the perfect vessel for the Stylistics to deliver their silky vocals. In full alignment with the message contained within the lyrics, this rendition feels like an invitation for listeners to rest and set aside their dismay as they hear the story of Jesus’ birth.

Honorable Mentions: Smokey Robinson & The Miracles, Mariah Carey

“Hark! The Herald Angels Sing”: Aretha Franklin

Few artists can take their time with a song the way that Aretha Franklin could (just look up her Thanksgiving Day performance of the National Anthem if you don’t believe me). Other popular renditions of the song may not last past three minutes, but the Queen of Soul uses every bit of the 5-minute-and-24-second duration of her version—and uses it well. From the opening note, which Franklin sings a full octave above where it would usually be, to the exclaims of “King!” and “Hallelujah!”, this rendition just feels like church.

Honorable Mentions: Mariah Carey, Nat King Cole, Musiq Soulchild

“Have Yourself A Merry Little Christmas”: TIE between Ella Fitzgerald and Will Downing

Renditions of this song often share the same approach: a down-tempo ballad in a minor key. And while many amazing versions of “Have Yourself a Merry Little Christmas” have emerged from that template, the ones that stand out to me most are two that put their own spin on the formula. First: Ella Fitzgerald. Known as the First Lady of Song for a reason, Fitzgerald turned the song into a faster track in a major key, transforming a song usually performed with some degree of lament into a catchy tune that feels like a skip alone a snowy lane. Second: Will Downing, whose Christmas album is full of underrated renditions, perhaps most notably his spin on “Have Yourself A Merry Little Christmas”. Armed with a backdrop of jazzy percussion and instrumentation, Downing masters the easy-listening feel with his smooth yet playful vocals (and the harmonica that follows him up and down the scales certainly helps to endear this rendition to the listener as well).

Honorable Mentions: Luther Vandross, En Vogue, Whitney Houston, En Vogue, Toni Braxton, The Four Tops, Monica

“Here Comes Santa Claus”: Mariah Carey

Leave it to pioneer of the hip-hop/pop crossover track to take a poppy holiday standard and turn it into a smooth hip-hop vibe. Teaming up with longtime collaborator and fellow music legend Jermaine Dupri, Mariah Carey takes “Here Comes Santa Claus” to new heights with her rendition, first featured on her second Christmas album and then later with an added verse from Snoop Dogg for her Apple TV+ holiday special. Carey and Dupri also flex their remix prowess with the song, mashing it up with another Christmas classic in “Up On the House Top”. This track is the perfect song to turn your holiday festivities up from the cocktail and Hors d’oeuvre hour to the party stage.

Honorable Mentions: Gene Autry, Pentatonix

“I’ll Be Home for Christmas”: Jordin Sparks

Just like “Have Yourself A Merry Little Christmas,” this song has a formula that artists tend to stick to pretty closely when they cover it. Therefore, the versions that stand out may not necessarily sound all that different from the others, but they will make you feel differently.

Jordin Sparks’ rendition does just that; it’s a relatively slow song, but its instrumental structure gives it an essence of upbeatedness (yes, I’m making that a word). The instrumental approaches the 3/4 time signature of the song in a unique way: the percussive elements keep the rhythm of the 1, 2, 3 going, while the other instruments weave back and forth between that and a slower 1, 2, 1, 2 pattern. But while the backdrop contributes heavily to the feel of this rendition, the vocal delivery is the true star of the show. Adjusting her volume at key moments and seamlessly weaving in and out of her head voice, Sparks navigates the song like a seasoned pro—an impressive feat considering that she recorded this rendition when she was seventeen years old. Even with how amazing she sounds though, she rarely strays from the melody’s traditional tempo, which makes this a perfect version to which one can sing along.

