The Story of "Blue Christmas"

Elvis’ Christmas Album Pickwick Records. Catalog #CAS2428, CAL2428

On a cold and rainy winter morning, Jay Johnson, a script and commercial jingle writer for radio, was on his way to New York, a daily commute that included a one hour train junket. It was during these trips that Jay would catch up on the postwar news in the paper, work word puzzles, and scribble down inspiration for story lines and songs. His daughter remembers her father as a man driven by creative challenges.

“He often wrote or worked as he rode on the trains,” recalled Judy Olmsted. “He loved to play with words. He made up all kinds of limericks and poems. He wrote for some the top shows on radio (The Fred Waring Show, The Kate Smith Show – and his own radio show on WOR in New York City and the Mutual Network)  He  later wrote for television too. He was a vaudeville veteran, played around with Broadway shows, and had dozens of songs published.”

 On this particular rainy day, as the train chugged toward the Big Apple, Johnson pulled out an old piece of hotel stationery. The holiday season was just around the corner, and tunes like Irving Berlin’s “White Christmas” were being written into many of the radio shows for which he worked.

As Jay considered the long list of Christmas classics he could draw from for his scripts, an original idea began to take shape. At first glance it seemed almost too obvious. With the success of “White Christmas” and the tremendous impact of blues music during the forties, surely, Johnson thought, someone had combined the two concepts into a song. A number about a blue Christmas seemed so natural. Yet as he considered the idea, he suddenly and happily realized that no one had yet tackled this play on words. Picking up a pen he scribbled down his first thoughts:

I expect to have a colorful Christmas

Tinged with every kind of holiday hue,

And though I know I’ll find every shade in the rainbow,

This design of mine will be mostly blue.

These lines were destined to become the rough first verse of a lyric sheet which Johnson would call “Blue Christmas.” Over the course of the next few days several more verses followed. Once Jay was satisfied with all his words, he met with friend and composer Billy Hayes.

Though no one recalls, Hayes probably offered a few suggestions about the lyrics. Long before the two men finished the song, Johnson’s first two verses were dropped, using the writer’s later lines, and Billy neatly wrapped the package with an appropriate musical score. When the song was finished, Jay and Billy took it to Choice Music who agreed to publish it.

It was copyrighted in 1948 and Choice Music began to shop their new holiday number. Hugo Winterhalter and His Orchestra made the first record which went to #9 on the charts. A year later the Winterhalter record would undertake another successful trip up the pop charts. Still, these modest numbers didn’t forecast a long run on the hit parade. At that time “Blue Christmas” was far behind holiday standards such as “Silver Bells,” “White Christmas, “Rudolph The Red Nosed Reindeer,” and “I’ll Be Home for Christmas” in both recognition and popularity. Most felt it would be soon forgotten.

Ernest Tubb must have heard the song during its initial Winterhalter release, because the Texas Troubadour worked it into his act at about that time. A year later, in 1950, he cut the number for Decca and took it to the top of the country charts. For the next five years “Blue Christmas” would become Tubb’s holiday theme song and standard hit fodder for country radio playlists.

Before Tubb’s “Blue Christmas,” Gene Autry hadscored big numbers with “Rudolph” and “Here Comes SantaClaus,” but those songs were really children’s numbers. With its lonesome message and clever lyrics, “Blue Christmas” was truly a hillbilly ode. It may have been written on an East Coast commuter train, but Tubb had put it on the map and shaped it into country music’s first true Christmas standard.

By the mid-fifties almost every country act was using “Blue Christmas” in their November and December shows.  The song probably would have remained strictly a part of the Music City genre if not for a young singer who had grown up idolizing Ernest Tubb.

Elvis Presley had listened to a lot of black blues and white Southern gospel during his youth,

but he had also spent a great deal of time checking out certain country acts. The one and only time he worked the “Opry” he met a childhood hero, Ernest Tubb. It was probably Presley’s affection for Tubb and his music that led him to record “Blue Christmas” on his initial holiday album. Yet Elvis’s cut was far different from Tubb’s – and anyone else’s. The rocker was the first to put real blues in “Blue Christmas.” In one brief three-minute recording, Ernest had lost his lock on the song. It was now Elvis’s Christmas classic.

Presley’s recording of  the song assured that it would become one of the best-known holiday songs of all time. Since Elvis first cut it, “Blue Christmas” has been recorded by hundreds of artists from every musical genre. And for that reason the Jay Johnson / Billy Hayes song has become the gift that keeps on giving.  

