The Definitive Voice Behind the Seductive Christmas Carol
When the holiday season rolls around, a familiar, sultry purr invariably finds its way onto the airwaves, listing a famously extravagant Christmas list. But amid the countless covers and modern renditions, many music lovers often wonder, who first performed Santa Baby? The unequivocal and iconic original artist was the one-and-only Eartha Kitt. In 1953, Kitt lent her uniquely seductive and theatrical voice to the song, transforming it from a simple novelty tune into an enduring and controversial Christmas standard that would define her career and challenge the very notion of a “holiday song.”
This article delves deep into the story behind that groundbreaking original performance. We’ll explore the remarkable artist who brought it to life, the clever minds who penned its audacious lyrics, and the cultural ripple effects of a song that was, and in many ways still is, unlike any other. It’s a story not just about a song, but about a moment in time, a trailblazing artist, and the birth of a Christmas classic that continues to captivate and charm listeners more than 70 years later.
Eartha Kitt: The Purr-fect Performer for “Santa Baby”
To understand why Eartha Kitt’s version of “Santa Baby” is so definitive, one must first understand the artist herself. By 1953, Kitt was already an international star, but she was far from a conventional one. Her persona was a carefully crafted cocktail of sophistication, exoticism, and a simmering, almost feral charisma. This wasn’t an accident; it was the product of a life of extraordinary resilience and talent.
Born into poverty in South Carolina, Kitt’s early life was marked by hardship. She eventually found her calling in performance, joining the famed Katherine Dunham Company as a dancer and vocalist. Touring the world with the troupe, she honed her craft and became fluent in multiple languages, which she would often weave into her nightclub acts. Her solo career took off in the early 1950s in Paris and later New York, where she was lauded by luminaries like Orson Welles, who famously called her “the most exciting woman in the world.”
A Voice Like No Other
Kitt’s vocal style was her signature. It wasn’t just about hitting the right notes; it was about the character behind them. She didn’t just sing a song; she inhabited it. Her voice could shift from a playful growl to a soft, kittenish purr in a single phrase. This theatrical, feline quality made her the absolute perfect vehicle for a song as tongue-in-cheek and slyly seductive as “Santa Baby.” While another singer might have performed the lyrics as a straightforward request, Kitt understood the subtext. She delivered it as a playful negotiation, a performance of affection with a clear, materialistic goal. It’s this knowing wink in her voice that makes the original recording so utterly compelling and timeless.
The Genesis of a Christmas Classic: Crafting the Song
“Santa Baby” was the brainchild of two talented songwriters, Joan Javits and Philip Springer. The story of its creation is almost as charming as the song itself. Joan Javits, the niece of prominent New York politician Jacob K. Javits, had the core idea and lyrics. She approached composer Philip Springer to help her set it to music.
Interestingly, Springer has admitted in interviews that he initially thought the song was silly and didn’t have much faith in it. He was a serious composer, and a novelty Christmas song seemed beneath him. However, at the insistence of his publisher, he completed the music. The song was then presented to RCA Victor Records with one specific artist in mind: Eartha Kitt. The record label executives immediately saw the potential and arranged a recording session. They knew that Kitt’s established “femme fatale” persona was the missing ingredient needed to elevate the song from a gimmick to a smash hit.
A Lyrical Wishlist for the Ages
The genius of the lyrics lies in their specificity and audacity. This isn’t a vague wish for “peace on Earth”; it’s a meticulously curated list of high-end luxury goods from the era. Let’s break down the iconic wishlist:
- A Sable: The ultimate symbol of old-Hollywood glamour and wealth.
- A ’54 Convertible: Not just any car, but a brand new model year, specified in a chic “light blue.”
- A Yacht: The very definition of extravagant leisure.
- The Deed to a Platinum Mine: A comically over-the-top request that highlights the song’s satirical nature.
- A Duplex and Checks: Practical yet luxurious, grounding the fantasy in a desire for financial independence.
- Decorations from Tiffany: Signifying not just wealth, but taste and brand-name prestige.
These weren’t just random items; they were a snapshot of mid-century American aspiration. By having a woman so confidently and charmingly demand these items, the song subtly commented on consumer culture and female agency in a way that was groundbreaking for its time.
The Original 1953 Recording: A Moment in Musical History
Eartha Kitt recorded “Santa Baby” in July 1953 in New York City, with Henri René and his orchestra. The recording session produced the version that would become a cultural touchstone.
A Closer Listen: The arrangement is a masterclass in musical characterization. It opens with a playful, almost tiptoeing brass and woodwind intro, setting a whimsical scene. The orchestra swells and recedes in perfect sync with Kitt’s vocals, accentuating her every purr and plea. The use of a clip-clopping percussion effect subtly evokes the sound of reindeer hooves, anchoring the song in Christmas iconography while the sultry melody and vocals do something else entirely.
Kitt’s performance is nothing short of iconic. Notice her playful inflection on “Saaaaanta, baby,” stretching the words out. Listen to the way she almost giggles through the line “Think of all the fun I’ve missed.” Each word is delivered with intent, wit, and an irresistible charm. It was released by RCA Victor in October 1953 and became an instant sensation, reportedly selling so well that it became the best-selling Christmas song of that year.
