“Must Be Santa” (Bob Dylan / Christmas Cover)

For Christmas songs chords & lyrics, CLICK HERE!

By Chris Moore:

It’s official: the Christmas season is upon us yet again!  I, for one, found it difficult to concentrate on the work I brought home this weekend, choosing instead to listen to Christmas music — specifically that on Bob Dylan’s new 2009 holiday album Christmas in the Heart (see my review here!) — and playing some of my favorite seasonal songs on acoustic guitar.  One of my new favorites is a song written by Hal Moore and Bill Fredricks titled “Must Be Santa.”

Now, before you get too excited, I should begin by making it very clear that tonight I am covering Bob Dylan’s rendition of “Must Be Santa” and NOT the performance “popularized” by Mr. Music and the Cool Kids Chorus.

Please don’t be disappointed…

Seriously, though, if you would like to hear that rocking version, you’ll just have to download it for yourself.  Or the versions by Mitch Miller, Raffi, Point Sebago Resort, Glen Burtnik, Miss Lisa, Miss Molly, The Friel Brothers, The Angel Choir, The Holly Players Orchestra, The Hit Crew, Mary Lambert, Bob McGrath, Kids Sing’n, the Pokemon Christmas Bash band, or Lorne Greene with the Jimmy Joyce Children’s Choir — good luck finding that last one.

If you’re craving a good polka, then don’t miss out on the Brave Combo version (which, ironically, is the closest in style and arrangement to Dylan’s).

And who could forget the Kids Rap’n the Christmas Hits version?

These cover songs range from boring to funny to vomit-inducing and back again.  This brings me to the Bob Dylan version, which is a breath of fresh air when played beside these other covers.  Dylan’s “Must Be Santa” is a frantic, polka-inspired three minutes of Christmas spirit, accordions, and bright choral vocals built up around Dylan’s gruff lead.  Recorded nearly half a century after Mitch Miller first recorded the song in 1961, it is interesting to see how our image of Santa and the general sound and style of Christmas music (i.e. both sets of chord changes as the song progresses a la so many other seasonal favorites) really haven’t changed much in all this time.

Of course, it doesn’t hurt that Dylan’s album — and his recent work in general — is an homage to a simpler time in American popular music.

That is perhaps why Dylan’s new album, time-ravaged vocals and all, has slipped in so quickly among my favorite Christmas albums of all time.  Although it was recorded earlier this year, there is a sense of nostalgia and even timelessness in each of its tracks.  Somehow, he has managed to record the songs in a style that seems very natural from his current studio band.  Indeed, Dylan has seemingly reached further and further into the past for the styles of his past several albums.  In this sense, 2009 was the ideal year for him to record an album of traditional favorites and holiday songs from earlier in the century.

I don’t think any music will ever usurp the positions that The Beach Boys’ Christmas Album and the Moody Blues’ December currently hold in my heart.  The Barenaked Ladies’ Barenaked for the Holidays, Brian Wilson’s What I Really Want For Christmas, and America’s Harmony are certainly the next runners up.  Some of my attachment to this music is admittedly due to my own personal memories, such as listening to the Beach Boys each year as my family decorated the tree and attending a Moody Blues Christmas concert with two of my dearest friends several years ago.  That being said, there is also a universal element to the music on these records that I can’t imagine any fan of rock music being able to deny.  Somehow, these aforementioned bands have managed to incorporate religious hymns, classic rock Christmas songs, and originals into unified works that I look forward to dusting off each and every year.

For now, I’m wading into the music of season via this new Dylan album.  After all, this is the punchline of a joke I’ve been making for as many years as I’ve loved Bob Dylan — “Imagine if Dylan recorded a Christmas album!”  My friends and I would laugh, but I was always privately jealous that their favorite bands — the Beach Boys, the Moody Blues, etc. — had recorded Christmas albums or at least a Christmas song or two.

Now, I have my secret wish, and I couldn’t be happier!

Yes, Dylan’s voice is rugged, and truth be told, I was a bit hesitant to embrace this album when I gave it one listen upon its release a month ago.  However, it only took a second listen for me to get hooked.

Whatever music you may enjoy listening to at this time of the year, I hope you’re enjoying it.

See you next session!

More Laptop Sessions covers

“Must Be Santa” (Cover by Bob Dylan) – Chords, Tabs, & How to Play

To see how it’s played in a music video, CLICK HERE!

“Must Be Santa”
Hal Moore & Bill Fredericks – Covered by Bob Dylan

A
Who’s got a beard that’s long and white?
E
Santa’s got a beard that’s long and white.
A
Who comes around on a special night?
E
Santa comes around on a special night.
A
Special night, beard that’s white.
D           E
Must be Santa,
A            Bm
Must be Santa,
D           E                    A
Must be Santa, Santa Claus.

Who wears boots and a suit of red?
Santa wears boots and a suit of red.
Who wears a long cap on his head?
Santa wears a long cap on his head.
Cap on head, suit that’s red.
Special night, beard that’s white.
Must be Santa,
Must be Santa,
Must be Santa, Santa Claus.

Who’s got a big, red cherry nose?
Santa’s got a big, red cherry nose.
Who laughs this way: “Ho, ho, ho”?
Santa laughs this way: “Ho, ho ho.”
Ho, ho ho; cherry nose.
Cap on head, suit that’s red.
Special night, beard that’s white.
Must be Santa,
Must be Santa,
Must be Santa, Santa Claus.

