The Abominable “O Holy Night”: Revealed

(Every year, on the Monday after Thanksgiving, we kick off the Christmas season our favorite way possible: listening to an unspeakably awful rendition of “O Holy Night”. Last year, we were contacted by the song’s performer and interviewed him. It’s sad, to some extent, to put a name to that majestic voice. But were were we going to pass up that opportunity? No, we were not. Enjoy our yearly tradition.)

The most popular article in Burnside history is “The Abominable ‘O Holy Night’”, in which I speculated on the origins of an internet sensation. What you’re about to hear is a rendition of the great Christmas hymn so immaculate in its broken beauty as to render any listener helpless. I first heard this recording through The Sneeze, the best blog on the world wide web.

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A few weeks ago, I was mysteriously contacted by Steve M. (last name withheld for privacy’s sake). Steve M. claimed he was the composer and singer behind the track.

I was incredulous, but Steve provided proof, a variety of tracks including the original instrumentation.

The Abominable ‘O Holy Night’ has brought me much joy, and part of that joy comes from the mystery behind the track, the myriad of telephone-game like stories that have weaved their way across the country. Should the mystery be revealed, or would we be better off not knowing?

Ultimately, it’s Steve M.’s story to tell, and he’s convinced it’s time to let the world know. After all, it’s hard sitting back and letting people take credit for something so wonderfully awful.

Jordan Green: First off, a million thanks for speaking with us. To start things off, please tell us a bit about yourself.

Steve M.: I am Steve M. I graduated from college in 1976 with a degree in Classical Music Theory. In 1981 I moved to Nashville, Tennessee from South Carolina to continue my nine year career as a professional studio musician. Since 1981, I have made my living totally as a commercial musician/arranger/producer and have recently began writing for film. I work on an average of 100 recording projects each year and last year I wrote 250 arrangement all of which were recorded in the various genres of music I work.

In 2006 I returned to Belmont University to teach a course in Computer Assisted Music Notation which I had taught in the mid 90s along with some private commercial composition students. I was not enticed to return when they called but just casually said, “Too bad you don’t have a Masters in Classical Music Composition or I might be tempted to return if I could get a Masters while I taught.”

I had been trying to find a place to do just that but could not even get a reply from several schools, so in disgust I threw it in God’s face and said, “OK God, maybe this is stupid, I’m 50 years old so if you want me to get a Masters…you work it out.” To my surprise the voice on the other end of the phone said, “That”s funny, we just added that Masters program to our roster last semester. So I now teach at Belmont University in Nashville and have fifteen hours toward my Masters in Classical Music Composition.

JG: Besides teaching, do you work in the recording industry?

SM: Yes. I’m a recording specialist. I’m passionate about recording because recording freezes a time, a place and an era of music like a time capsule. I work on a lot of album projects, jingles, film, visual media projects. I work in country, gospel, rock-n-roll, classical but I don’t do hip hop or rap. I write for full orchestra, hire the studios and musicians and record what I write. I also have my own 48 track Protools production studio at home.

JG: Why not hip-hop and rap?

SM: I find hip-hop and rap boring to me. A four bar loop with somebody talking with very simplistic rhymes just does not interest me musically, and I find the lyrics to be vulgar and profane.

JG: Who are some of the entertainers you’ve worked with?

SM: In Gospel I have produced or arranged for Brooklyn Tabernacle Choir, Gaither Vocal Band, Avalon, Casting Crowns, among others. I also orchestrated “Midnight Cry” with Gold City Quartet which has been one of the biggest songs in Gospel music over the last 20 years.

On the Country side of things I’ve worked with Kenny Rogers, Martina McBride, Willie Nelson, Vince Gill, Alan Jackson. I used to produce Floyd Cramer, to name a few.

In Pop I recently did the LA NAMM show featuring Richard Marx, Earth Wind & Fire, I also did a LA NAMM show that was a tribute to Michael McDonald which had Steve Winwood, and Ray Charles on the show. I have worked with Collective Soul, Pat Boone, Amy Grant and Seals & Crofts.

I also arranged and produced a classical opera singer last year, Karen Knight, and a classical piano record with live orchestra for Greg Howlett.

JG: What about other mediums?

SM: I recently did the TV show for CMT’s 100 Greatest Love Songs, and in January of 2006 I was the supervising copyist and music prep director for Hoodwinked, an animated movie that reach #1 in box office nationwide featuring Glenn Close and James Belushi.

JG: You’re obviously experienced in the music industry. How did you get the idea to record this version of ‘O Holy Night’?