From the feminine viewpoint, sex can be measured in disappointment. And no better example is that of underrated Mrs. Claus. Does she even have a name? (Well, but, how many?!)
SNL’s Aidy Bryant showcases a “Please Skip Christmas” song about her neglectedness. Nice try.
Brazzers (uh oh) presents “A Lonely Milf at Christmas,” a not-so-blue jazz number with an extended intro and overlong outro and middling talent (Kagney Linn Carter).
With even less quality, but more depravity comes Rico Loco and “A Booty Call for Mrs. Claus.” Country Western porn.
I believe we’ve basked in the superior parody of Bob Rivers’s “Me and Mrs. Claus.” Giggle giggle.
Tau is into “Ms. Claus” and goes electropop to raise your eyebrows. Re-owr.
Let’s keep you in the mood with even more exciting Xmas tunes that’ll lift your pants.
Allstarbandit elctro-Djs “Dirty Horney (Under the Misteltoe)” as a dance experiment in lusting up the joint. I give it a 7, Johnny: i don’t unnerstanem, but i can bump2it.
“Horny at the Holidays” by dadaists Barnes & Barnes might cool your jets. Ironic eroticism is curious, but offputting.
Santastic is a labor of love by DJs, mashup artists, and the like, sampling all the hits to recreate new experiences for you and yours at the holidays. Mousee T and The Dandy Warhols are spliced up for “Horny Christmas” as doctored up by Loo & Placido off the Santastic 6 album. It’s easier to just lissen up.
Some of this anti-Christmas sentiment features Backwards Jesus, otherwise revered as Satan, who intends to kill (and eat) the newborn Savior–for the holiday.
Medeia’s “Antichristmas” scourges happiness with their patented metal. Pass the baby blood. BLUE ALERT
Ice Nine Kills (also BLUE ALERT) continues the sentiment, pasting pop over metal with “Merry Axe-Mas.” Jinkeys, that’s up the butt.
CeDigest also juxtaposes melodic with menacing in “Antichristmas.” Probably BLUE ALERT, for all i can tell. Blasphemy, anyway.
Icon Park stays unmusically electronic with their “Antichristmas.” Mumbling about the luminous wintry scene hides the evil. Oh. No.
Toss your cookies, Ralph! We know you’re sick when you puke, barf, vomit, upchuck, or chunder. And we’ll give you space enough to drive the porcelain bus.
Enough of that! April Smith and the Great Picture Show are merely metaphorical with “Christmas Threw up All Over You.” This is kiddie ragtime expressing concern in how you overdo the season. As if.
But Arrogant Worms spews a great big band electronica “Dad Threw up on Christmas Day.” Man, that’s tasty novelty!
Not too many songs about wintry women’s wear (despite a half a song called “Song About a Christmas Dress” by Puppi, a puppeteer gang of mindtwisters), so i’ll settle for some near-misses of some quite listenable lullabies.
It’s a Cover Up techno pops a dance requirement with “Red Dress.” It’s on a Christmas album, so it should spin your next holiday bash. But, not so much with the season’s reasons.
It’s all sexy fashion for Melleefresh and Rik Assfalg, but the techno disco pop of “Red Leather Suit” drips of holiday hookups. Warning: it gets explicit.
Rick and Morty‘s creator’s earlier brilliant-but-what’s-the-demographic? sitcom was not known for breakout songs, but attention must be paid to these study group misfits during the holidays.
The 2010 stop motion episode ‘Abed’s Uncontollable Christmas’ brings it.
The “Intro Song” is a takeoff of The 88’s series opening music this time with Xmas.
The characters turn into Christmas claymation tropes and have a couple memorable 3-line songs for characterization, including “Brittabot” and “Christmas Douche.”
The meaning of Christmas is put together in the show stopper “That’s What Christmas is For.” John Oliver! Christmas pterodactyl!
The next year is about singing Xmas for Glee club. To win over the surly main character, the Jewish nerd girl sings “Annie’s Christmas Song.” Brother, that’s jazz striptease junk with Betty Boop botheration.
The overlooked housewife gets a big gospel (half) number with “Happy B-Day, Jesus.” Go tell it on the lafftrack.
The actual “Community Glee Club” performance is a sad throwaway about how the hot blonde is tone deaf.
