My MS Log

Review by Xeno:

I Dreamed A Dream, Susan Boyle’s debut album, is a showcase for her crystal clear voice, untouched by the technological gimmicks on which so many singers rely. The production is a spare canvas against which her pure, gorgeous vocals are displayed to wonderful effect. The result is an album that owes its power solely to Boyle’s self-assured artistry.

In the title track, I Dreamed A Dream, Boyle gives a far different interpretation from her iconic performance on Britain’s Got Talent. In her audition, she gave a rendition that was more akin to a soaring anthem than a downtrodden woman’s rueful rumination on a ruined life. Here, however, Boyle gives the song a more nuanced interpretation that reflects the despair of dreams unfulfilled and a life shattered by loss. Her vocals are just as assured as in her first performance of the song, yet deeper here and more passionate.

Some of the song choices which may have seemed odd at first glance turned out to have been inspired. The selection of the Rolling Stones’ 1971 classic, Wild Horses, must have struck many as a bizarre decision doomed to failure. As listeners know well by now, Boyle, aided by Steve Mac’s spartan production, reworked the song into a haunting paean to love and loss. Another seemingly off-the-wall choice was Daydream Believer, first recorded by the Monkees. Here, the sprightly, upbeat tune is transformed by Boyle’s gentle, lyrical delivery into a dreamy and contemplative ballad. This, in my opinion, is the track that serves as the best showcase for her talents as her clear, lovely vocals float above the simple piano accompaniment. The effect is intimate, as if we are listening in on the singer’s reverie.

Boyle’s new rendition of Cry Me A River is stronger and more bitter than the delicate, gentle version she recorded in 1999. While never reaching the furious depths of some other versions of the song, she still conveys the anger of a woman scorned. You’ll See is also a delight as Boyle invests Madonna’s anthem with her personal pain and determination.

Overall, this is a beautiful album with every track a gem. Fans of Susan Boyle and of good music in general will love her debut effort.

Review by Big Al:

This debut album of Susan Boyle consists of songs of many genres–from the pops, to the spirituals, to the Broadway hit which made Susan Boyle a singing sensation today. Furthermore, it includes an original work specifically written for Susan Boyle.

The Pops

“Wild Horses” was originally composed by Mick Jagger and Keith Richards for the Rolling Stones, in their 1971 album Sticky Fingers. In this re-arranged version, Susan Boyle gives new meaning to an old song. In her own words, it “conjures up memories of childhood amongst Council Estates, poverty and struggle…” in this hauntingly beautiful rendition of hers.

“Cry Me a River”, a popular American torch song originally recorded by Julie London in 1953, was performed by Susan Boyle in a charity event in 1999 and subsequently put on CD. Only a thousand copies were made. Now 10 years later, in her new CD, she again captures the beauty of this jazzy blues ballad written by Arthur Hamilton, in the melancholy of a woman betrayed, just as she did years ago. One wonders: where were the talent scouts in those days? How did they overlook this talented woman?

“You’ll See”, an international hit written and performed by Madonna in 1995, tells of the determination and sorrow of love betrayed. While Madonna’s rendition was filled with determination, Susan Boyle sings the ballad movingly with equal amount of determination and sorrow. It brought tears to my eyes.

“Day Dream Believer” was a song composed by John Stewart of the Kingston Trio and recorded in 1967 by the Monkees, with Davy Jones as the lead. It was sung light-heartedly with a humorous opening. Susan Boyle’s soft and dreamy rendition of the song, however, conjures up vision of a half-asleep woman struggling to get out of bed and start the day.

“Proud” was originally performed by Matthew James Thomas who played the part of Jez Tyler in the British musical drama TV series “Britannia High”. It was the British version of “Fame”. In her song, Susan Boyle captures the spirit of an offspring who pleads for acceptance of his/her parent.

“The End of The World” was a pop hit by the country music crossover vocalist Skeeter Davis in 1962. Accompanied only by a guitar, Susan Boyle’s vocal rises and ebbs, like ocean waves gently lapping the shore. If Skeeter Davis’ rendition is like a woman crying over lost love, then that of Susan Boyle is like one sobbing quietly over her loss.