Bb
Who very soon will come our way?
F
Santa very soon will come our way.
Bb
Eight little reindeer pull his sleigh;
F
Santa’s little reindeer pull his sleigh.
Bb
Reindeer sleigh, come our way.
Ho, ho, ho; cherry nose.
Cap on head, suit that’s red.
Special night, beard that’s white.
Eb         F
Must be Santa,
Bb         Cm
Must be Santa,
Eb          F                   Bb
Must be Santa, Santa Claus.

B
Dasher, Dancer, Prancer, Vixen —
F#
Eisenhower, Kennedy, Johnson, Nixon.
B
Dasher, Dancer, Prancer, Vixen —
F#
Carter, Reagan, Bush, and Clinton.
B
Reindeer sleigh, come our way.
Ho, ho, ho; cherry nose.
Cap on head, suit that’s red.
Special night, beard that’s white.
E           F#
Must be Santa,
B           C#m
Must be Santa,
E           F#                  B
Must be Santa, Santa Claus.

Must be Santa,
Must be Santa,
Must be Santa, Santa Claus.

** These chords and lyrics are interpretations and transcriptions, respectively, and are the sole property of the copyright holder(s). They are posted on this website free of charge for no profit for the purpose of study and commentary, as allowed for under the “fair use” provision of U.S. copyright law, and should only be used for such personal and/or academic work. **

More Laptop Sessions covers

“Odds and Ends” (Bob Dylan Cover)

For Bob Dylan chords / tabs / lyrics, CLICK HERE!

By Chris Moore:

Well, it may not have been recorded in my basement with an as-yet-unknown Canadian rock band, but this is the best version of “Odds and Ends” you’re going to get out of me!  I’ve always loved this song.  It sets the tone nicely for the 23 songs that follow.  Indeed, “Odds and Ends” encapsulates the spirit of The Basement Tapes: often absurd lyrics sung over raw yet warm instrumental tracks.  For Dylan, this set of songs signified his retreat from the “wild, mercury sound” of Blonde on Blonde and the wild world tour of 1966.  At the same time, you can listen as the Band begins to really gel and find their collective voice.

The primary reason I chose this song tonight — one of two that I will post tonight — is in honor of Dylan’s brand-new album being released tomorrow.  It is titled Together Through Life, and I’ve already recorded a Laptop Session of the lead track, “Beyond Here Lies Nothin.’”  There is at least one other song that’s been leaked online, but I’d rather save the other nine tracks for my first listen to the album as a whole.

Instead, I’ve gone back to this 1975 release of these 1968 recordings.

Why choose The Basement Tapes to cover now?

The answer, quite simply, is that I was too busy with other videos and writing to be able to record these songs a couple weeks ago when several Dylan albums — The Basement Tapes, New Morning, Dylan and the Dead — were reissued in digipack format.  I saw them in the stores, and although I really don’t see why anyone who already owns these albums would want to buy the updated versions (aside from sound quality, of course), I can’t help but feel it necessary to celebrate any and all attention that Dylan’s back catalog is given.

It hasn’t been all that long since I would scan the CD racks at stores like Sam Goody, FYE, Best Buy, Borders, and a host of others, looking for Dylan albums to complete my collection.  For a while, I would buy two at a time in an attempt to satiate my thirst for new Dylan material.  Although I don’t feel that same urgency for Dylan’s releases when I walk into a CD store, I have lost none of my passion and respect for his music.

As Jim knows and is probably already thinking (and he’s right), I’ll jump at any excuse to record a Dylan song!!

Okay, that’s it for the first post.

See you next session!

More Laptop Sessions covers

“She Belongs to Me” (Bob Dylan Cover)

We’re looking for more Guest Sessions submissions! So, sit down, pull up your acoustic guitar and camera, post the video on YouTube, and CLICK HERE!

As I always say, it’s never too soon for another Bob Dylan cover video!  Personally, I’ve attempted to restrain myself from recording a comfortable, enjoyable Dylan cover this year.  However, tonight’s installment of the Guest Sessions is a Dylan cover song music video with an interesting twist.

First of all, this is a song from Dylan’s 1965 album Bringing It All Back Home.  This is perhaps one of his best albums, and it was a transition point for him, half of the album being full band renditions and the other half being classic acoustic-only compositions.  (For his next album, Highway 61 Revisited, he would dive deeply into the world of electric rock…)

So far, I’ve recorded two covers from this album — “Subterranean Homesick Blues” for the members-only area of the site and “Love Minus Zero/No Limit.”  No one here has yet dared to take on the more noteworthy songs, such as “It’s Alright, Ma (I’m Only Bleeding)” or the song that the Byrds launched to chart success, “Mr. Tambourine Man.”  This being said, I was truly impressed with the apparent ease with which Stan Denski, our guest tonight, played “She Belongs to Me.”  Granted, this is a fairly straightforward song, but he changed the tuning and plays in an interesting fashion.  His version is true to the original, yet very much his own and sung well.

Thank you, Stan, for sending this very entertaining video!

I’ll let him introduce the video — Stan writes,

This is a cover of Bob Dylan’s “She Belongs To Me.”  It is played on an old Guild 12-string tuned to an open D and played by barring chords from the top of the neck which allows the highest strings to ring open and create diminished chords.  It also uses a lot of harmonics struck at the 12th fret.

I was showing a friend how to play this version and he videotaped it and, later, stuck it up on YouTube.

Stan Denski, Indianapolis

More Laptop Sessions covers