“I will tell you this,” Judy Olmsted said with a laugh. “It wouldn’t be Christmas at our house without ‘Blue Christmas.'” And a host of music fans would probably agree that while there are a lot of great holiday songs, Christmas isn’t complete until it’s sung blue.

  

 

*The Stories Behind Country Music’s All-Time Greatest 100Songs“

 Written by Ace Collins

© 1996 by Ace Collins

 A Boulevard Book Published by The Berklley Publishing Group

 

 

This blog is written and published by DLF Music Transfer, LLC  dba Christmas LPs to CD.  For more information on Christmas music or to purchase CDs of classic Christmas records on CD, please visit our website www.christmaslpstocd.com , call us 888-384-6970, or e-mail us david@dlfmusic.com.

 

 

Who Is "Good King Wenceslaus" ?

Statue of St. Wenceslaus Olomouc, Czech Republic

     We all know the story of Good King Wenceslaus immortalized in the carol written in Victorian England by John Mason Neale and set to a traditional folk tune.  Neale wrote the Christmas standard while living at Sacville College in the town of East Grinstead, in the county of West Sussex.  The carol tells the story of the King (or Duke) of Bohemia (an area in Central Europe which is now part of the Czech Republic) who lived over 1000 years ago.  Looking out his castle window on Boxing Day (St. Stephens Day) and seeing cold and hungry peasants, he took food and wood to them.  Though there is no proof that the story told in the carol every actually occurred, Wenceslaus was known to be a kind ruler with a compassionate heart who met with an unfortunate and grisly end.

The eldest son of Prince Ratislav and his wife, Drahormira, Wenceslas was born around 907 in Stochov Castlenear Prague in what is now the Czech Republic.   His father became king in 915 after the death of his father, Borivoy.  Due to the demands of state, King Ratislav and Queen Drahormira employed the aid of the king’s mother, Ludmila, in the day to day raising of their young son.  While growing up in his grandmother’s castle, Wenceslas reveled in outdoor life helping with the harvest and other such activities.  It was during this time that Wenceslaus grew to love the task of preparing bread and wine for religious purposes and would enjoy that task for the rest of his live.   Grandmother, Ludmila, a fervent Christian, educated her grandson in the Christian faith (much to the distress of his mother who quietly observed pagan traditions).  In the following years, Wenceslaus was joined by four sisters and a brother, Boleslav.

     When he Wenceslaus was only thirteen, his father died in battle.  Because he could not assume the throne until the age of 18, his mother, Queen Drahomoria, assumed the role as regent.  Early in her reign, Drahomira openly practiced pagan traditions in stark contrast to the Christian philosophy displayed by her late husband and mother-in-law.  The confusion resulting from Ratislav’s sudden death and the animosity between the old pagan and new Christian nobles, enabled Drahomira to consolidate her position. She began persecuting the Christian priests in the kingdom, attempted to reinstate paganism.  It is believed that she ordered Ludmila strangled in her castle at Tetin in September 921.

     Wishing to convert her son, the future king, from Christianity to paganism, Drahomira began including Wenceslas in her pagan ceremonies. The young prince, however, secretly continued with his private Christian services smuggling Christian priests and Bishops into the castle to aid him in his studies. He garnered support from the Christian nobles and when he turned 18 they rose in rebellion and deposed his mother making Wenceslaus King. According to legend, he banished his mother and her followers.

    One of his first acts was to reinstate the Christian religion and end the persecution of the priests. The young king’s Christian beliefs permeated his reign and he soon became renown for his acts of charity, especially the help he gave to the poor whom he sheltered and clothed.  Though it was uncommon in those times, Wenceslaus learned to read and write as a child and valued education.  As king, he installed a good education system in Bohemia as well as a successful system of law and order.  The references in the carol to the kindness of the king do appear to be based in fact.
     Though the peasants revered him, others did not.  Many of the pagan nobles resented the return to Christianity, and among them was his younger brother, Boleslav.  These dissenters enraged when Wenceslaus  swore fealty to King Henry I, King of Germany and a Christian monarch.  Wenceslaus believed he may be forced to recognize Henry by conquest and opted to willingly do so to spare his people this battle.  His brother and several nobles insisted that Bohemiashould be a nation unto itself with no fealty to a foreign king or his empire

     The birth of Wencelaus’ son dealt these nobles the cards they needed to convince the alrighty disgruntled Boleslav to join them in conspiring for the murder of the king.  With the birth of a male heir, Bolesalv was pushed down in the line of succession to the throne.  The nobles convinced him that he need act soon for his chances of becoming king diminished as the king’s son grew closer and closer to the age of 18 when he could legally ascend the throne.