The Spirituals

The spirituality of Susan Boyle shines through the spiritual and sacred songs in this album. They include the Christian hymns “How Great Thou Art”, “Amazing Grace”, and the Christmas tune “Silent Night”. But the most inspiring selection is “Up to the Mountain”, written by American singer-songwriter Patty Griffin. This song was inspired by the speech, “I’ve been to the mountaintop” by Martin Luther King, Jr., given on the day before his assassination in Memphis, Tennessee in 1968. Accompanied by a piano and supported by a chorus, Susan Boyle brings forth the emotion & spirituality surrounding MLK’s speech.

The Original

“Who I Was Born To Be” is the answer to the critics who label Susan Boyle (quite unkindly) as cover or karaoke singer. It was written specifically for Susan Boyle by American singer-songwriter Audra Mae, grand niece of Judy Garland. Accompanied by a beautiful tune at the piano and supported by a chorus and an orchestra, the song showcases the full vocal range of the talented Susan Boyle. This piece is a harbinger of things to come. Established songwriters will beat a path to the door of Susan Boyle, pleading for the chance to showcase their new songs. Susan Boyle fans are in for a treat.

The Broadway Hit

Of course, we can’t forget the Broadway hit, “I Dreamed a Dream” from Les Miserables, which made Susan Boyle famous, or vice versa. Contrary to the soaring rendition in her performance on BGT, this album version is softer and more contemplative, but every bit as powerful and moving.

The Album Art

Susan Boyle was all dolled up in these Bazaar photo shoots at Cliveden, the luxurious Italianate mansion just outside of London. That is the way Susan Boyle fans want to visualize her, while listening to her angelic voice. I especially like the picture of her, dressed in a gorgeous gown, sitting by a piano, surrounded by fine things, ready to perform for her audience–a dream finally come true for a great artist.

That Magical Moment

Susan Boyle has earned her place as one of the great singers of our time. I have the feeling that this debut album of hers, with songs of many genres, is here just to whet our appetite. I am looking forward to hearing more of her, perhaps a second album on Broadway hits and sacred songs, and a Christmas album just in time to catch Christmas 2010. The Sony Music studio did a great job to capture her angelic voice on CD. What it didn’t and couldn’t do was to capture the magic of the moment when Simon Cowell raised his eyebrows, Amanda Holden dropped her jaw, Piers Morgan clapped enthusiastically, and the audience cheered wildly as Susan Boyle sang “I Dreamed a Dream” during her audition on BGT. That magical moment lives in the memories of hundreds of million of fans who had watched her performance on YouTube.

Footnote: For a more in-depth review on “What I was born to be” by Big Al, please follow this link:

http://www.amazon.com/Who-I-Was-Born-Be/product-reviews/B002XSWNMK/ref=cm_cr_pr_recent?ie=UTF8&showViewpoints=0&sortBy=bySubmissionDateDescending

Review by C. URDAHL:

I’ve been interested in Gregorian chant for at least 35 years. Over the years, I have recordings of the chant on cassette & a couple on CD, but this is by far the best. I purchased it on the the strength of an article in the New York Times in late June/early July about the monastery and the recording of some of their daily chant that they had agreed to do; I almost never purchase things on the strength of the recommendation in an article/review. Clearly, the article was persuasive. This the most supple, sublime performance of Gregorian chant I have ever heard. I am not Catholic, but rather a Lutheran, while at the same time being a student of yoga. This recording speaks to the need to die to oneself in the praise of the Divine as recommended in Protestant Christian, Buddhist, and Hindu traditions. I would recommend this to anyone interested in an auditory representation of humanity’s desire to connect with the Divine, especially someone looking for something that would aid devotion or meditation. This recording is utterly beautiful and conducive to facilitating an individual’s pursuit of the Divine, notwithstanding my own less than perfect understanding of the Latin used in the chant.

Review by J. Anderson:

Kudos to the engineers for a beautifully resonant recording in the Stift Heiligenkreuz. The abbey, visited by Benedict XVI who has praised publicly the beauty of its liturgical chant, has created a consummately attractive collection of Gregorian melody that’s become a hot international item. The singing itself, compared with Solesmes, is thicker and less spontaneous; the divine interior pulse of Gregorian chant seems often lost by over-consideration. The natural freedom of the singing at Solesmes is a benchmark, and often a spoiler when listening to other recordings; Solesmes’ chant, as a musical art, exhibits a spiritual perfection. Chant from the Abbeys of En Calcat, St Maurice and St Maur and others, in its own way bears this kindred spiritual freedom rooted in Solesmes. The devotion of the monks of Heiligenkreuz is apparent, pure and strong, and naturally recommends this disc; musically, which is to say, spiritually, a stream different from Solesmes runs here. Differences between the two Orders although branches of the same tree of Benedict, and inevitable national traditions also figure. It’s disappointing the Italian pronunciation of ecclesiastical Latin is transgressed at Heiligenkreuz, where a mixed classical pronunciation is used to chant the liturgical texts. A comparison of the Heiligenkreuz Compline with the Vespers and Compline recording from Solesmes is instructive musically and spiritually, and worth pursuing for those interested. This disc remains a solid effort that truthfully introduces a unique sacred music to countless people who know nothing of it, and will mostly please those who appreciate Gregorian chant. Get it with confidence. And check out as well the discs of chant from Solesmes.