“Troy & Abed’s Christmas Rap Battle,” however, convinces the Asperger’s kid and the conflicted cool athlete to celebrate a holiday they would otherwise disdain. Much prettier, or at least much faster.
Comedy gold from those boys finally in order to convince the geriatric in “Baby Boomer Santa,” an addictive song about the evolution of St. Nick through musical genres. An American Pearl.
Many of these cartoons don’t have much to offer in the way of specially written tunes. Sometimes there’s just enough to get me to notice. The wallaby-based series (a try out for the makers of SpongeBob), did what it liked including a couple cool dance tunes in the background of a Christmas episode.
“We’re Gonna Party” is dance music Rocko plays at his own party. Sparkly club swing.
The electronica “Ho Ho Dance” seems to be Santa’s workshop soundtrack. Definitely dance while you work. Then try some more ritalin.
When pure evil tragedy strikes around Christmas, what better scapegoat than that thing you spent all day doting on and bejeweling?
In fact, that thing might be a diabolical doorway to demonicry. “Christmas Tree from Hell” reminds us of two important issues: buyer beware, and ‘God Rest Ye Merry Gentlemen’ is a scary melody. Listen with the lights on to Bah & The Humbugs.
They hurt me! Kill them all! is Paulette’s “Christmas Trees” message. Talky folk, but oh my.
Metaphorsing metaphors, Bree Lucas compares you to the lack of comparison. “You Couldn’t Compare, Christmas Tree” is front room folk by a powerful talent about a terrible thing that happened.
The emptiness around this time of year coalesces for JJ Voss with “Whiskey, the Tree, and Me.” (As previously posted) it’s scotch o’clock for country rock.
“Six Billion Lights (On the World’s Biggest Christmas Tree)” makes a bummer out of living. Derek A. Dempsey and Nicole Lynch point to each person on the Earth and, in military country pop, allow that we all suffer. So, Christmas. You’re welcome.
Islands plink and doot-doo through “Christmas Tree” with alt folk philosophy… oh, you know what’s coming! Bad stuff (coffins, oppression, misunderstanding).
Orbit emplys some simple rock and not so simple word salad for “A Christmas Carol.” Get a load of the refrain. Damn. Suicide prevention hotline, please.
Okay, not so holidaysical, but “Christmas Tree Bridge” leans on the irony of the awful tragedy of losing a parent with the most family of phrases. Yikes. What sick folk is this?! BLUE ALERT
Perhaps homicide? “Murder by Christmas Tree” is a short metal ode to how to get away with murder from Santa’s Angry Elves. I don’t like them when they’re angry.
Time to give up! Life is too awful. Let’s buy the “Christmas Tree” with Kiki Bohemia and her cheap electronic hypnotic singsongery to show our despair. Bleak, black, blecch.
Chemicals overlays industrial percussion on top of beat poetry voiced as if by a ten-year-old. See if “Abominable Snowman” doesn’t live up to that!
Islands rocks the garage with progressive experimentation in “Abominable Snowman,” more about their performing endurance than the disparate elements. Their box cashed back to earth from outer space. Dig me?
Sarah Hart lullabys the innocent with her “Snow Angels.” Bit hyper to lull; soaring and insistent.
mrbuttersmusic chills you way down with the childish glee of having snow for the first time. “Angels in the Snow” is saccharine and treacly and, well, surprisingly angelic for kids’ music. Good luck getting your child’s assembly to sound like this.
Kid Pan Alley jollies up “Snow Angels and Icicles” so much so i have to ask, is this for kids or just her? The scat, too?
I mean grown ups singing simply might be rhyme-splaining or there they go educating children. Listen to the guileless Daisy May Erlewine’s “Snow Angel” and tell me the difference.
“Snow Angel” by Over the Rhine says a sad goodbye to childhood. Irish folk gets away with that.
Alt-folk Clare Means makes “Snow Angels” mean growing up and expressing yourself.
SpiRos Ontic mix punk and rockabilly for their “Snow Angels.” Hope mom doesn’t find out.
Sharon Smith calms us again with whispery joy bordering on Celtic fairie. “Angels in the Snow” feels like a smooth sleigh ride through gorgeosity. Childlike fun yet sophisticated.