 

     The conspirators invited Wenceslas to attend a feast that was to be held in the chapel of Boleslav’s castle. Though warned in advance that his life might be in danger, Wenceslaus ignored the warning and put his trust in God to keep him safe. When the Liturgy was over, the king was preparing to return to his own castle when Boleslav invited him to remain and join the guests in a drink. Wenceslas agreed and stayed for the rest of the day. As darkness fell he accepted his brother’s invitation to stay the night even though he had been warned of a plot against him.

     The next morning, September 20, 929, Wenceslaus awakened and haiving suffered no attempts on is life over night, set off for the chapel for morning prayers. Boleslav and his supporters caught him alone and unarmed and stabbed him to death on the steps of the chapel.

     Boleslav, who was now king, had his brother’s body interred in the church of St. Vitus and the chapel of St. Wenceslaus was constructed around his tomb. In time the beloved good king, though he had reigned for only five years, became the patron saint of Czechoslovakiaand was immortalized in carol.

 

 

Lyrics – Good King Wenceslaus

 

Good King Wenceslas looked out
On the feast of Stephen
When the snow lay round about
Deep and crisp and even
Brightly shone the moon that night
Though the frost was cruel
When a poor man came in sight
Gath’ring winter fuel

“Hither, page, and stand by me
If thou know’st it, telling
Yonder peasant, who is he?
Where and what his dwelling?”
“Sire, he lives a good league hence
Underneath the mountain
Right against the forest fence
By Saint Agnes’ fountain.”

“Bring me bread and bring me wine
Bring me pine logs hither
Thou and I will see him dine
When we bear him thither.”
Page and monarch forth they went
Forth they went together
Through the rude wind’s wild lament
And the bitter weather

In his master’s steps he trod
Where the snow lay dinted
Heat was in the very sod
Which the Saint had printed
Therefore, every men, be sure
Wealth or rank possessing
Ye who now will bless the poor
Shall yourselves find blessing

Good King Wenceslas looked out
On the feast of Stephen
When the snow lay round about
Deep and crisp and even
Brightly shone the moon that night
Though the frost was cruel
When a poor man came in sight
Gath’ring winter fuel  



    

This blog is written and published by DLF Music Transfer, LLC  dba Christmas LPs to CD.  For more information on Christmas music or to purchase CDs of classic Christmas records on CD, please visit our website www.christmaslpstocd.com , call us 888-384-6970, or e-mail us david@dlfmusic.com. 

 

 

    
    

Weihnachtliche Weisen – Music for the Joyous Season

Weihnachtliche Weisen Deutsch Grammophon. Catalog # 2536394

     The works brought together in this recording, most of which date from the period during which the Renaissance gradually gave place to the Baroque age, can be seen to belong to a repertoire of music whose two key words were “uplift” and “splendor.”  In the short Christmas pieces the original polyphonic vocal works by Raseluius, Eccard, Demantius, Scheidt and Praetorius are presented without the alteration of a single note, merely a change of tone color; these are joined by homophonic arrangements for wind instruments of popular Christmas songs (“Stille Nacht”, “Kommet ihr Hirten”, “Still weil’s Kindlein schlafen will”).  Both groups of pieces belong to the category of sacred “tower music”, which has retained its vitality right down to our own time, and is especially cultivated by amateur ensembles during Advent.  The musical culture which flourished in German cities gave rise to the instrumental works of Hassler and Pezel, while the pieces written for several antiphonal groups of instruments by Gabrieli, Viadana, Bartolino, and Gussago demonstrate close links with the type of composition which had originated in Venice and which was marked by spatial effects — making use of the acoustical properties of the building.  The use in these recordings of four trumpets and four trombones (two instruments closely related in their etymonogy, history, construction and usage) calls for some explanation of the functions of the trumpet in those days.
     The “knightly, heroic” trumpeters, who belonged in the sphere of court and military life, 