Review by M. Heidel:

Not a bad song on this CD, great to dance to, this is a great CD for a teen dance party.

Review by dundem:

I have many titles in the NOW series- this one is better than NOW 29 but still not great. However, it is worth .99.

Review by fritto misto cum jazz:

After almost a decade of absence - 25 years into her career - the elegant soul /jazz siren is back with “Soldier Of Love”.

The new album sees Sade reunited with the same musicians (Stuart Matthewman, Paul Denman and Andrew Hale) who performed on her 1984 debut “Diamond Life”, which became the classic yuppie dinner party soundtrack. It catapulted her to the forefront of the 1980s soul jazz scene and spawned the singles “Smooth Operator” and “Your Love is King”.

But despite the success of “Diamond Life” and her follow-up albums - selling a total of 50m records worldwide - Sade has shunned the limelight and has lived in “self-exile”, including stints in Spain and Jamaica.

Now 50, she remains one of the most iconic female vocalists alive - partly because of the stylish image she fostered in the fashion-conscious Eighties.

The title song is the least Sade-like track here - with its metallic, shiny, marching band-style drum beats not far from trip hop/Tricky territory, it’s the toughest-sounding thing she’s ever done, though the lyric posits the idea of the relationship as battleground.

The track is a bit of a revelation - a rich, atmospheric pop symphony with, as the title suggests, a military theme. What’s impressive is how fully-realised that theme is, from the marching band percussion to the cadence call-style hooks, the guitar riffs that ape the sound of gunfire to Sade crooning lines like “I’ve lost the use of my heart”.

The remaining nine tracks can’t quite match it for shock value.

They glide by elegantly, registering subtle variations.

My highligts: “Baby Father”, a gentle reggae-tinged confection apparently extolling the constancy of paternal love. It’s in marked contrast to the wounded bittersweetness and the overall melancholy of the remainder of the tracklist: the feel-good beat will have you shaking your booty.

It all gets a little too cosy on “In Another Time”, a waltz-time slog where a saxophone and string quartet provide an orchestral extravaganza. Pure magic.

“Be That Easy”: Sade’s soaring hypnotic voice leaves listeners in a zombie-like trance.

As usual, the album is immaculately produced, and Sade oozes class and sophistication, although seemingly offering variations on a single theme. Recorded at Peter Gabriel’s Real World studio, this album “illustrates the dilemma of the long-term artist: whether to alienate fans with a radical departure or risk the charge of repetition”. - Paul Lester

All in all, it’s a pleasant and sonic balm, which will make her fans immensely happy, even if there’s nothing quite adventurous, rare, powerful and intelligently written as the title track may imply and suggest.

Enjoy!

The album debuts at # 1 of the Billboard Top 200 Albums and at # 1 of the Billboard R&B/Hip-Hop Albums and at # 1 of the Billboard Top Canadian Albums.

Issue date: February 27, 2010

Review by Charles:

As much as I love Sade, I have to be objective and say that I was dissapointed with this album. The first four songs are strong but the rest of the album is only average (by her standards). That’s not to say these other songs aren’t any good, it’s just that they all seem to have a similar tempo/mood and they end up just blending into one another with no real stand-out tracks. A couple more catchy, up tempo songs, preferably with drums instead of a drum machine, would have made for a stronger, more balanced album that measures up to her earlier work.