Honorable Mentions: Whitney Houston, The Miracles, Al Green, Babyface

“I Saw Mommy Kissing Santa Claus”: The Impressions

One of my favorite elements of Christmas songs from this era of Soul music were the theatrics that artists brought to their renditions. They were dedicated to telling stories with their music, and this rendition of “I Saw Mommy Kissing Santa Claus” is no different. A series of soft piano riffs and quiet organ usher us into the world of this track, and we are told a brief story about Little Johnny, the boy who made the titular discovery. Out of nowhere, guitars enter and we suddenly ourselves in an upbeat soul rendition of the chief humorous holiday track, filled with all sorts of delightful instrumental twists and turns. There is something truly gleeful about hearing a group of grown men singing about “Momma! Kissing Santa!” with as much passion and fervor as they would on one of their non-holiday heartbreak anthems. Come for the joy, stay for the extended outro.

Honorable Mention: The Jackson 5

“It Came Upon A Midnight Clear”: Yolanda Adams

Most renditions of this carol are approached in a very delicate manner, and Yolanda Adams’ version isn’t necessarily an exception to that rule. But there’s a gospel influence and a funk influence that elevate her rendition to new heights. The vocal delivery is relatively restrained for a Yolanda Adams record, but it works very well here; the intricacies of Adams’ voice are brought to the forefront, proving her skills extend far beyond mere power. Combine that with the instrumental, which perfectly captures the late-night-jazz-club vibe, and you get a track that feels just like … well, midnight.

Honorable Mention: Babyface

“Jesus! Oh What A Wonderful Child”: TIE between Dottie Peoples and Mariah Carey

These two renditions of the classic gospel hymn are very similar to one another. They both stick to the general structure of the song; they both feature a key change; and they each contain a space in the song for the vocalists to show off their chops with relative free rein.

Starting with Dottie Peoples’ rendition: there is a deep level of churchiness in this version—and more specifically, southern churciness—that will catch the ear of the listener from the first few piano strokes. The song is upbeat, yet slow enough to allow the Songbird of the South to take her time with each and every line. Peoples handles the verses all on her own but the choir joins in at the chorus, and it is a great joy to listen to her go back and forth with them line-for-line. Just past the three-minute mark, the key goes up and Peoples brings out the full growl she’s been saving for the song’s conclusion. You can’t help but stand up and raise your hand as she preaches through song all the way through the final “glory! glory! glo-o-ry to the newborn king!”.

Upon first listeners, audiences may notice a contrast in Carey’s version. It’s set at a faster tempo, and for the first thirty seconds, Carey sings in unison with the choir with her mic just slightly turned up. As the chorus repeats though, she breaks out and starts riffing up and down the track and back again. She continues into the verse and through the second round of the chorus, hitting higher and higher notes with each passing line and through both of the song’s key changes.

Intense precision was a hallmark of Carey’s vocal delivery at this time, and this track is no exception. But mistake that precision for rigidity at your own peril, cause just when the song appears to be wrapping up around the 3-minute-and-15-second mark, the piano starts back up and Mimi lets loose. At the time of her first Christmas album being released, listeners had heard Carey’s churchy side come through in spurts on tracks like “Make It Happen” and “Anytime You Need A Friend”. They had never heard anything like this from her, though; the rest of the Merry Christmas project was strongly positioned within the adult contemporary and pop realms, but in the album’s closing moments (“Jesus” is the final track), Carey takes her audience to church—and not just any church, but Black church.

Honorable Mention: The Walls Group

“Joy to the World”: Whitney Houston

For many years, this was a two-person battle for me between the versions most near and dear to my heart: those of the “When You Believe” co-stars and longtime friends, Mariah Carey and Whitney Houston. As much as I love and cherish Mariah’s rendition though (particularly her interpolation of the Three Dog Night version), I’ve gotta give it to Nippy. Featured on the soundtrack for The Preacher’s Wife—one of Houston’s star turns as an actress—this rendition is a direct reflection of everything that made her such a compelling vocalist. It captures all the components of Houston’s voice in equal parts: the sheer power and might, as well and the soft beauty and agility. What makes it even more impressive is that this all occurs against the backdrop of the Georgia Mass Choir. Not just any choir … the Georgia Mass Choir.