Baroque Trumpet

were originally symbols of a monarch’s splendor, but their character changed when various European trading towns and seaports, gaining increasing economic and political power, began employing trumpeters to play at municipal functions and from town towers. Apart from purely signaling duties (giving warning of fires, announcing the arrival of ships, and of strangers riding into the town) they were responsible for playing chorales (hymn tunes), participating in church ceremonies, and providing a musical framework for festive events.  Their day generally began with the playing of a chorale at about four a.m., when laborers started work; they again played chorales at about 10 or 11 am for the lunch break, about noon when work began again, and at the end of the day about 9 p.m.  In addition to brief chorales they played four or five “substantial pieces” of “appropriate length”.  The tower trumpeters were instructed “In honor of Almighty God”, and to arouse a sense of Christian piety, to play a sacred psalm with all diligence, and to

Baroque Tromones

make it heard everywhere, so that gentlemen and guild masters, together with all other members of the community, may derive a true sense of wellbeing therefrom.”  They and their assistants had also “with their instruments to help support the choir in churches where there is figural singing.”  For tower music the strident signal horn was generally replaced by trumpets, coronets, and trombones.  Straightforward chorales in “simple settings”, choral arrangements in several parts, free canons, tower sonatas and suite movements were often performed in an improvisatory manner by the master tower trumpeter, his assistants, and apprentices.  Details of the practice of improvisation at that time are given in the trumpet tutor “Tutta l’arte della Trombetta” (1614) by Cesare Bendinelli (c. 1542-1617), who was born at Verona but worked in Vienna and Munich.  He considered five trumpets the ideal number to comprise a group (or ten, if they had to play in ensemble from different positions), and he wrote out only the second of the five instrumental parts.  This “sonata” part (described by other writers as the “quinta” or “principal”) was accompanied note for note by the third trumpeter, playing the next lower note in the natural harmonic series, while the fourth and fifth players sustained fundamental notes; the highest part, known as the “clarion” was played as a kind of descant in the high fourth octave of the natural series, and was regarded as very difficult.  In some places, as at Zwickau, tower music was played “for the greater adornment of the town by comparison with others:, but for the most part the element of spiritual uplift was probably in the foreground, as is suggested by what J. Kuhnau wrote in 1700: “When on festive occasions our town musicians blow a sacred song from the tower with loud trombones we are moved beyond all measure, and imagine we hear the angels singing.”  The Christmas song “In dulci jubilo”, which with its mixture of Latin and German words can be traced back to the 14th century, was one of the earliest pieces for which trumpets were specifically demanded.  After Praetorius had introduced a six-part trumpet ensemble (consisting of two clarini, principal, “alter bass”, “volgan” and “grob”) into a vocal composition in 1618,  Samuel Scheidt’s “Cantiones sacrae” of 1620 retain only the clarini,

Clarini aka a Clarin Trumpet

which decorate the chorale melody, and particularly at the end very richly embellish it.
     One of the centers of German trumpet artistry during the second half of the 17th century was Leipzig.  During the 15th century the Emperor had granted to certain Imperial cities and trading towns the privilege of employing trumpeters.  In 1620, however, a dispute arose between the Leipzig authorities and the Court of Saxony, because Thomascantor Schein had made a setting of Psalm 150 “in accordance with the words, for trumpets and timpani,” to be performed at the wedding of a master builder.  Only the fact that the music was played in a church pacified the Court trumpeters, who had regarded this incident as an infringement of their exclusive rights.  An enviable reputation was acquired in Leipzig by the “well-tried clarion player” Johann Pezel, who in 1670 published a “Hora decimal” (containing 40 five-part Sonatas for two coronets and three trombones), and followed this in 1685 with “Five-part Wind Music:.  This collection consists of 76 pieces in all (including 40 Intradas, 12 Sarabands and 10 Balli), and it forms one of the most important sources of information concerning the art of town musicians in Germany.  Like Hans Leo Hassler’s “Pleasure Garden of new German songs, ballets, galliards, and intradas”, which appeared at Nuremberg in 1601, Pezel’s collection is restricted to the realization of brief melodic and rhythmic formule on a single chordal basis.
     Compositions for several bodies of performers written in Northern Italy, principally for St. Mark’s Cathedral in Venice (whose galleries could accommodate up to a hundred singers and instrumentalists in widely separated groups) were primarily in the nature of ceremonial music.  They were a feature of the Renaissance – static but impressive in their use of antiphony.  Of prime importance in all the works of this kind recorded here is the spatial effect of the alternation between the various groups of instruments (High, medium, and low pitched).  A four-part texture could take over the role of a single part, as is demonstrated by Gussago’s sonata “La Porcellaga” and the eight-part Canzone by Gabrieli, originally conceived for voices and adapted for wind instruments.  The stylistic contents of these popular Canzoni (there was no clear-cut terminological or musical line dividing such a piece from a “Sinfonia”) are displayed almost academically in the works of Gabrieli, Viadana and Bartolino; the repeated notes and lively rhythms point to the derivation of such music from the French chanson, as imitative (i.e. canonic or fugal) sections alternate with others which are homophonic.  Frequent changes between quadruple and triple time, relics of the ancient mensural system, indicate the poles between which this music has its being – festive solemnity and vigorous energy.