Review by Larry Davis:

Well, after listening to this second volume of music at least twice from “Glee”, my fave scripted show on TV next to “Lost”, and having lived with Volume 1 since its release & having met the 8 main “kids” (they’re all in their 20s, not exactly kids, even tho they play highschoolers in a gleeclub), I must say they possibly outdid Volume 1, in that Volume 2 is a little deeper, not so obvious, a bit more creative in song choices and fresh arrangements…plus, like Volume 1, these songs can work equally well in the show’s plotlines and as an actual ALBUM in itself…with highs, lows, peaks and valleys, a beginning, middle & end. Here’s the breakdown:

1. Proud Mary (9/10)…fun reworking of the John Fogerty/Creedence Clearwater Revival tune, covered previously by Ike & Tina Turner…the Glee Cast’s version is like Ike & Tina’s, stylistically, but with a fresh dose of the cast’s energy…and I LOVE the brass section…espesh the bari sax, nice start…it works equally well here without the visuals of the performance in wheelchairs too.

2. Endless Love (9/10)…a sweet reworking of the 1981 Lionel Richie/Diana Ross duet that was also covered by the late Luther Vandross & my schoolmate Mariah Carey (yes I actually went to HS with her)…yes on the show, Matt Morrison’s Will and Lea Michele’s Rachel duetting on this was both funny and beyond awkward, but as a recording, it’s as good as either of the prior two versions…I used to HATE it back in 1981…I was 13, whattaya expect, but I appreciate it now, and both are in great form and blend well together.

3. I’ll Stand By You (9/10)…Cory’s/Finn’s cover of the Pretenders’ HUGE 1994 ballad “I’ll Stand By You”, which also later became a #1 hit in the UK in 2004 in a GREAT cover by the best girlgroup EVER, Girls Aloud…Cory’s/Finn’s version is not as good as the original (what is??), but it IS as good as the Girls Aloud version, and it’s interesting because it’s never been covered by a guy before…not that I know of…but he sounds better than ever and more comfortable in his own voice here, moreso than on his spots on Volume 1 really…it works nicely here, and on the show where he was singing to the video sonogram of Quinn’s unborn daughter.

4. Don’t Stand So Close To Me/Young Girl (9/10)…the first surprise here and first CD-released mashup from the show, of Matt/Will singing the Police’s “Don’t Stand So Close To Me” and Gary Puckett & The Union Gap’s 1960s pop classic “Young Girl”, and at first, it felt jarring and that it didn’t work at all, after living with it and studying it in my head, seeing/feeling how the 2 songs’ puzzle pieces fit together, it really works, and Matt/Will’s in great pop vocal form here…love it.

5. Crush (9/10)…a cover of a 90s 1-hit wonder song popularized by Jennifer Paige that hit #3…covered by Lea/Rachel, and this type of song suits her voice when she does pop perfectly…I’ve always loved it and her version is sweet…it was funny on the show when Lea/Rachel expressed her crush to Matt/Will in his car, after he forced her to sit in the back…I am thrilled here because I love the song, and on the show, Matt/Will shut the music off after the first chorus…here, I’m very happy it’s the full song, yay!!

6. (You’re) Having My Baby (10/10)…the Paul Anka 1974 #1 classic (and duet with Odea Coates…I think that’s how you spell her name)…but here, Cory/Finn does it solo, and it’s a GREAT great version with great form from him…also see my take on “I’ll Stand By You”…this song is one of my fave guilty pleasures of all time, and now I feel it’s just a great song, period…it was moving and funny on the show, where he expressed his love for Quinn and baby at her parents’ place on a boombox…a twist on the “Say Anything” moment with Peter Gabriel’s “In Your Eyes”…until her dad shut the music off when he figured out she was preggers.

7. Lean On Me (9/10)…nice duet by Kevin/Artie and Amber/Mercedes, of the Bill Withers classic covered in the 80s by Club Nouveau (both versions hit #1)…almost more gospelly and both are in great vocal form…Kevin/Artie could be today’s best white soul singer, period…he should go on Daryl Hall’s internet show “Live From Daryl’s House” pronto.

8. Don’t Make Me Over (10/10)…oh gosh, this is amazing…a fab take on that flawless Burt Bacharach/Hal David song popularized by Dionne Warwick…it was also a hit by a now-forgotten R&B singer named Sybil, and many notable others like Neil Diamond & Petula Clark recorded it too…wow, Amber/Mercedes did a glorious take on this and showcased how great she really is…I’d buy her own records pronto…I wouldn’t be surprised if Burt HIMSELF proclaimed this to be his fave version of his song…seriously.