Many singers would be drowned out by such a powerful collective with so many complex parts and orchestrations, but not Whitney. Not at all. Instead, she draws strength from the choir, flawlessly locking in with them in a way that only a singer trained up in the church could do. There are so many elements of this song that bring about joy — the lyrics, the composition, the “second wind” at the end—but just listening to The Voice fully and comfortably in her element is more than enough to bring a smile to any listener’s face and a tear to their eye as well.

Honorable mentions: Mariah Carey, Nat King Cole, Darlene McCoy, Norman Hutchins + Nikki Potts & JDI

“My Favorite Things”: THREE-WAY-TIE between Luther Vandross, The Supremes, and Mary J. Blige

I tried my absolute best to pick between these three, but in the end I just couldn’t. They are very different from one another, but each special in their own unique way.

Luther Vandross’ version is the most jazzy of the three. The best way to describe it: it feels like a ride down a snowy downtown boulevard in a brown Escalade with a beige interior. Vandross seamlessly winds his way through a beautifully layered soundscape, hitting the exact beats he needs to in order to emphasize the song’s key lyrics while maintaining his trademark suaveness. My favorite part of his rendition: the run that oozes out from his vocal cords at the 3:20 mark.

The Supremes’ rendition takes on a more traditional approach. Diana Ross’ delivery of the lyrics is reminiscent of the original rendition performed by Julie Andrews in The Sound of Music, but with an added layer of soul. There’s a beautiful theatricalism that radiates from Ross as she sings, and the background vocals from the other Supremes emphasize the best parts of the song. Not to mention the very 60s-esque, wall-of-sound instrumental with more layers than one can count; the instruments build upon one another as the song progresses, fitting in perfectly with the vocals to create a rendition that more than holds its own against any modern version of the song.

Mary J. Blige’s rendition has the best build of the three. It starts out softly, with an almost-haunting collection of chimes and faint strings that threaten to swell before gently giving way to the piano run that cues Blige’s opening lines. “Raindrops on roses and whiskers on kittens,” Blige sings with a careful delicateness that will surprise even the most loyal MJB fans. She continues, and as the instrumental begins to grow in strength, her voice does too. Line by line, she expertly deploys more and more volume; the anticipation grows with each passing moment as Blige presses her way towards the song’s booming climax. “Wild geese that flyyy with the moon ONNN their wings,” she belts passionately, and after one final “these are a few of my favorite things”, we arrive at the song’s peak, which Blige carries us through with a perfect mixture of might and grace. We get one more mini-peak before the song’s Bond theme-esque outro, which concludes with an eerie mega-chord and one last low note from Blige.

Honorable Mention: Yolanda Adams

“O Come All Ye Faithful”: TIE between Mariah Carey and Luther Vandross

One of the main reasons I love “O Come All Ye Faithful” so much—no matter who’s singing it, really—is because of its build. The structure of the lyrics invite artists to start out delicately, then progressively raise their volume bit by bit until they reach the song’s triumphant apex. But no two artists have mastered the art of that build as beautifully as Mariah Carey and Luther Vandross (and no surprise their — they both are universally beloved for their power and their finesse vocally).

Carey’s rendition — featured on her Merry Christmas II You project — kicks off with a soft assortment of hums, courtesy of Mimi and her background singers. They delicately delivering the first verse over a quiet instrumental backdrop, taking their time with each and every harmony. The verse concludes, and the song shifts to make way for Carey’s mother, Patricia Carey. A singer herself, the elder Carey launches into a spirited opera rendition of the “Hallelujah” chorus. The instrumental grows behind her, and as she finishes her part, her daughter returns to the mic with a show-stopping whistled run. A choir of singers holds down the closing verse as Mariah ad-libs her way through the vocal stratosphere as only she can. The verse concludes, and the two Careys deliver one final “and he shall reign forever and ever” before Mariah unleashes one final whistle note, capping off one of the most underrated vocal performances of her career.