This blog is written and published by DLF Music Transfer, LLC  dba Christmas LPs to CD.  For more information on Christmas music or to purchase CDs of classic Christmas records on CD, please visit our website www.christmaslpstocd.com , call us 888-384-6970, or e-mail us david@dlfmusic.com.

    

Willkommen to Frankenmuth!

Street Scene in Frankenmuth, MI photo credit  www.frankenmuth.org

     Like many of you, today is our first day back to work after taking a week of vacation over the Independence Day holiday week.  We spent a week enjoying Northern Michigan and Mackinac Island.  It is wonderful trip that we would recommend to anyone who has never explored the region.  On our way south to our little hometown of Lebanon, OH (near Cincinnati) we made a little 10 mile detour off 75S to visit a quaint little town, Frankenmuth, MI, where it is Christmas all year long.

 

   The Simple Joys of Life

           

Willkommen. In German it means welcome.
An offer to come and join in. Something we don’t hear enough of these days.

Well, there is a place that’s all about being welcome.
Welcome to family time.
Welcome to playtime.
Welcome to Christmas time all year long.
Welcome to Frankenmuth.
Michigan’s little Bavaria, where we find all the things that make time together so meaningful. It’s a place of horse-drawn carriages and covered bridges. Of riverboat cruises and world famous chicken dinners.

Of big water parks and small-town strolls.

So when we need to simplify the agenda, when we need to spend the whole day with our kids, instead of just hearing about it right before bed, stop by and feel the warm welcome of Frankenmuth, where you are sure to find the simple joys of life. 

 

 

     The text above is taken from the homepage of www.frankenmuth.org.  Having only spent a short part of a day in Michigan’s “Little Bavaria,” we did not have an opportunity to enjoy many of the town’s offerings, but we certainly got the feel of the place.  Quaint, clean, and quiet, Frankenmuth offers families a wonderful get-away destination.

     Of course, people who make their living selling Christmas music every day of the year had to make a stop at the world’s largest Christmas store.  Bronner’s CHRISTmas Wonderland was foundered in 1945 by Wally Bronner.

 

 

      When Wally Bronner painted his first sign over 65 years ago, little did he dream that one day his business would grow to be the World’s Largest Christmas Store visited by millions of people.  The Bronner family is actively involved in the business, and along with their staff are dedicated to customer satisfaction.  Bronner’s motto is “Enjoy CHRISTmas, It’s HIS Birthday; Enjoy Life, It’s HIS way.”

     If you just love the joy and excitement of the Christmas season, then enjoy those special feelings all year long at Bronner’s CHRISTmas Wonderland! The sights, sounds, and spirit of Christmas completely surround you at this amazing store which is the size of 1 1/2 football fields.  Bronner’s is overflowing with 50,000 trims and gifts.

     Bronner’s Silent Night Memorial Chapel replica was built in 1992 as a tribute to God and the world’s favorite Christmas hymn.  It is open daily for visitation and meditation.  The original Silent Night Chapel in Berndorf, Austria (near Salzburg), was built on the site of St. Nicholas Church where “Silent Night” was first sung with guitar on Christmas Eve in 1818.

     The store features every kind of Christmas ornament, trim, and bauble imaginable.  Want a stocking stuffer for a plumber?  They have an ornament section themed “plumbers.”  (No kidding….I saw it!)  They offer complimentary wheel chairs to make shopping more comfortable for those with physical challenges and stroller rentals to contain those with no physical challenges.  So many decorated trees and Christmas scenes both indoors and out make this a perfect place to snap a family Christmas card photo (which they not only permit but encourage.)  There is a snack bar and a play area for the kids as well. 

