Well here we are again. Christmas Eve! And time for one more little musical odyssey, before I gorge myself on enough mince pies to accurately recreate ‘In Dulce Jubilo’ using my own wind. I’ve got another traditional one for you, but with a twist.

It was while rehearsing their jaunty hit ‘Little Saint Nick’ for the barbershop that I got to know The Beach Boys’ 1964 Christmas Album. The first side is made up of fairly standard early Beach Boys rockers. They’re all fun, the harmonies as great as ever, but nothing special.

The second side is where it gets interesting. The band put their instruments down and are accompanied instead by a 40-piece orchestra for a selection of vintage classics and carols. The Side B opener is this absolutely stunning version of ‘We Three Kings of Orient Are’.

It completely blew me away. In fact, it is the song that prompted me to finally get off my arse and start this blog (or rather onto my arse, as I have done most of the writing sitting down.)

It was two years before he created the revolutionary Pet Sounds (1966) but is as good a piece of evidence as any of Brian Wilson’s genuine musical genius. The harmonies here are innovative, surprising and a little haunting. Listen on a decent set of speakers or headphones to make the most of them.

The gentle instrumental intro, with a pretty climbing oboe line, instantly calls to mind the mysterious landscape of a Middle Eastern desert and its three weary travellers. The first verse opens as a duet between Wilson and Mike Love. Their California drawl, coupled with the orchestra, gives the song a uniquely sombre, almost psychedelic quality.

The second verse, when the full group join, is where it all comes alive. The harmonies are luscious and the ensemble passing notes yield some deliciously crunchy chord clashes. The inclusion of the 6^th above a minor triad creates an ominous suspension on the end of the line ‘Over us all to reign’. My barbershop comrade Adam suggested this could hint at the prospect of a ‘King forever, ceasing never’ as a not entirely comforting one!

The adventurousness of the harmonies builds in the third verse; after the final chorus the orchestra falls away and the vocals are laid bare on an unaccompanied ‘Ooh’. Majestic.

And what an ending to this week-long exploration of Christmas music. I hope you’ve enjoyed it. Why not stick on the Christmas Playlist while wrapping those final presents? Or in the morning as they are mercilessly ripped open? Or perhaps while you wait for those cheese and bacon nibbles from M&S to crisp up in the oven?

Some final awards to dish out:

• Best Golden Oldie: Judy Garland singing ‘Have Yourself a Merry Little Christmas’. A heart-breaking song about battling through hardship, performed by a woman who had a pretty tough life.
• Best Choral Harmony Line: Walford Davies’ arrangement of ‘The Holly and the Ivy’. I used to love singing the soaring tenor part in the University of Kent Chamber Choir!
• Worst Christmas Song Ever Recorded: Bob Dylan – ‘Hark the Herald Angels Sing’. Mind you, ever since going electric in 1965, Dylan has done whatever the hell he wants, regardless of what people think. And if that means recording an absolutely atrocious Christmas album then so be it.

Right. That’s about all I’ve got time for. Elvis is on the building and Eartha Kitt is making all sorts of unrealistic gift demands.

Merry Christmas! Have a great one, and see you for more Jukeboxing in the New Year. Depending on the level of mince pie consumption, I may have to kick off 2019 with my interpretation of the ‘Call On Me’ video…