Too Hot for the Chimney? The Controversy and Reception
While “Santa Baby” was a commercial hit, it was far from universally accepted. In the socially conservative landscape of 1950s America, the song’s suggestive tone was simply too much for some. The blend of a traditionally innocent holiday figure, Santa Claus, with such overt materialism and feminine sexuality was scandalous.
As a result, the song was famously banned by a number of radio stations, particularly in the southern United States. Critics found it sacrilegious to sexualize Christmas. For them, a woman using her feminine wiles to coax presents out of “Santa” was antithetical to the spirit of the season. However, this controversy likely only fueled its popularity. The “banned” status gave it an edgy appeal, making it all the more tantalizing to a younger generation and more cosmopolitan audiences who appreciated its wit and sophistication. This tension between widespread adoration and conservative condemnation cemented its status as a rebellious holiday anthem.
Eartha Kitt’s Lifelong Relationship with “Santa Baby”
“Santa Baby” became Eartha Kitt’s signature song, a track she would be associated with for the rest of her life. She seemed to have a fond, if sometimes complex, relationship with it. It was the song that crowds always demanded, and she was known to perform it with relish well into her later years.
The success of the 1953 original led to a less-remembered sequel in 1954 called “This Year’s Santa Baby,” where the narrator thanks Santa for all the gifts and proceeds to ask for an even more outrageous list for the next year. While a fun novelty, it failed to capture the magic of the original.
The 1963 Re-Recording: A Point of Confusion
A decade later, in 1963, Eartha Kitt re-recorded “Santa Baby” for Kapp Records. This version is often heard today and can be a source of confusion for listeners. While it features Kitt’s unmistakable voice, the arrangement is markedly different. It is faster, brassier, and has a more frantic, novelty-song energy. Many purists feel it lacks the sly, sophisticated charm of the 1953 original.
To clarify, here is a simple comparison of the two versions:
| Feature | 1953 RCA Victor Version (The Original) | 1963 Kapp Records Version |
|---|---|---|
| Tempo & Mood | Slower, slinky, seductive, and intimate. | Faster, upbeat, more frantic, and comedic. |
| Orchestration | Lush strings, playful woodwinds, and subtle brass. Focuses on creating a sophisticated atmosphere. | Dominated by a loud, brassy big-band sound with more prominent percussion. |
| Vocal Delivery | Characterized by Kitt’s iconic purrs, suggestive whispers, and a knowing, tongue-in-cheek charm. | More overtly powerful and energetic, with less of the subtle, cat-like seduction of the original. |
| Legacy | Considered the definitive, classic performance. | A popular but distinct alternate take. |
While both versions were performed by Eartha Kitt, it is the 1953 recording that truly captures the title of the original “Santa Baby” and sets the gold standard for all subsequent covers.
The Enduring Legacy and Its Many Interpretations
A key measure of a song’s impact is the number of artists who are inspired to cover it. “Santa Baby” has been reinterpreted by a staggering array of performers across genres and generations, a testament to its brilliant composition and enduring appeal. Yet, each cover serves to highlight the singular magic of Eartha Kitt’s original.
Notable “Santa Baby” Covers
- Madonna (1987): For the charity album A Very Special Christmas, Madonna delivered a highly stylized, Betty Boop-esque rendition. Her take was more overtly camp and playful, introducing the song to the MTV generation.
- Kylie Minogue (2000): The Australian pop star released a sleek, chic, and very popular version that became a modern holiday staple, particularly in the UK and Europe. Her performance is smooth and polished, embodying a modern sense of glamour.
- Michael Bublé (2011): In a clever twist, Bublé rewrote the lyrics for a male perspective, asking Santa for “a ’65 convertible,” “a Rolex,” and, amusingly, “a Canucks ticket.” His version is a smooth, jazzy croon that plays with the original’s gender roles.
- Others: The list goes on and on, with notable versions by Taylor Swift, Ariana Grande, Gwen Stefani, The Pussycat Dolls, and many more. Each artist brings their own flavor, but all operate in the shadow of the original.
These covers, while popular, often lean into one aspect of the song—the comedy, the glamour, the pop appeal. What makes Eartha Kitt’s performance so untouchable is that she masterfully balanced it all: the wit, the sophistication, the seduction, and the playful innocence. She never let the song tip over into pure parody. There was always a glint in her eye, but the performance remained grounded in a powerful, charismatic persona.
Conclusion: The One True “Santa Baby”
So, who first performed Santa Baby? The answer is unequivocally Eartha Kitt. But the full story reveals that she was more than just the first; she was the catalyst. Her unique persona and unparalleled vocal artistry were the essential ingredients that transformed “Santa Baby” from a clever set of lyrics on a page into a cultural phenomenon. She recorded the song in 1953, creating the definitive version that, despite its initial controversy, would become one of the most beloved and enduring Christmas songs of all time.
While countless artists have since slipped down the chimney with their own interpretations, none have quite captured the perfect blend of naughty and nice, of sophisticated charm and audacious desire, that Eartha Kitt delivered in that original recording. Her performance remains a masterclass in character and style, a timeless reminder that sometimes the most memorable holiday classics are the ones that dare to be different.