Michael Bublé Albums (9)
What The Critics Say
Buoyed by the popularity of the hit contemporary pop ballad "Home," singer Michael Bublé's 2005 album, It's Time, clearly positioned the vocalist as the preeminent neo-crooner of his generation. Bublé's 2007 follow-up, Call Me Irresponsible, only further reinforced this notion. Not only had he come into his own as a lithe, swaggering stage performer with a knack for jazzing a crowd, but he had also grown into a virtuoso singer. Sure, he'd never drop nor deny the Sinatra comparisons, but now Bublé's voice -- breezy, tender, and controlled -- was his own. It didn't hurt, either, that he and his producers found the perfect balance of old-school popular song standards and more modern pop covers and originals that at once grounded his talent in tradition and pushed him toward the pop horizon. All of this is brought to bear on Bublé's 2009 effort, Crazy Love. Easily the singer's most stylistically wide-ranging album, it is also one of his brightest, poppiest, and most fun. Bublé kicks things off with the theatrical, epic ballad "Cry Me a River" and proceeds to milk the tune with burnished breath, eking out the drama line by line. It's over the top for sure, but Bublé takes you to the edge of the cliff, prepares to jump, and then gives you a knowing wink that says, not quite yet -- there's more fun to be had. And what fun it is with Bublé swinging through "All of Me," and killin' Van Morrison's classic "Crazy Love" with a light and yearning touch. And just as "Home" worked to showcase Bublé's own writing abilities, here we get the sunshine pop of "Haven't Met You Yet" -- a skippy, jaunty little song that brings to mind a mix of the Carpenters and Chicago. Throw in a rollicking and soulful duet with Sharon Jones & the Dap Kings on "Baby (You've Got What It Takes)," and a fabulously old-school close-harmony version of "Stardust" with Bublé backed by the vocal ensemble Naturally 7, and Crazy Love really starts to come together. All of this would be enough to fall in love with the album, but then Bublé goes and throws in a last minute overture by duetting with fellow Canadian singer/songwriter Ron Sexsmith on Sexsmith's ballad "Whatever It Takes." A devastating, afterglow-ready paean for romance, the song is a modern-day classic that pairs one of the most underrated and ignored songwriters of his generation next to one of the most ballyhooed in Bublé -- a classy move for sure. The result, like the rest of Crazy Love, is pure magic. ~ Matt Collar, All Music Guide
'Michael Bublé Meets Madison Square Garden'
Release Date 6/16/2009
Tracks 24
Label Reprise
See Album Tracklist and Review
What The Critics Say
Michael Bublé Meets Madison Square Garden finds Canadian crooner Bublé making a highly anticipated appearance at the storied New York City concert venue. Often seen as a symbolic moment for a performer having achieved a high level of populist success, Madison Square Garden performances have led to a few well-known live albums, including one from Bublé's own most notable influence, Frank Sinatra. Interestingly, while Sinatra's 1974 album The Main Event came toward the latter half of his career, Bublé's appeared right as some critics and even his contemporaries like smooth jazz trumpeter Chris Botti were proclaiming his ascension to Sinatra's throne as the best traditional pop vocalist of his generation. Setting such grandiose summations aside, Bublé is at the very least an incredibly talented vocalist who grew from a nice kid singer in the early part of the decade to a truly swinging interpreter of the Great American Songbook canon by the end of the decade. Furthermore, Bublé found the right modern pop/soul songs -- often co-written by himself ("Lost," "Home") -- which has worked to fully contemporize his likable and swaggering stage persona, all of which is readily apparent on Meets Madison Square Garden. Backed here by his de rigueur big band, Bublé has a joyful and abundantly devilish rapport with the audience and is clearly as in love with them as they are with him. Not surprisingly, there was some buzz surrounding Bublé's Madison Square Garden concert, which marked not only his first appearance at the Garden, but also his return visit to the famous Blue Note jazz club where he made his original N.Y.C. debut. Included with the CD of Michael Bublé Meets Madison Square Garden is a DVD documentary detailing this return visit as well as the behind-the-scenes buildup and performance of his Madison Square Garden concert. ~ Matt Collar, All Music Guide
'Call Me Irresponsible'
Release Date 5/1/2007
Tracks 13
Label 143/Reprise
See Album Tracklist and Review
What The Critics Say
