Wrapped enchants with strong vocals

As the temperatures begin to drop, Kelly Clarkson’s first Christmas album, Wrapped in Red, might bring a little warmth and pre-holiday cheer when it debuts Tuesday.

Back for the holidays · Kelly Clarkson’s Wrapped in Red is the Texas-based songstress’ first studio album since 2011’s Stronger. – Photo courtesy of RCA Records

Though this is Clarkson’s first Christmas album, it’s not her first foray into the genre. Her rendition of “My Grown-up Christmas List,” which she sang on American Idol, has since become a holiday staple. Wrapped in Red allows Clarkson to use her expressive vocals and style, while also giving the songs a Santa-approved trademark.

Though this is Clarkson’s sixth studio album, the singer shows she still has a couple of tricks up her sleeve, in this case five original Christmas songs. True, Clarkson has been co-writing songs since her debut album in 2003. It’s no easy feat, however, to pen new holiday classics. By grounding her album with feelings she’s experienced in her relationships, though, she’s managed to create new songs sure to be played during the holiday season for years to come.

The title and opening track, “Wrapped in Red,” one of the songs co-written by Clarkson, is inspired by the infamous card confession scene with Keira Knightley in Love Actually. In the song, Clarkson recalls experiences of holiday romance, the fun bits and moments of melancholy.

Clarkson gives the album a country twist in her cover of the popular country song and Elvis Presley original, “Blue Christmas.” The pop country singer proves that she can do mellow as confidently as soul-splitting vocals in it. Needless to say, she does Elvis proud.

Another country-infused song on the album is “Baby, it’s Cold Outside,” done in collaboration with Ronnie Dunn, an American country singer. The song is not exactly lacking in anything. With so many renditions of the song out there, however, this version might lack a little bit of the sexiness or chemistry needed to differentiate it from the pack.

Clarkson’s cover of Judy Garland’s “Have Yourself a Merry Little Christmas” introduces a slower and more bittersweet feel to the album. In contrast to many other covers, such as Ella Fitzgerald’s jazzy version or Michael Bublé’s warming croon, Clarkson returns the song to its melancholy roots.

Clarkson made another unexpected choice to cover Imogen Heap’s “Just for Now,” justified by the line, “It’s that time of the year / Leave our hopelessness aside.” Originally a ballad about heartbreak, it doesn’t sound very Christmas-y, but the song is well performed and fits in Clarkson’s repertoire. Perhaps after this album, the song might just be infused with a new meaning. Or maybe not. “Just for Now” is a wonderful song on its own, but even Clarkson’s stellar performance doesn’t give it enough of a Christmas feel.

One of the album’s highlights is undoubtedly “Underneath the Tree,” one of the songs co-written by Clarkson. Many have compared both “Underneath the Tree” and Mariah Carey’s “All I Want for Christmas,” one of Carey’s biggest hits. Like Carey, Clarkson eschewed the material parts of Christmas in exchange for the emotion underlying it. The song is catchy and contemporary but offers a variety of influences dating back to early Christmas classics. Lines such as, “Presents, what a beautiful sight / Don’t mean a thing if you ain’t holding me tight / You’re all that I need / Underneath the tree,” reflect the pleasing blend of traditional and modern, which runs through the album to create a feeling of timelessness.

Clarkson ends with “Silent Night” and “I’ll be Home for Christmas.” “Silent Night” is a team effort with Reba McEntire and Trisha Yearwood. Some versions of the album also features a stanza of the ecclesiastical hymn “Oh Come, Oh Come Emmanuel” that seems a little out of place with the tone of the album. The decidedly secular and holiday romance-oriented themes of the album, which are exemplified in Clarkson’s originals, are worlds away, and the hymn seems a little dated in comparison.

Clarkson’s album is pleasant, upbeat and undoubtedly well sung, with songs that showcase her strengths. The vast array of stylistic influences on the album from country to pop to musical theater celebrate the universality and accessibility of Christmas music throughout music genres. Even though a few songs might feel out of place, as a whole the album is worth a listen. The original songs might be a little fluffy but they’re still enjoyable. Clarkson and producer Greg Kurstin, who also produced her previous album Stronger, seems to have found a winning combination. After all, isn’t everything better wrapped in red underneath a Christmas tree?

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