Posts Tagged ‘Michael Bublé’

How Bad Can It Be?: Michael Bublé, “Crazy Love”

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Many is the pop star who harbors a dark secret beneath his wholesome façade. Michael Bublé’s is that he is an evil death robot from the future, sent back in time to annihilate mankind.

I’ll admit that I lack ironclad proof of Bublé’s status as a remorseless genocidal automaton, but there is circumstantial evidence aplenty encoded into his — its — latest release, Crazy Love. Careful listening can leave no doubt: This so-called “Bublé” is in fact a B.U.B.L.É. — a Binary-logic Undercover Bio-Life Eliminator, With The Accent On “Eliminator,” an emissary from some dystopian robocratic hell, and if he is not stopped he will bring humanity to extinction by ensuring that no one ever gets laid again.

Perhaps the most frightening aspect of this is the sheer arrogance of the plan. The mechanical entity they’re passing off as a big-band singer isn’t even a particularly convincing AI; performance clips and interviews suggest that the Bublé-creature would not pass the Turing test, let alone the more rigorous Voight-Kampff inventory. And this weakness extends also to the musical component of Bublé’s cover story. Without reading the filenames, compare and contrast these two performances of well-known pop songs. Can you tell which one is being performed by a computer? (more…)

CD Review: Frank Sinatra, “Classic Sinatra II”

The new crop of pop stars could learn a lot from Frank Sinatra. No, they probably won’t match his voice or his depth of feeling. No, they probably will still rely on the celebrity dating and nipple-slips to draw attention when their respective albums fail to. As far as the qualitative end of things, I can’t name one single modern artist who could replace Lanky Frank (this means you, Michael Buble and Josh Groban.) What Sinatra does have in common with Pop ‘09 is that he was an interpreter of other people’s music and songs. Even his classic conceptual Capitol albums, including Only the Lonely and Where Are You?, were the work of other minds yet when he set his voice to them, the songs became his. When you think of “High Hopes” it’s his voice singing them. The same holds true for “All of Me” and even if “Love and Marriage” makes you picture Kelly Bundy, you’ll never mistake who was singing it.

While Capitol’s latest collection lacks the sheer magnitude of its predecessor, it is still a serviceable primer full of songs you know very well. It even has a previously unreleased track, “This Can’t Be Love” but that isn’t really a huge selling point for this set. That it’s 21 tracks for the price of a single disc constitutes a hell of a deal, especially considering how skimpy many of Ol’ Blue Eyes’ other compilations have been, is part of the allure. The true fan probably has the albums these cuts came from, and if they don’t at least have Only the Lonely they ought to be ashamed of themselves, but this really isn’t for them. (more…)

The Three Strike Rule: “The Chris Isaak Hour”

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chrisiUsually, anytime a musical artist performs on a talk show, that marks the end of the program: Letterman, Leno or Conan stroll out to shake hands with the band, and the credits roll. Gone are the days of Johnny inviting band members over to the couch for some chit-chat about their new record. This was just one reason Chris Isaak agreed to star in his new talk show, The Chris Isaak Hour — it gives musicians an opportunity to play two or three songs and then the chance to talk about the work they do.

Each week a guest artist sits down with Isaak on a retro set that looks like something out of a ’50s sitcom. Isaak then interviews them, delving into questions about influences, their careers, and even what gets cooked in the kitchen. The conversations are broken up with performance footage shot on a soundstage. Isaak and his crack band, Silvertone, are on hand to act as the house band, with Isaak generally joining the guests for one or two numbers. On top of hearing musicians comfortably opening up about their lives, you also get to see unique, one-of-a-kind performances, such as Glen Campbell and Isaak singing “Rhinestone Cowboy” or Isaak and Trisha Yearwood performing their new song, “Breaking Apart.”

Just as he does on stage, where he allows his singing companion the room to perform and breathe, Isaak is never quick to interrupt his guests with his own thoughts. Instead, he adheres to the motto that the show is about them and what they have to say. While each episode opens with a short skit that usually includes Isaak’s funnyman drummer, Kenny Dale Johnson, the rest of the show is pretty straightforward. Although filmed entirely on a soundstage with no studio audience, the show has the deliberate feel of a live music variety program, with old black and white footage of people applauding between songs. It’s that tongue-in-cheek, wink-wink type of charm that makes Isaak so appealing. (more…)

Into the Ear of Madness: Week 14 — Goodbye To Those Lazy, Hazy, Crazy Days of…

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Over the next year Terje Fjelde has agreed to listen to nothing but David Foster on his iPod. He’s loaded the thing with over 1,200 songs produced, arranged, composed, and/or played by David Foster. A deal with the devil? He keeps wondering.

It’s time for another Theme Week! I’ll leave it up to you to figure out what’s the theme, though. It should be pretty obvious.

I heard Donna Summer’s “Livin’ In America” (1982), produced by Quincy Jones, for the first time when I watched a documentary about Quincy released around the same time as his album Back On The Block in 1989. He had invited a bunch of hot rappers such as Ice T, Melle Mel, Big Daddy Kane and Kool Moe Dee to join him along with a stellar cast of musicians but, me being a very pale and very Scandinavian teenager, I just didn’t get the rap and hip hop thing at all in 1989. Well, I still don’t for the most part, but that’s another story. Anyway, I was for all purposes hoping for The Dude, Part 2 at the time of its release, and thus Back On the Block turned out to be a huge disappointment. It just didn’t sound smooth enough for me at the time by far, which I guess is kinda telling — and utterly and completely incomprehensible: Have you ever heard “Setembro (Brazilian Wedding Song)” or “The Secret Garden”? Smooth as silk. Or “Tomorrow (Better You, Better Me)” with a very young Tevin Campbell on lead vocals? The only thing with an edge on it is Tevin’s braces.

Still, that’s probably why I remember “Livin’ In America” so well from the soundtrack – it was one of very few tracks with Quincy’s smooth, early 1980s pop sound. I loved what I heard and went straight out and bought Donna Summer from 1982 and I was happy as a hippo for months, playing my new old Donna Summer album all the time whilst everybody else was listening either to the Stone Roses or Roxette. I was so out of touch with anything resembling hipness. Some things never change. (more…)