9. Imagine (10/10)…GREAT version of the John Lennon classic…and I’m sure Yoko Ono would have had to approve…no, it’s not that moving version on the show with the deaf choir…honestly tho, that version only worked in the show, this studio version is better on the record, as the deaf element was tuneless (that person couldn’t help it) and would only distract…like the part of “Don’t Stop Belivin’” at the sectionals, where they didn’t even SHOW the deaf kid singing, just the audio and Lea/Rachel yelling to the other New Directions “meeting in 5 minutes NOW” in the audience after realizing their setlist was stolen & leaked…and that deaf version of DTB was awful and embarrassing…it would have sounded that way on record if the deaf “Imagine” was included instead of this superior studio version…just sayin’.

10. True Colors (10/10)…unbelievable version of the Steinberg/Kelly song popularized by Cyndi Lauper as a #1 hit in 1986…by Jenna Ushkowitz/Tina, and we finally get a solo from her, and she’s amazing…she really feels the heartfelt support & empathetic heart of the song and does a great take, with great uplifting choruses by the Glee Cast…a true highlight of the whole CD…and this even rivals Cyndi’s version…plus it blows away Phil Collin’s lame limp version from 10 years ago, easily.

11. Jump (10/10)…this volume’s “Don’t Stop Believin’”…in that the Glee Cast revitalize and freshen up a huge cheesy hit 80s rock song which I hated back then and love their version…in this case, it’s Van Halen’s 1984 #1 hit “Jump” from 1983’s album “1984″…don’t ask…the cast adds bright colours here, add fresh energy, and like on STB, they replace the keyboard lines with Ba Ba Bababa’s…and they seem to have fun with the song…it’s truly infectious…love it.

12. Smile (Cover of Lily Allen Song) (8/10)…now, this is interesting…a cover of Brit bird Lily Allen’s recent track “Smile”, done by Lea/Rachel with harmony by Cory/Finn…and at first, I was like oh no cuz Lily and the song are both VERY English, and Rachel & the show are anything but, and at first listen, it sounded like Rachel’s vocal was a Lily imitation, a very affected vocal, with a fake British accent…but after a second listen, that wasn’t the case, and Cory/Finn’s light harmony adds a different element to the song that wasn’t on Lily’s original, so they pass my test here…but just barely scraping by.

13. Smile (Cover of Charlie Chaplin Song) (10/10)…interesting, 2 “Smile” songs in a row…I missed last week’s episode, where Will finds out about Terri faking her pregnancy (due to DVR error)…did this song and Lily’s play into this plot twist?? Anyhoo, this was originally done by Charlie Chaplin…yep, the 20s/30s silent movie comic genius…like, who knew?? And it’s a soulful song that uses the idea of comedy making you smile & laugh used to make you feel better when you’re sad and depressed…so it has deep meaning…it was the late Michael Jackson’s alltime fave song…and as a song, it’s just beautiful & really soulful & timeless…it works great here acoustically and underplayed by the cast with real sensitivity and empathy…really, this song could be arranged as an alternative, atmospheric, modern rock ballad as well.

14. And I Am Telling You I’m Not Going (10/10)…yep, the “Dreamgirls” showstopper, done previously by Jennifer Holliday in the play and former Idol contestant Jennifer Hudson in the movie version where she won an Oscar, here Amber/Mercedes adds a rawness never before displayed…it is a little TOO much over-the-top for my taste, but it showcases how great a singer she really is…along with “Don’t Make Me Over”, which was better in my eyes, but this is still pretty grand.

15. Don’t Rain On My Parade (9/10)…yep the “Funny Girl” song, previously done by Barbra Streisand…the other side of the vocal coin for Lea/Rachel, she does these types of Broadway showtune songs equally as well as the straight-up commercial pop ones…and this was tailormade for her…the first of 2 songs performed in the sectionals on the show.

16. You Can’t Always Get What You Want (10/10)…yep, the Rolling Stones’ classic from 1969, and it’s a brilliant choice, as if you know the original, it starts off with a children’s choir, so it makes sense, plus the title of the song plays into the plot where Matt/Will gives Cory/Finn the peptalk and that they needed him at the sectionals, and he should temporarily get past his battles with Puck & Quinn…this is awesome on record, and uplifting on the show…love the audience getting into it…GREAT version and Mick & Keith would be VERY proud…the cast injects fresh blood here too…LOVE it.

17. My Life Would Suck Without You (10/10)…virtually identical to Kelly Clarkson’s recent #1 version, which was awesome, and it was clever how the lyrics played into the show, the club’s love & appreciation for Matt/Will, as well as his now-not-secret love for Jayma/Emma…a perfect ending.