Vandross’ rendition takes on a similar structure. After offering listeners a brief taste of the swelling instrumental that will conclude the song, it softens and slows, and Vandross enters with his smooth, seasoned vocals. With each passing measure of the first and second verse, his voice gradually grows in strength and volume, as does the vocal and instrumental background of the track. As the second verse closes, Vandross drops out and the key rises; the accompanying choir takes over the first half of the third verse, setting Vandross up to return with a resounding “COMEEEE!”. The choir drops out briefly, giving Vandross space to wow listeners with one of his signature rising runs on “aAa-aAa-aAan-GELS!” before rejoining him for the song’s dramatic conclusion.

Honorable Mentions: Faith Evans, Sounds of Blackness, Tasha Cobbs-Leonard, Kirk Franklin & The Family, Nat King Cole

“Oh Come Emmanuel”: The Clark Sisters

Revered as perhaps the strongest vocal quartet in modern history, it’s no wonder that The Clark Sisters take the crown here. A piano introduces the track, but that’s all it’ll be needed for here; just as soon as it enters, it drops back out, giving way for the sisters to perform the song a cappella. There are so many great things I want to say about this rendition—the way their vocals fit together in such rich layers; the section of oohs that are even more compelling than the sections with lyrics; the high “Rejoice!” from Karen—but nothing I can say could possibly give it the full justice that it deserves. You’ll just have to listen for yourself below and join me in astounded amazement.

Honorable Mention: Whitney Houston

“O Holy Night”: Mariah Carey

There are many very good renditions of “O Holy Night” out there. Many great ones, even. But not a single person on Earth is touching what Mariah Carey did when she went in that studio to record her version of the track—and any other artist who has recorded their own rendition would probably tell you the same. Simply put, Carey’s version is thee standard. It’s the one that singers borrow vocal choices from when putting together their own renditions; it’s the first one that pops up when you look up the song on streaming services; and it’s the one that is performed on talent shows around the world. It is truly one of one.

Most of the acclaim for this rendition is reserved for the vocal acrobatics that Carey pulls off in its second half, but the first half is a testament to her range as well. She starts off in the lowest end of her range, dipping down to the very bottom on words like “night” and “birth”. As the first verse continues, she gradually reaches higher and higher up in her range, alternating between graceful falsetto and powerful belts. The verse concludes, and we are treated to a brief organ interlude before Carey and the choir return in full force. Now an octave up, Carey soars through the lyrics with an astounding level of power and precision, demonstrating agility in her high belt that most singers can only unlock in their lower range or higher head voice.

After Carey sings about the “new and glorious morn”, we enter the in-her-bag portion of the song. “FAAaAaaAaaall on your knees,” Carey commands the audience with a strength and clarity that could be heard from a mile away. She delivers the next line mostly in falsetto, but reaches back and pulls a whistle note out of nowhere!

(I know we’re not supposed to use exclamation marks in formal pieces like these, but you’ll just have to excuse me and my standom for a moment.)

Growing in strength right alongside the Songbird Supreme, the choir drops out to let Carey deliver a piercing belt the first “Oh niiiiiIiiIiiIght! When Christ was boOoOrn…” before re-entering to back her for the song’s climax. They sing “Oh night” together once more, and as the choir concludes their note, Carey prepares to deliver what is perhaps the single greatest vocal moment in a career full of great vocal moments.

Now, most singers would have reached the end of their rope by this point; they would have no higher notes to reach, nothing left in their arsenal with which to surprise the audience. Not Mariah Carey, though. No, ma’am. Now at the peak of this five-minute journey of song, she reaches into her vocal bag of tricks and pulls out another whistle note, this one several notes higher than the last. The note itself is remarkable enough, but the fact that she is singing the word “divine” … on one of the highest notes humanely possible?

As I said before: greatest rendition of all-time.

