Josh Groban Albums (5)
What The Critics Say
Vocalist Josh Groban delivers his first Christmas themed album with 2007's Noel. Once again produced by longtime "man behind the curtain" David Foster, the album features more of Groban's dewy, supple vocals set to Foster's cinematic orchestrations. As per the holiday theme, these are primarily classic tunes of the season including such chestnuts as "Silent Night," "Ave Maria," and, of course, "The Christmas Song." However, also included are a few lesser-known traditional songs as "Panis Angelicus" and "Angels We Have Heard on High." Similarly, while most of the productions here should appeal to longtime fans of Groban's particular classical-crossover sound, some cuts like soft rock inflected "It Came Upon a Midnight Clear" and the Celtic folk leaning "Little Drummer Boy" do expand upon the Groban/Foster palette in a pleasing way. Notably, also showcased here are guest appearances by country superstar Faith Hill, R&B stalwart Brian McKnight, and perennial holiday backing band the Mormon Tabernacle Choir. ~ Matt Collar, All Music Guide
What The Critics Say
Longtime fans of Josh Groban should be pleased to know that the vocalist's third studio album, Awake, features more of the polished, well-crafted, and emotionally grand classical crossover pop he has become known for. In fact, the album is perhaps his most appealing and deviates little from his previous outings. Here listeners get a mix of original songs -- some co-written by Groban -- that trade between more classical/opera-oriented songs sung in Italian and more pop-oriented songs in English. Interestingly, the tracks co-penned by Groban are some of the most compelling, and showcase his knack for a kind of '60s Scott Walker baroque pop meets '80s Diane Warren adult contemporary vibe. This brings up the only problem with Awake, which is that as Groban's music has moved closer and closer to pop, the necessity of utilizing Italian becomes increasingly nebulous. Truthfully, barring any awkward translations, most of these songs would sound fine sung in English and generally come off as very good Italian pop songs. So, despite being quite listenable, from a mainstream pop point of view the use of Italian is great for lending the album a sheen of pan-European classical regality, but in some ways limits the emotional impact of the songs to only those who understand Italian. None of this really matters, though, to fans of Groban, who justifiably respond to his superb technique, silky tone, and bedroom eyes. It doesn't hurt either that he's brought along some unexpected guests this time around in the African vocal group Ladysmith Black Mambazo, appearing here on two tracks, as well as legendary jazz pianist Herbie Hancock, who shows up on the angular and half-funky "Machine." It's also great to hear Groban dig into an adaptation of "Un Giorno Per Noi," Nino Rota's theme to Franco Zeffirelli's classic 1968 film Romeo and Juliet. The song, as Awake itself, is a grand collision of pop culture and co-opted classical themes from then and now, and perfectly embodies everything that has made Groban so successful. ~ Matt Collar, All Music Guide
What The Critics Say
In a short period of time, Josh Groban went from being a talented vocalist ready to enter college to the new prince of romantic music with a best-selling debut album and highly rated PBS special. The successful combination of his classical crossover croon, boyish good looks, and association with überproducer David Foster helped Groban become a sensation. His sophomore studio disc, Closer, stays comfortably within the boundaries built by his debut collection as Foster once again helms a modest set of pseudo-classical pop songs dreamily sung in various languages. Listening to Groban, it is easy to understand why this MOR style suits him so well as his maturing voice is not grand enough to fully embrace operatic material yet remains too rich and technical for typical mainstream pop music. On Closer he works within his limitations and the result is a more consistent listen than the scattershot debut with his voice sounding comfortable performing these emotional European-inspired pop songs. The best tunes bookend the disc as the atmospheric opener, "Oceano," sets an ominous tone while the mysterious "Never Let Go" is a welcome collaboration with Deep Forest that allows Groban to successfully move away from the saccharine ballads and grow as a vocalist. However, there is still plenty of romance included for the PBS crowd as "When You Say You Love Me" painfully cries out like a rejected Celine Dion cut and the Celtic-infused bombast of Secret Garden's "You Raise Me Up" plays like the sequel to his debut's most famous song, "To Where You Are." In addition to his improved vocals, Groban contributes three co-writing efforts that include "Never Let Go," and shows that there is a future for him to evenly match his skills as a vocalist and a songwriter. Although the disc still focuses on bland rose petal confessions, its highlights point in the right direction and bring Groban Closer to creating an album that eliminates the sick sweetness while remaining a tasty, satisfying treat. ~ Aaron Latham, All Music Guide
'Josh Groban in Concert'
Release Date 12/3/2002
Tracks 25
Label Warner Bros.
See Album Tracklist and Review
What The Critics Say
Producer, record executive, and songwriter David Foster has a long history of trying to wed commercial considerations to the lighter elements of pop music, and in young Josh Groban, whom he adopted as a protégé in late 1998 when the singer was 17, he is trying to get in on the classical crossover market effectively occupied by the likes of Andrea Bocelli, Sarah Brightman, and Charlotte Church (who duets with Groban on "The Prayer" here). Groban has a rich voice that falls somewhere between a low tenor and a high baritone, and Foster has here crafted or commissioned music that will sound classical to the ears of non-classical fans, much of it with lyrics in Italian to complete the effect. "Gira con Me," for example, is a slow ballad that sounds like it may have escaped from a minor opera, but in fact was composed by Foster and songwriter/producer Walter Afanasieff (best-known for his work with Mariah Carey). Groban is also given some ballads in English, with songwriting credits that include such Southern California pop-meisters as Richard Marx, Albert Hammond, Carole Bayer Sager, and Foster's wife, Linda Thompson. The result is an ersatz classical crossover record that won't fool the experts but easily could find its way into households that welcome Celine Dion and other sub-operatic emoters of her ilk. Groban is certainly not to be blamed for taking his chances with Foster instead of staying in college or pursuing a classical career, and his first album is enjoyable even if it doesn't live up to its pretensions. ~ William Ruhlmann, All Music Guide
