I think the fact that we’ve all been watching the same TV specials since the 1960s really speaks to the importance of our traditions in the winter holiday season. Year after year, forty-something years later, we’re loyal to the same shows. How many of us can co-narrate parts of these, or deliver the dialog in time with the characters? …I thought so.
Below are the Xmas specials that hold special importance to our family, and the soundtracks we treasure by extension.

A Charlie Brown Christmas (1965)
Vince Guaraldi Trio
The official start of the Xmas season comes whenever I think to spin this album. I love, love, love it. I’ve even listened to it in the off-season. A trio with the piano as the central instrument, plus an upright bass that gets loud from time to time, is the perfect recipe for instrumental jazz, and Guaraldi and company are just so talented and on it. If you’ll pardon the blasphemy, I think sweet baby Jesus was born just so I could have this album and an excuse to listen to it.
N.B. There is an expanded release of the album available that has alternate takes for several of the tracks. I’ve not heard them yet, but I figure since they successfully put “What Child Is This?” and “Greensleeves” on the original release, the extra tracks may not be overkill.

Rudolph the Red-Nosed Reindeer (1964)
Burl Ives & others
We owned this on cassette when I was growing up, and I still consider it next-best to actually watching the video. What a great, totally bizarre story. I mean, yes, it issues a slap in the face of conformity, but the tale is so sprawling. Yukon Cornelius? The abominable snow monster? Really? And the stop-motion animation…how can you not love it? I like that the soundtrack is faithful to the movie, but I still don’t see the need for Set of Tracks Formerly Known As a B-Side full of instrumental versions of the songs. Because we’re all desperate to sing karaoke to Rudolph…?

How the Grinch Stole Christmas (1966)
Boris Karloff & Thurl Ravenscroft
This isn’t the soundtrack to the movie (which is good since you can just sit and watch the movie). Instead we have Boris Karloff reading the whole story, with some background music and sound effects, and the Whos singing at appropriate times. And, of critical importance, we have Thurl Ravenscroft’s “You’re a Mean One, Mr. Grinch” as an isolated track. He’s so the right person to be singing that song, and anyone who tries to cover it is subject to intense scrutiny. Picturing him as Tony the Tiger is optional, and not recommended.

Bonus thoughts: soundtrack FAIL alert!
It’s not technically a soundtrack, but A Sesame Street Christmas contains a lot of the songs that are on my very favorite Xmas special: Christmas Eve on Sesame Street (1978). You know, the essentials like “True Blue Miracle,” “Keep Christmas with You (All Through the Year),” Bert & Ernie’s “Have Yourself a Merry Little Christmas” duet, and Oscar’s essential ballad, “I Hate Christmas.” I knew the songs had been re-recorded in 1995 but I figured, how bad can they screw it up?
No, no, no, no, no. Let me tell you, I was so horrified that I immediately purchased Merry Christmas from Sesame Street (1975) on vinyl. We don’t even own a turntable, but I still felt deeply compelled to own it—that’s how bad A Sesame Street Christmas is.

First of all, they Elmofied it. Because apparently the world might end if young kids can’t recognize the voices of Hardhead Henry Harris and Smart Tina. And if Elmo doesn’t constitute “bad enough,” the thing that really bothers me is the one word they changed in “I Hate Christmas” The new line is, “I’ll tell him where to leave his toys.” Huh? It makes sense when you know how he sang it in 1978: “I’ll tell him where to put his toys.” Put—what an offensive word! Not offensive like stick, shove, or cram (or any of the other words Nate and I brainstormed the other day), but still enough for it to end up, in the unlikely event of its re-release, with one of those for-adults-only disclaimers.
Merry Christmas from Sesame Street was released three years before Christmas Eve on Sesame Street (and, thus, isn’t a soundtrack either), so I’m not 100% sure on Oscar’s verb choice then. But, I bet you anything it’s not “leave.”