Christmas, for me, is all about the onslaught of festive music. Each year, the works of Slade, Bing Crosby, and whichever cover artist John Lewis has succeeded in pushing to the top of the charts, all find themselves lodged in the minds of even the most reluctant Scrooges.

Some may disagree – namely everyone around me who is subjected to to a medley of Christmas classics in my less than tolerable voice. My only defence is that I am a product of my childhood and family traditions. Though this premature festivity may seem ridiculous to most people, I have been glad of my family’s dedication to playing The Best Christmas Album in the World…Ever! from November onwards every year.

This album, despite probably being bought about two decades ago, never gets old – in a metaphorical sense anyway – the disc itself is covered in scratches and most of the songs feature a few jerkily repeated lines. To replace it would be close to blasphemy though; any Christmas album with the 2004 incarnation of Band Aid rather than the 1984 one is not worthy to take its place. 

While the album's songs are brilliant, there are a few stand-out hits and rituals which accompany them, such as Mike Oldfield’s ‘In Dulci Jubilo'. The fact that this one is impossible to sing along to just increases its potential to be accompanied by dancing. The excruciating pain of hitting a hip on the corner of the dining table is often a sacrifice made while doing some questionable country dancing around the kitchen. The moves may be in no way authentic, but it’s a good workout – a pre-emptive strike on the traditional stone gained over the festive season. 

Another joy of the album has to be ’12 Days of Christmas’ by The Spinners. Songs are infinitely more entertaining when you can (attempt to) sing them in an accent. The strong Liverpudlian twang on each of the gifts of Christmas is a challenge for a family from Essex, but one we most definitely rise to. 

And who can ignore ‘Walking in the Air’ by Aled Jones? Every album needs a belter, one which can be sung in an operatic style, preferably. Of course, this song is loved, too, for its association with possibly the best Christmas film in the world, The Snowman (another Christmas staple), but it’s also a stand-alone winner. It’s quite discouraging to compare my voice, struggling to hit 80 per cent of the notes, to the singer who I rediscover every year is actually a twelve year old boy.

The final gem on the album is one that can be enjoyed at any time of the year. I’m talking, of course, about ‘The Power of Love’ by Frankie Goes to Hollywood. I feel it has been worthwhile to have this song in my repertoire mostly to be one of those people who boast that they knew the original before John Lewis made Gabrielle Aplin’s cover so popular. For someone who knows most music through Glee, this is a very rare opportunity and one which I relish.

Now that we’ve reached December, I’ve been enjoying this album for well over a month now and my enthusiasm hasn’t waned. This album may not be something that excites most people’s cheer, but it’s not a tradition I plan on letting go in a hurry.