Timeless Voice (Crazy Love - Michael Buble)

Member Name: rosebud2001

Product:	Crazy Love - Michael Buble
Date:	30/10/09 (138 review reads)
Rating:

Advantages: Outstanding singing, some excellent instrumental and vocal arrangements

Disadvantages: Bland production in places

Michael Bublé is a man who started his career ostensibly giving the impression he was stuck in the past but who has become a global superstar by cleverly mining the archives of popular standards and giving them a new, if not always modern, twist. He has, however, always ensured his albums contained at least one radio friendly, middle of the road pop song to help "sell" his albums, and you would have to have been living in a cave to be unfamiliar with tracks such as "Home" and "Lost".

Bublé was born in British Columbia, Canada, in 1975. His vocal talent became apparent in his teens but it wasn't until a chance meeting with David Foster, the legendary American music producer, at a wedding where he was performing, that he got his big break. Foster signed Bublé to his record label and the rest, as they say, is history.

"Crazy Love" is Bublé's fourth studio album, and as ever, is made up mainly of cover versions given the Bublé makeover, with a handful of new tracks.

~~The Album~~

The album opens with Bublé's version of the Julie London classic "Cry Me A River". London's hit 1956 version was smoky and smooth, famously featuring in the rock n roll movie "The Girl Can't Help It" but Bublé's starts with a dramatic orchestral introduction. The arrangement has clearly been inspired by sixties middle of the road music - the bridge in particular is almost Bondesque in sound - and Bublé's voice is effortless as he emotes on this ultimate karma song.

If you saw the "X-Factor" last week you may have caught Bublé performing this and showing why the show's contestants aren't fit to lace his boots!

Bublé stays firmly in the past with his version of "All of Me" - but this isn't as memorable as the opening track. His voice is predictably smooth but what I particularly enjoyed on this track was the ragtime style introduction and arrangement. Better is his take on the Hoagy Carmichael penned "Georgia on my Mind". Popularised by Ray Charles, this song is a huge one, but Bublé delivers. He keeps his voice restrained and in check, but this doesn't detract from the emotion he manages to convey. The strings add to the poignancy of the vocals and whilst the song is short, it doesn't fail to deliver the money notes.

Bublé gets a little more modern on the title track, a cover version of the Van Morrison classic. Bublé's voice is very different to Morrison's, and I was a little concerned that he wouldn't be able to convey the sheer emotion Morrison's voice can carry, however this works well simply because Bublé stamps his own personality on the song and makes no attempt to compete with Morrison.

"Crazy Love" is crooned well by Bublé but if anything it lacks a little of the spontaneity of Morrison's version. Bublé remains in control vocally throughout the song but there was a part of me that wished he had just let rip at the end. However that kind of singing wouldn't have worked so well with the arrangement on his version which is far more mellow than the original.

"Haven't Met You Yet" is shaping up to be the biggest hit of Bublé's career, although I suspect for many reading this it will have the Marmite effect. Personally, I love the song, which was co-written by Bublé, Alan Chang and Amy S Foster.

Yes, it is infuriatingly optimistic with lyrics and a pop backing track that is deliberately upbeat and which veers dangerously close to cheesy, however there is no denying it is a catchy track and is beautifully and sincerely sung by Bublé. It's this sincerity which probably makes the song so appealing too.

After this Bublé heads back to the past with a song which was popularised by Debbie Reynolds and Gene Kelly in the movie "Singing in the Rain". "All I Do Is Dream of You" is replete with fifties style barbershop backing vocals and gentle brushing on the drums but a truly vibrant horn section and an effortless vocal from Bublé. This song celebrates the sounds of the past but still manages to sound modern.

Bublé returns to the present with "Hold On", another self-penned track. This is a midtempo ballad in the style of "Home" and features fellow Canadian Bryan Adams on backing vocals. In the hands of a lesser singer this would be bland and dull, but Bublé is capable of adding something special to the song. I suspect this might be a popular wedding song in the future.

On "Heartache Tonight" Bublé takes a classic rock track by the Eagles and turns it on its head, with a new, big band arrangement. On paper this sounds ridiculous, but trust me - it works, and Bublé's voice is just stunning on this track - in the hands of a lesser singer it just wouldn't have worked.

On "You're Nobody Till Somebody Loves You" Bublé heads back to the lounge sound with this pop standard which was popularised by Dean Martin. The piano playing by Alan Chang is particularly good and the strings and horns just take you back to the days of the Rat Pack. Bublé's voice is sensual, emotional and smooth at the same time.

Originally recorded by the late, great Dinah Washington, and Brook Benton in 1960, "Baby (You've Got What it Takes)" features Sharon Jones & The Dap Kings on this jazz tinged duet. Jones isn't in Bublé's league vocally however - she has soul but lacks that effortless style that Bublé is famous for. Overall the song works but it doesn't sound as "modern" as some of the other tracks that have been reworked for the album.

"At This Moment" is a cover version of Billy Vera & The Beater's 1987 US number one hit. This is an out and out love song by Bublé, and the production by David Foster is pleasant enough but is all a little too middle of the road for me, which is unfortunate as Bublé's voice is outstanding on this track.

Listening to this however takes me back to Foster's work with Celine Dion in the 90s and one cannot help but think Foster is resting on his laurels with the production on this track. It's a shame because the song is a beautiful one, but Foster's production lacks the spark to make it special.

Better is "Stardust", featuring Naturally 7 and their excellent doo-wop style harmonies and Bublé keeps things relatively simple on this Hoagy Carmichael classic. Listening to this I cannot help but think it sounds almost as simple as a lullaby but it is, of course, far more complex than that. Bublé manages to capture a bygone era but make it sound fresh on this track.

On "Whatever it Takes", Bublé shares the vocals with fellow Canadian Ron Sexsmith, who also wrote the track. The harmonies sung by Sexsmith and Bublé are particularly endearing, as is the string section on the backing. This isn't the kind of song that is going to set the world alight, but the vocal performances take the song up a notch and make it an a really enjoyable piece of music.

The album rounds off with "Some Kind of Wonderful", a Gerry Goffin and Carole King song that was originally a hit for the Drifters. Bublé retains some of the early sixties sound on his version but gives the song such an individual slant that it sounds bang up to date too.

~~Finally~~

There is no denying Michael Bublé is a quite outstanding singer - and "Crazy Love" once again showcases his voice to perfection. He has incredible control over his voice yet manages to sound utterly effortless in places.

David Foster is a legendary producer and his work with Bublé is mostly up to scratch but he has a tendency to rest on his laurels in places. This is an accusation which cannot be made against arranger Alan Chang, who has taken some classic songs and turned them on their head with Bublé. In fact I would go so far as to say it is the vocal and musical arrangements which make this so successful from my point of view anyway.

I appreciate many people will view Michael Bublé as someone who is stuck firmly in the middle of the road - and let's be honest - that's a fair comment to make - however he is also a very talented singer and in a different league to so many of the bland and average MOR acts such as Westlife and Michael Ball who have recorded inferior cover versions of his hits in the past.

So cast aside your suspicions that only your granny would like this kind of music, and give "Crazy Love", and Michael Bublé, a whirl - he puts the "easy" into easy listening.

***This review was previously published by me on Ciao***

Summary: A singer at the peak of his vocal prowess