Eric Benét’s holiday album, “It’s Christmas”, finds the four-time Grammy nominee embracing comfort rather than challenge. He delivers a collection that is impeccably sung and tastefully arranged, though it ultimately feels a bit too cautious for an artist of his talent and history.
There is no doubt that Benét’s voice remains in excellent form. Over time, it has developed a richer quality that lends these performances a weathered elegance, ideally suited for the season. In “Please Come Home for Christmas,” he allows the blues lineage to shine through, opting for subtlety instead of overblown phrasing. Similarly, his rendition of “Oh, Holy Night” is restrained; its power stems from control rather than theatrics, reminding us that Benét has always commanded attention without needing vocal embellishments.
The cover songs are selected with affection and respect, sometimes to a fault. “Mele Kalikimaka,” the classic made famous by Bing Crosby, leans heavily into nostalgia, with Nina Nelson’s warm accompaniment helping to maintain its vintage charm. Likewise, “Give Love on Christmas Day,” originally recorded by The Jackson 5, is treated with reverence. Benét chooses to honor the song’s legacy without reinterpreting it, resulting in tracks that are pleasant and polished but lack a distinct personal take.
“My Favorite Things,” linked to Benét’s lifelong love of *The Sound of Music*, reads more like a personal tribute than a bold reimagining. “Christmas Time Is Here” drifts gently, setting a mood rather than delivering a strong statement. This pattern characterizes much of the album: it is beautifully executed and emotionally sincere, but rarely surprising.
The original songs hint at a more revealing project. “It’s Christmas,” a duet with Stacey Ryan, features a conversational sparkle that momentarily lifts the album out of its comfort zone. Meanwhile, “Christmas Morning,” featuring Benét’s daughters Lucia and Luna, serves as the emotional centerpiece of the album—tender, intimate, and refreshingly candid.
Ultimately, SLS “It’s Christmas” succeeds as a soothing, fireside listen, but it plays things too safe when it could have taken more risks. Benét sounds as good as ever; one only wishes he had trusted that voice enough to explore more adventurous directions.
Final Grade: B
“It’s Christmas is available on all streaming platforms.
For this week’s Second Listen Sunday, I want to revisit 2004 and highlight Romeo’s debut solo album, formerly of Immature. Titled “Food for Thought” and released on June 22nd, this project marked the singer’s change of name to Young Rome in an effort to distance himself from the youthful sound of his group, much like his bandmate Marques Houston had done a year earlier.
In the nineties, Hip-Hop reigned supreme, and every label CEO wanted a share of the lucrative R&B market. One strategy was to keep singers on their roster who could deliver catchy hooks, keeping everything in-house and saving money. Bad Boy had Carl Thomas, Death Row had Danny Boy, and Roc-A-Fella had Rell, our featured artist for this week’s Slow Jam Saturday
Growing up in the eighties, I was surrounded by incredibly talented male R&B singers who could deliver unforgettable love songs. Artists like Luther Vandross, Jeffrey Osborne, and Peabo Bryson dominated the airwaves, but Freddie Jackson was another voice that truly deserved recognition.