More than any of his contemporaries, vocalist Michael Bublé has bridged the gap between standards-oriented vocal pop and more contemporary pop vocals. Having perfected the mix on his superb 2003 effort, It's Time, which found the Frank Sinatra-influenced singer covering both "I've Got You Under My Skin" and Leon Russell's R&B ballad "A Song for You," Bublé wisely doesn't mess with a good thing on 2007's Call Me Irresponsible. Once again delving into a mix of swinging big-band numbers and classic pop hits such as the wickedly hip '60s standard "Comin' Home Baby" (featuring backing vocals from Boyz II Men), the album is a breezy, stylish good time. And while such cuts as "The Best Is Yet to Come" and the laid-back title track comfortably cast Bublé as a modern-day crooner consistent with his billing, the unexpected reworkings of contemporary pop songs often make the biggest impact. To these ends, his bossa nova duet with vocalist Ivan Lins on Eric Clapton's "Wonderful Tonight" and the reharmonized Willie Nelson perennial "Always on My Mind" work particularly well here, not as cheeky cabaret but as artfully crafted and devastatingly moving ballads. And it's not just the cover tunes that drive the album; on the contrary, much like the Bublé co-written ballad "Home" defined the mood of It's Time, his sparkling melodic pop original "Everything" helps make Call Me Irresponsible a truly welcome pop album by any standard. This CD was nominated for a Grammy award in 2007 as Best Traditional Pop Vocal Album, and "Everything" was nominated for Best Male Pop Performance. ~ Matt Collar, All Music Guide
What The Critics Say
Featured as a PBS "Great Performances," Caught in the Act finds modern-day crooner Michael Bublé performing live at the Wiltern Theatre in Los Angeles. Bublé has a warm, naturally pure voice perfectly suited to the swinging standards and heartfelt contemporary ballads he's made his name with since his debut in 2003. It doesn't hurt either that here he is backed by a full big band including a string section. Bublé's between-song banter is also charming and adds to the loose and fun feel of the album. Included are such classic songs as "Summer Wind" and "The More I See You" as well as the hit "Home." Also featured here is a full DVD of the rest of the live show as well as some other bonus material. ~ Matt Collar, All Music Guide
What The Critics Say
Although it took more than a year of concerts and promotional appearances, Michael Bublé's 2003 debut disc of swinging pop standards finally ascended the Billboard album chart and landed at number 47. That peak may not seem impressive at first, but in a musical world dominated by rap or the latest flavor of alternative rock, Bublé's upper chart appearance was a real accomplishment and it sparked a renewed interest in music associated with great vocalists like Frank Sinatra. With his second studio disc, It's Time, Bublé builds upon the musical foundation he laid with his debut and demonstrates that he is much more than a flavor-of-the-month celebrity. Like his debut, It's Time mines the rich history of pop music as Bublé applies his own technique to classic standards and incorporates his Rat Pack sound into modern pop songs. Other pop vocal giants have made attempts to reinterpret the pop songs of their day with appalling results (Mel Tormé's version of "Sunshine Superman" comes to mind), but Bublé has the knack for selecting the right songs that he can properly transform into edible works that avoid a cheesy aftertaste. Having a standard like "A Foggy Day (In London Town)" share space with the Beatles' "Can't Buy Me Love" may seem like a lounge lizard joke waiting to happen, but the arrangements (most courtesy of producer David Foster) and performances are seamless. Therefore, the quiet groove of "I've Got You Under My Skin" can sit comfortable next to Bublé's smoky version of Leon Russell's "Song for You," featuring Chris Botti on trumpet. Perhaps it is due to this formula working so well that Bublé has incorporated more of his unique takes on modern pop than on his debut. He even ventures into R&B territory with older hits like "Try a Little Tenderness" and "How Sweet It Is," all the while giving these songs a retro freshness that breathes new life into these gems. Pop starlet Nelly Furtado sounds lovely and elegant in the duet "Quando, Quando, Quando," while Bublé ends the disc with a beautiful reading of Stevie Wonder's "You and I." Another positive step forward is the inclusion of the lovely original tune "Home," a somewhat autobiographical "too long on the road" song co-written by Bublé. The success of this ballad provides yet another direction that he can explore and expand upon. Throughout the disc Bublé emits the feeling that he loves these songs and truly enjoys what he is doing. He sounds pure of voice and pure of heart. Those are rare commodities in the recorded world and they, along with Bublé's talent and vision, help to make It's Time a wonderful listening experience. ~ Aaron Latham, All Music Guide
'Come Fly with Me'
Release Date 3/30/2004
Tracks 23
Label Warner Bros.