     We enjoyed our visit and would encourage all of you who enjoy the Christmas holiday every day of the year to make a point of visiting.  It is a Christmas store like no other I’ve seen. 

 

 

  This blog is written and published by DLF Music Transfer, LLC  dba Christmas LPs to CD.  For more information on Christmas music or to purchase CDs of classic Christmas records on CD, please visit our website www.christmaslpstocd.com , call us 888-384-6970, or e-mail us david@dlfmusic.com.

 



Retro Tech – Aromance Aroma Disc

Christmas Harmonies by Aroma Disc CBS Records. 1985. Catalog #Q18403

     We admit to being intrigued when we found this record.  This is a standard 33 1/3 phonograph record with Christmas music.  What, then, is Aroma Disc?  We wondered, so I did a little research starting with the liner notes. 

From the liner notes:

Celebrate the sensory spledor of the holiday season in an exciting new way!  Christmas Harmonies comnines the magical, mood-making effects of music with the unique pleasures of enfironmental fragrancing.  Now you can listen to your favorite artists performing best-loved Christmas melodies, while a special assortment of Aroma Disc fragrance records fills your home with the aromatic joys of the season.

Christmas Harmonies features the finest in contemporary recording artists including Barbra Streisand, Johnny Mathis, Tony Bennett, and many more.  Combine these ten holiday classics with any number of Aroma Disc fragrance records…just let your moods and imagination be your guide!

Let the cool, exhilarting fragrance notes of Wintertime  set the stage fror Engelbert Humperdinck’s “Winter Wonderland”…combine Steve & Eydie’s spirited rendition of “Let It Snow, Let It Snow, Let It Snow!” with Fireplace, the rich fragrant warmth of cedar logs aglow.  Or try the peppermint freshness of Candycane with Johnny Mathis’s carefree “Sleigh Ride.”  Each favorite song evokes a new and unique experience when blended with cherished holiday scents lie Essence of Bayberry, spicy Gingerbread, or crisp, true Christmas Tree.

What better way to share the joys of the holidays than with a gift of music and gragrance…Christmas Harmonies and an Aromrance holiday fragrance record gift assortment.

The possibilites are endless!  Just insert the Aroma Disc record of your choice into your Aroma Disc Player diffuser approximately 2 minutes before playing your musical selection.  Then sit back and relax…let the combined pleasures of music and fragrance inspire a holiday season you – and your friends – will treasure forever.

     Wow! Good imagery in that ad-copy, but really – what is/was the Aromance Aroma Disc player?
Doing a little more digging, I found a few references to the machine in a couple of newpaper articles/reviews, in articles in magazines Time  and The New Yorker, and I found a blog account written by someone who remembers buying and using his Aroma Disc player.  I also found the US patent application.  According to the patent application, the Aromance Aroma Disc player was

“a discplaying aroma generator whose appearance and function are analogous to those of a phono disc record player, the user when playin a selected aromatic disc enjoying an olfactory rather than an auditory experience.  Each aromatic disc houses a supply of a liquid fragrance whereby when the disc is inserted in the player, an aromatic vapor is then discharged into the atmosphere.  The disc is formed by a circular sheet of absorbent material impregnated with the liquid fragrance and sandwiched between a pair of annular plastic films which are peripherally joined to create a central zone exposing the impregnated sheet.  In the player, heated air under positive pressure is forced through the central zone to volatilize the liquid to produce a vapor which is discharged through vents in the casing of the player.  The aromatic disc is packaged in a transparent sleeve having circular spindle labels on both sides thereof which overlie the central zone to impart thereto the appearance of a conventional phon record and serving to identify the fragrance.”

So, we have found the answer to our question…The Aromance Aroma Disc was a 1980s gadget that looked sort of like an 8 track player, played cd-sized discs made to look like record albums, and emitted an air freshening scent through vents on the top.  Now that’s retro-tech. 


Aroma Disc Scent albums



This blog is written and published by DLF Music Transfer, LLC dba Christmas LPs to CD. For more information on Christmas music or to purchase CDs of classic Christmas records on CD, please visit our website www.christmaslpstocd.com , call us 888-384-6970, or e-mail us david@dlfmusic.com.