Now, time for the DVD!!!

In a way, subliminally, is this volume a tribute to Michael Jackson?? You have his fave song “Smile” (Charlie Chaplin’s), Paul Anka’s “You’re Having My Baby” (he wrote with him “This Is It” back in 1983), and Van Halen’s “Jump” (as Eddie VH played the lead guitar solo on “Beat It”)…is this just coincidence or am I just reading too much into this??? Just sayin…it’s a GREAT volume and it could be my fave of the two…let’s see how future volumes stack up to this one.

Review by Matthew G. Sherwin:

This new “Volume 2″ album of the music from Glee contains some mighty special music. These fine artists harmonize and sing lyrics to perfection–and beyond! Sure, there’s one or two tracks here that may be not quite as good as others; but the rest of what we get is so remarkably good that I’ll be holding onto this CD for quite some while to come! The quality of the sound is good and I like the artwork; we also get credits in the liner notes that list who sings which number.

“Proud Mary” by John Fogerty starts the track set off with a strong number. Amber Riley impresses me with her fine singing; and Amber along with Kevin McHale, Lea Michele and Jenna Ushkowitz handle complex tempo and key changes like champs! That chorus is vibrant to say the least; and how’s about that brass? “Endless Love” is performed with great sensitivity by Mathew Morrison and Lea Michele; the music fits perfectly with their vocals and they never miss a beat, either! Moreover, “I’ll Stand by You” moves me with its natural beauty.

Listen for yet another gem in their rendition of “Lean on Me;” Kevin McHale and Amber Riley never let go of a single superfluous note and the backup singers enhance the beauty of this classic tune. Their excellent diction enhances their performance, too; and they do “Lean on Me” with lots of terrific energy. “Don’t Make Me Over” is sung by Amber Riley and it just couldn’t be better while “Imagine” gets a most sensitive treatment by Amber Riley, Kevin McHale, Cory Monteith and Lea Michele.

Another electric tune is definitely “Jump” which is performed by Cory Monteith, Lea Michele, Kevin McHale and Amber Riley. I love it! There’s also a sweet cover of Charlie Chaplin’s “Smile;” Lea Michele, Cory Monteith and Amber Riley perform this with panache and this cover leaves nothing to be desired–this music is all THAT good. I would like to think that Charlie Chaplin would have approved of their rendition of this song! Amber Riley also scores one of the best performances on the entire CD when she delivers “And I’m Telling You I’m Not Going” from “Dreamgirls.” Amber Riley has a bright future; I am sure of it!

Other fine songs include “Don’t Rain on My Parade” from “Funny Girl” sung by Lea Michele; the big band arrangement works well for this number and Lea swings brightly to make this one shine bright! “You Can’t Always Have What You Want” is another fine cover of a Rolling Stones classic tune by Lea Michele, Cory Monteith, Kevin McHale and Amber Riley.

Of course, there’s always one or two tracks on a CD that don’t grab me as much as others do. “Don’t Stand So Close To Me/Young Girl” is very good but not quite great in my opinion; and “Crush” as performed by Lea Michele is also very good but not quite great. Of course, there’s no “right” or “wrong” here; listen to these songs for yourself and decide–maybe you will love them completely.

Overall, there’s a good reason that this CD is selling well as I write this; this album has a lot of excellent music and that’s grand. I highly recommend it for fans of the TV show Glee; but even people who have never watched the show will want to get this for their collections if they like pop.

Review by Musac Critic:

The old-time saying “if it ain’t broke, don’t fix it” may apply to traditional pop crooner Michael Buble. Indeed, Michael Buble’s albums have remained conservative, maintaining the sanctity of classic standards and pop songs. 2009’s follow-up 2007’s extremely successful Call Me Irresponsible does maintain a sense of classicism that has come to define Buble, but there are some risks taken this go around. Sure, he doesn’t ruin or over interpret the classics, but as far as arrangements, orchestrations, and vocal nuances, Buble keeps the classics ‘fresh’ while also keeping them ‘classic.’ The album isn’t perfect, but it is consistent and bodes well to keep Buble’s career afloat. Buble never compromises himself on this album.

Opening with “Cry Me A River”, instantly, one hears that Buble wishes to exploit a slightly more adventurous side without ‘rocking the boat’ too much. The orchestrations here are different but brilliant and add just the right amount of change without ruining the sanctity of the classic standard. Buble, as always sounds top-rate as a vocalist.