See Album Tracklist and Review
What The Critics Say
For Michael Bublé, 2003 was a whirlwind year that included the release of his successful debut album, an international tour, a Christmas EP, and tons of promotional appearances and press interviews. Therefore, it is not surprising that, in lieu of a proper follow-up, Bublé has elected to keep his fan base happy with Come Fly with Me, a CD/DVD combo package that features live performances from several of his tour dates along with two new studio tracks. The DVD is the more interesting of the two discs, as it gives a glimpse into the fast-paced world of a rising star, combining musical numbers and candid footage shot during the tour. Bublé is seen vivaciously performing with his band while snippets of behind-the-scenes interviews act as interludes between the songs. The brief moments provide a little background history and make him out to be an average guy who was blessed with talent and enjoys what he is doing. Although it is nice to get a feel for the person, what is most important is the music, and he more than proves that he is both an excellent vocalist and entertainer. He sounds great, the band is hot, and Bublé appears to genuinely love performing for an audience. However, the editing of the musical footage is a major distraction. Although the audio track sounds as if it came from one uncut song performance, the visuals are made up of several filmed concerts and are spliced together in a rather jarring fashion. Every two to three seconds a different shot of Bublé singing a song is edited in (often in layers), but the specific shot onscreen may not be from the same performance as the recorded concert audio. Therefore, there are times when the visuals don't match the audio track (much like a foreign film dub). While this technique may be interesting and thematic for the opening title track, it quickly becomes annoying when done for over an hour. The CD includes live versions of six songs featured on the DVD along with two new studio tracks produced by David Foster. "Nice 'n Easy" is just like its title, as Bublé sings with a relaxed swagger that charms the listener, but "Can't Help Falling in Love" suffers from a schmaltzy Foster arrangement that Bublé tries his best to overcome. The song sounds even worse when followed by a brilliant live rendition of "My Funny Valentine." Although the DVD may be more enjoyable if played with the television off, Come Fly with Me has enough excellent musical moments to keep fans tuned in to Bublé's one-man revival of standards. ~ Aaron Latham, All Music Guide
What The Critics Say
Unlike most young guys who gravitate towards the latest rock or rap trend, Michael Bublé chose to study the classic works of pop vocal masters like Ella Fitzgerald and Frank Sinatra while slowly developing his own technique and career as a vocal interpreter. Thanks to producer David Foster, the 25-year-old Bublé has graduated to the big time with a self-titled debut disc that shows off his knowledge and appreciation for a style of music that is mostly unfamiliar to his generation. Swinging his way through a set of pop standards both classic ("The Way You Look Tonight"), and more recent ("Moondance"), Bublé already possesses a quality that reaches beyond his youthfulness, with a voice that incorporates his influences into a sound that is fresh yet familiar. When he launches into a standard like "Come Fly With Me," images of Sinatra are conjured up; but as the song progresses, the listener realizes that this is not Sinatra, or Bobby Darin, or any other famous vocalist. It is someone who has learned the art of popular song and is creating his own colorful music from shades of the past. In doing so, Bublé throws a fresh coat of paint on an old standard like "Fever," and gives it a satiny sheen that the song hasn't seen in years. In addition to revitalizing the classics, he draws in a younger audience by covering more recent, rock-era songs in a swinging gloss. Songs like George Michael's "Kissing a Fool" or Queen's "Crazy Little Thing Called Love" are jazzed up even further than their retro-based originals, and flow easily alongside the standards. The only interruption comes when Barry Gibb guests on his own "How Can You Mend a Broken Heart," with a reverb-laced vibrato that simply does not fit in this musical environment. Throughout the disc it is apparent that Bublé has done his homework and aced the test, but there is always room for improvement. Sinatra haunts his vocals a bit too much on songs like "Summer Wind," and there are moments throughout the disc when he forces his technique instead of following a natural cadence, but these minor criticisms will improve with time; and nothing can really diminish the sheer pleasure and joy he expresses in each performance. He sounds absolutely thrilled to be singing these songs, and that goes a long way in making Michael Bublé an exciting debut. ~ Aaron Latham, All Music Guide
What The Critics Say
After the success of Michael Bublé's self-titled debut, DRG belatedly released this jazzy soundtrack from the 2001 film Totally Blonde in which Bublé had a co-starring role as a nightclub singer. Capitalizing on Bublé's newfound stardom, DRG basically ignores the music's connection to the film by altering the title and putting a shot of Bublé on the cover making it appear as if this was a proper Michael Bublé release. The slight misrepresentation was not lost on Bublé who has stated on his website that he did not want these songs released but that it was out of his control. In reality, the disc is not the complete disaster he makes it out to be, but buyers should be wary of the disc and understand what it is they are purchasing. The film's director, Andrew Van Slee, wrote or co-wrote all of the songs on this short, energetic disc while an as-yet unsigned Bublé does his best to breathe some life into these imitation swing-style songs. As with the standards he interpreted on his debut disc, Bublé sounds in command and comfortable fronting these slight tunes, making the songs sound much more interesting than they really are. Throughout most of the tracks Bublé channels his inner Sinatra in a way that is complementary but not imitative, as in the swagger of the disc's opening number, "That's How It Goes," where his Frank-ish vocals get revved up and zoom into a final Bobby Darin growl. His youthfulness does show through on the ballad "Anyone to Love," a boozy ode to losing at love in which Bublé's vocals lack the experience needed to truly portray the song's older, depressed character, but that is his only vocal misstep throughout these seven audio tracks. Although one could understand why Bublé would not want these early recordings to sit beside his stellar debut in CD bins, he shouldn't be too concerned as Totally Bublé does show what this gifted vocalist can do with even second-rate material. ~ Aaron Latham, All Music Guide
