All The Lights Are Blue
A melancholy ballad, with more than an nod and a wink to one John Lennon, more specifically a saunter along with the delightful I Am The Walrus. A rather basic drum machine pattern opens the song, before the piano sort of 'plods' out the verse melody, while swags of swirling synthesizer keyboards and guitars, possibly borrowed from an early Klaatu offering, flood out the sound throughout the chorus and middle eight. Doug Powell's vocals are confidently restrained and nicely assisted by some smooth harmonies; readily available from your favourite ELO outlet.
As with their other yuletide offering, Every Day Is Christmas, there is not a lot of 'seasonal' musical cliches thrown in to conjure up a typically cheerful Christmas atmosphere. Instead, we are left with a lonely and haunting memory of Christmases past.
 

Everyday is Christmas
This has a lot more to do with the Cheap Trick school of music than the Mavericks', as we get Doug Powell fronting a high-powered grunging 'Sweet Jane' style riff (as performed by BTO), mixed with a swag of multi-layered vocals, and a touch of  'Beatlesque' harmonies. It does have a catchy little melody around which to wrap your memory, but without those ubiquitous sleigh bells or snow sounds, it does not have that typical Christmassy feel at all. Instead, it is really just a straight ahead fun-time rocker, with thumping bass, twinkling piano fills, and just happens to have the word 'Christmas' in the title.

Different Girl
This is predominantly an acoustic lament, very much in the McCartney mold (even mentions Yesterday) and could be easily mistaken for latter-day XTC. Scotty Huff's vocals sway gently in the breeze of an English country garden, while accompanied by a veritable swag of  Beatlesque harmonies, a la Because/Sun King. Swathed beautifully in an array of melancholy flute/cello/accordion impressions, the melody lingers lovingly throughout, and is briefly punctuated in the middle by a gentle drum and bass heartbeat. Different Girl is a perfectly crafted jewel.

Sweet Lucinda
A mixed bag of musical allsorts is ol' Sweet Lucinda, what with a bopping 50's style (but very heavily treated) piano and 70's glam rock stamping it's platform shoes over the whole aural proceedings. Jerry Dale Mcfadden has donned his Elton (Crocodile Rock) John glasses and dragged a swag of falsetto vocalists along for the glittering joy-ride. Even Peter Frampton comes alive once more with some wah-wah-talking guitar droolings during the middle eight.
If this was 1972 vintage TOTP's, it may have been a successful chart contender to keep Slade company, but 28 years on - Lucinda is just a tasty contemporary curio.

Every Little Truth
A short and sharp thumping rocker, borrowing heavily from middle American music of the 70's. The song is carried along by a swag of pummelling bass and drums, as Robert pleads desperately throughout for the 'truth' that is out there, behind his lovers's lies. A brief and unadulterated guitar solo brings very little respite, before the frustration gives way to futility. This is pop!