“All of Me” scales down the experimentation of “Cry Me A River”, seeking to balance between ‘innovation’ and ‘classicism’. While the performance is another ‘home-run’ for Buble, it doesn’t trump the excellent, cutting-edge “Cry Me A River”. “Georgia on My Mind”, on the other hand, finds Michael Buble at his very best, bringing new, pitch-perfect nuance to the classic that helped to shape Ray Charles’ career. “Crazy Love”, the title track continues a hot streak for Buble.

Perhaps most unique is “Haven’t Met You Yet”, which most likely will received mixed reactions from Buble fans. Personally, I think it is a departure for Buble and lays well, though it doesn’t necessarily trump Buble’s beautiful interpretations of standards and classic pop songs. Good, but no my favorite. “All I Do Is Dream of You” continues to differentiate from previous Buble album. It does so convincingly, given a soulful-sound that hearkens the 1950s.

“Hold On” proves to be a clear valedictory performance on Crazy Love, finding Buble at his most sensitive and best. The acoustic guitar here at the forefront gives this track more a modern pop tinge as opposed to hearkening back to classic pop. The strings are beautiful orchestrated here.

“Heartache Tonight” contrasts the slow, sensitive nature of “Hold On”, solidly, though it is the Sharon Jones and Dap-Kings feature on “Baby (You’ve Got What It Takes)” that steals the show. Funky and just overall sensational, “Baby” is certainly like nothing else from previous Michael Buble albums. “At This Moment” finds Michael Buble among the bluesiest I’ve ever heard. Produced by the phenomenal pop producer David Foster, it is a showstopping performance by all means.

The album closes strongly with “Stardust” and “Whatever It Takes (feat.Ron Sexsmith)”. Neither tracks captivate the way that “Cry Me A River”, “Georgia” or some of the ‘best of the best do’, but both are solid and above par.

While ‘Crazy Love’ isn’t revolutionary pop per say, it does find the crooner extending his scope slightly, which is a positive thing. 4 stars.

Review by barry:

I really do enjoy this cd. Michael Buble is extremely talented as a performer and a vocalist and it is pretty hard for him to do wrong. But he does hit some definite missteps here. When I played it for the first time I was rather puzzled wondering what sort of cd he had tried to put together. It was very different from his others and I had to play it another 5 to 6 times before I really formed my true opinion.

Michaels’s previous cds have all emphasized pop standards sung with class and quality in the big band style. He would also throw in a couple of redos of more current songs for fun. He also started to venture into the pop genre with his singles HOME and EVERYTHING. He continues his venture here with HAVEN’T MET YOU YET which seems to be getting mixed reviews. I first found it rather simple but find it to be a fun, playful song on this new cd.

It is obvious that Michael is trying to go more pop on this cd and the result will end up in mixed reactions from fans. What truly stands out is that the styling and interpretations he applies to most of the standards here are just off the mark. CRY ME A RIVER is an emotional song in itself with its heartwrenching lyrics. Rather than emphasize the emotional delivery he has a loud orchestral intro worthy of James Bond lead up to his vocal. It just doesn’t work and is over the top big time. The other is STARDUST sung with NATURALLY 7. I felt like I was listening to the Andrew Sisters or even Lawrence Welk. This was such an old fashioned sappy interptretation that has no emotional value. This song also could have been perfect for his vocal gifts.

So he is going pop and the cover of the cd is CRAZY LOVE, a very old song that has been sung by so many and is pure pop candy. He sings it so simple and adds nothing to it. There is no Michael Buble magic. It is a simple filler song on the cd yet he finds it worthy of being the title. I also was excited when I saw he would be singing the pop classic AT THIS MOMENT. Again, he gave a simple rendition of a song that asks to be played with dramatically. I also found the orchestration on YOU’RE NOBODY TILL SOMEBODY LOVES YOU to drag. I kept waiting for it to build a little but this was another rather boring rendition.

What works for me here are ALL OF ME, GEORGIA ON MY MIND, HOLD ON and the real fun HEARTACHE TONIGHT. I went into the flaws I founds so extensively only because this is Michael Buble a singer with vocal and emotive abilities of the highest caliber. There is nothing I hate here or need to skip over. I just wanted to be honest with my review. And the honest truth is even with these flaws I play the cd over and over and really love the new single HAVEN’T MET YOU YET. I even laugh at the over the top drama to CRY ME A RIVER. I really am a hard core Buble fan and give him high kudos for trying to venture out and try different things on this cd. Some small missteps don’t take away from this being immensely enjoyable. Sadly, if you really want Michael singing the standards with the big orchestra this cd might not be to your taste. But for those who appreciate the true talent Michael Buble has it will be lots of fun to go on this new venture with him.