Honorable Mentions: Smokie Norful, Patti LaBelle, Destiny’s Child / Michelle Williams

“Santa Claus Is Coming To Town”: The Jackson 5

No rendition of this song captures the childlike excitement of anticipating Santa like the Jackson 5’s does—and it’s not just because they were all kids themselves when they recorded this. From the opening measures of the song that mimic a kid running down the stairs to see what Santa brought them, to Michael’s exclaims of “Oh!” and “Oh yeah!” throughout the song, this rendition just has that it factor.

Honorable Mentions: Mariah Carey, Pleasure, The Crystals

“Silent Night”: The Temptations (and Special Honorable Mention to The Four Tops & Aretha Franklin)

“In my miiiiiind”. You could sing those three words in the middle of July and a Black person would know exactly what you were referencing. This six-minute rendition of the classic Christmas carol is a staple of our communal holiday experience, and for good reason. It is the perfect example of how a song can be entertaining simply for how good of a song it is. Whether it’s the extended intro, the structure of the background vocals that few groups of that era mastered like the Temptations did, or the contrast between the falsetto of the first verse and the deep bass of the second, this rendition is a captivating sonic journey from the start all the way through the final, super-low “Merry Christmas from the Temptations.”

The Four Tops’ rendition with Aretha Franklin deserves some love as well. Their version kicks off with a slow, harmonized delivery of the first verse from the Four Tops. For much of the verse, they place emphasis on the harmonies as opposed to the melody, which immediately makes this rendition feel unique. After the verse has concluded, the beat comes in, and we are transported from soft harmonies to soulful, empassioned lead vocals via one of the group members and later via the Queen herself.

Honorable Mentions: Mariah Carey, BeBe & CeCe Winans

“Silver Bells”: Brian McKnight

To me, Brian McKnight has the smoothest voice of all the 90s male R&B stars. Close your eyes while listening to one of his songs, and you’ll feel like he’s standing in the room with you giving you a serenade for the ages. That’s certainly the case with his rendition of “Silver Bells”, which is built around an instrumental that feels tailor-made for his voice. The first verse may woo you into believing that this will be a straight-forward cover of a holiday classic, but just past the minute-and-a-half mark, the key of the instrumental shifts and the percussion drops out. McKnight delivers some brief falsetto vocals before the song returns to its original key; the beat comes back in, but this time with an added churchiness to it. McKnight takes cue, incorporating an element of staccato-ness into the next series of lyrics that’ll make you bop your head and maybe even bounce in your seat a bit.

Honorable Mention: The Supremes, Destiny’s Child (“Platinum Bells”),

“Sleigh Ride”: Ella Fitzgerald

One of the most popular seasonal classics out there, “Sleigh Ride” has been approached many different ways by many different artists. From the Ronette’s gleeful ring-a-ling-a-ding-a-ding-dong-ding (later recreated by Mariah Carey for her aforementioned Apple TV+ special), to TLC’s infusion of 90’s bounce, to Tamar Braxton riffing and running over a light trap beat, there truly is a version of “Sleigh Ride” for all fans of music. But my favorite version has always been perhaps the most notable one of all: Ella Fitzgerald’s. It’s a beautiful marriage of jazz instruments and jazz vocals; with each lyric Fitzgerald sings, the instruments step in as animators, bringing the words to life. But not one to be outdone, Fitzgerald engages in some animation of her own, particularly during the second verse. “Giddy-UP, giddy-UP, giddy-UP, LET’S go,” she sings, creating the effect of a horse-drawn sleigh ride with a level of liveliness in her voice that’s largely absent from popular music today.

Honorable Mentions: The Ronettes, Diana Ross, TLC, Mariah Carey, Tamar Braxton, Alexander O’Neal, Tori Kelly

“The Christmas Song”: Nat King Cole

Perhaps more so than any other song on the list, there was no question whatsoever about this pick going to the original version. Many formidable covers have been released in the 77 years since Nat King Cole first recorded the track. But while many of them borrow elements from the original and even add in new ones, none bring it all together quite like his did. Cole describes the Christmas holiday in vivid detail, crooning smoothly over a calming instrumental helmed by an agile string section. Although the Christmas message has been delivered many times and in many different ways, nobody does it quite like Nat King Cole.

