Last week our family watched The Star Wars Holiday Special, a 1978 program which lives up to its reputation as basically the worst thing that ever happened anywhere ever.
It’s truly remarkably that they kept making Star Wars movies after the holiday special disaster, but an even more extraordinary fact is that only two years later they returned to the holiday theme with Christmas in the Stars.
RSO Records also released the Empire Strikes Back soundtrack by John Williams and the London Philharmonic Orchestra as well as a great story album of the film (subtitled “The Adventures of Luke Skywalker” and narrated masterfully by Malachi Throne). The label’s unprecedented success in the seventies was due in large part to brilliant crossover marketing between film and popular music — notably with a string of hits from Grease and Saturday Night Fever. Still, when compared the millions RSO invested and lost in the Bee Gees/Peter Frampton Sgt. Pepper’s Lonely Hearts Club Band film, a Star Wars Christmas album was a wise investment.
The album reportedly sold out its initial pressing of 150,000 copies, although its hard to find anything endearing about it besides the painting on the cover by legendary Star Wars production artist Ralph McQuarrie. It is, we suppose, less terrible than the holiday special, but something about a lecture on the meaning of Christmas from Anthony Daniels just doesn’t sit well. Apparently the single “What Can You Get a Wookie for Christmas (When He Already Has a Comb?)” enjoyed airplay, but we suspect this was largely on the Dr. Demento Show.
Christmas in the Stars does carry two special distinctions for record collectors. First, it was one of the earliest digitally recorded and mixed records after those amazing albums made here in Minneapolis at Sound 80. We think the Flim and the BBs album and the SPCO recordings are much better than Christmas in the Stars.
And second, the song “R2D2 We Wish You A Merry Christmas” (credited on the single to The Star Wars Intergalactic Droid Choir and Chorale) is the recorded debut of Jon Bon Jovi. At seventeen, he was working as a custodian at the Power Station, a legendary New York recording studio run by his cousin, Tony Bongiovi. Whether or not this is canon — and whether or not Bon Jovi could make an appearance in a future Star Wars sequel — is now up to the people at Disney.