Review by David Pelleman:

Running time 74 minutes. Track Listing as follows:- Don’t Stop Believin’, recorded 1981 - Live, Escape tour .
- Wheel In The Sky, recorded 1978 .
- Faithfully, recorded 1983 .
- Any Way You Want It, recorded 1981, Live, Escape tour .
- Separate Ways, recorded 1983 .
- Lights, recorded 1978 .
- Lovin’, Touchin’, Squeezin’, recorded 1979 .
- Be Good To Yourself, recorded 1986, Live, Raised on Radio Tour Mountain Aire Festival .
- When You Love A Woman, recorded 1996 .
- Who’s Crying Now, recorded 1981, Live, Escape tour .
- Send Her My Love, recorded 1983 .
- Girl Can’t Help It, recorded 1986, Live, Raised on Radio Tour Mountain Aire Festival .
- Open Arms, recorded 1981, Live, Escape tour .
- Just The Same Way, recorded 1980 .
- Stone In Love, recorded 1981, Live, Escape tour .
- Feeling That Way, recorded 1978 .
- After The Fall, recorded 1983 .
- I’ll Be Alright Without You, recorded 1986, Live, Raised on Radio Tour, Atlanta GA

Review by Mike:

First, I am a huge Journey fan. I think the Escape and Frontiers albums are some of the best music I own and I will go weeks on end without taking a Journey CD out of my CD player. Now, as for this DVD, I am glad to see some of the bootleg concert footage I have had for years finally get cleaned up and look good. I think the DVD would have been better if this had been done in chronological order, but that is my opinion. That way you could see the hair/clothes/music styles evlove over time (and see the product placement from when they promoted Budweiser).I would have liked to know why they just do not release the whole Houston concert, or even the Tokyo concert from that same year out on DVD, I think they would each be big sellers. As it is this is a great look at a wonderful band. I love to watch the “Seperate Ways” video because it is so “80’s”, one of the best videos for that time (best to make fun of). If you are a Journey fan, buy this DVD. If you are a fan of drummer Steve Smith, but this DVD to see him (when they show him) playing live.

Review by Joey Sciarra:

It’s amazing how fast Lady Antebellum has taken over the world of country music, and 2009 was certainly an unbelievable year for them. ‘Need You Now’ is a rock solid sophomore album, which is sure to send them not only higher up among the country superstars — but propel them into the pop music world as well.

Their platinum debut album zipped up the country charts, and Lady A ended up bringing home awards for song of the year (”I Run To You”) and group of the year, at the ‘09 CMA awards. Their great songwriting continues onto ‘Need You Now’, in which they’ve had a hand in writing 8 out of the 11 songs here. The title track spent 5 weeks at #1 on country radio — and is now making its way onto the pop airwaves. This CD is full of beautiful harmony, brilliant lyrics, and lovely piano laden songs.

“Hello World” is definitely the standout song to me….It’s just stunning. The song starts off softly with acoustic piano for a while, and then rises into a beautiful anthem about the simple things in life — what life is all about. Great lyrics, production, and vocals…”Hello World” almost has a ‘Coldplay’ feel to it towards the end. “Perfect Day” and “American Honey” are nice summer type songs, in which Hilary sings lead vocals. Both singles are laid back tunes, which sound similar to classic Dixie Chick hits from long ago. “If I Knew Then” is a gorgeous ballad about missing an opportunity at love, by not taking a chance…something that many of us can relate to.

It seems very apparent that Lady A will continue on their road to becoming one of the most successful acts in pop-country music — this CD is filled with some huge hit singles. It’s a very strong album top-to-bottom, and I highly recommend it! ~9/10~

Review by Lisa:

I loved Lady A’s debut CD and was really looking forward to the new release after hearing Need You Know on the radio. As far as I am concerned that is the only good song on the CD. I have listened to it several times thinking it will click with me but that just hasn’t happened yet.

*I have been listening to it a lot lately and I am starting to like some of the songs. There are still a couple that I skip over but I increased my rating to three stars. I still like the first CD better.