Special shoutout to the rendition by India.Arie and Stevie Wonder, though, which is an amazing fusion of their voices.

Honorable Mentions: Faith Evans, India.Arie & Stevie Wonder, Anita Baker, Tamia, Whitney Houston

“This Christmas”: Donny Hathaway (and Special Honorable Mention to the Braxtons)

“This Christmas” is the unofficial-yet-still-official Black Christmas anthem. It’s a song that a plethora of singers of all races have covered, but the original will always reign supreme for me. The late, great Donny Hathaway takes all the joy of the season and bottles it up into this four-minute classic. The lyrics contain so many of the traditions that make Christmas such a fun time of year—mistletoe, trimming the tree, the fireside burning bright, caroling through the night, and so much more. Hathaway invites us to share our happiness with others, calling upon us to “shake a hand, shake a hand” and spread holiday merriment throughout the world. This song is filled with many moments of cheer, but the best part is the final minute, where Hathaway is given space to riff as the instrumental fades …

… don’t be mistaken, though, cause the song isn’t over yet! Just when the instrumental hits its faintest point, it roars back as Hathaway exclaims “Merry, merry Christmas!”, giving us one last burst of holiday cheer before we hit replay to experience it all over again.

Having given the originator his flowers, though, I think it’s worthwhile to also crown the best cover of the iconic Christmas classic. In my view, that title goes to the Braxton sisters. They released two versions on their album Braxton Family Christmas—the only project to feature all five sisters singing together—but the version featured as the project’s closing track stands out as the best. The individual and collective vocal talents of the sisters are placed on full display, from the opening doo-wop-pops (as Tamar would say) to the solo vocals on each of the verses. This rendition is a celebration of joy and family, a perfect reflection of what “This Christmas” and every Christmas should be about.

Rest in Peace, Donny Hathaway and Traci Braxton. We love you, forever and always.

Honorable Mentions: The Braxtons (Braxton Family Version), Stephanie Mills, Jeffrey Osborne

“What Are You Doing New Year’s Eve”: The Whispers

This is one of my favorite holiday songs, in large part due to its (slightly) extended shelf life. As a song dedicated to the 31st as opposed to the 25th, it grants me a few precious days to still be in holiday music mode before the new year arrives. There are many renditions of this song, each with their own special spin, but this version by The Whispers will always be my favorite. The instrumental is simple, granting the group full space to allow their vocals to take center-stage. The lead and background vocals mesh together perfectly, creating a listening experience that is satisfyingly soothing from start to finish. Additionally, there’s a subtle quality of begging baked into their vocal delivery—particularly that of the Scott brother who takes lead on this son—that’s present within the music of many male R&B groups from this era (“Ain’t Too Proud to Beg”, anybody?). And given that this song is essentially a bashful proposition of a date, it works to perfection here.

Honorable Mentions: Ledisi, Gladys Knight & The Pips, Fantasia, The Stylistics

“White Christmas”: Will Downing

Inherently, “White Christmas” is a sad song. It’s an expression of longing for the storied days of yesteryear, when Christmas was idyllic both in spirit and in aesthetic. But Will Downing’s rendition takes that longing and converts into a smooth, gratifying ode to the beauty of Christmases past and welcoming of more wonderful Christmases to come. Just as he did throughout the rest of his Christmas album (it’s an amazing project), Downing focuses intently here on ensuring that this song feels like a comforting embrace for his listeners.

Honorable Mention: The Four Tops & Aretha Franklin, Otis Redding

Stream all these songs on “All-Star Christmas Renditions: A Norris Jay Playlist”!

And check out this episode of my podcast “Come Get A Sip”, where I am joined by Dante DiDomenico and Ary Dominguez — the hosts of the PenPop podcast—to discuss all things holiday music!