Michael Buble's "Crazy Love" Album Review: The Art of the Romantic Breakup

When I wrote a thorough review here of Michael Buble's "Call Me Irresponsible" album two years ago, there were still stores here and there that didn't know who he was, despite prolific media coverage then on this superstar neo-crooner. I'll never forget a relative in my family telling about going to a local Target to pick up a copy of the previously-mentioned album in 2007 and having to explain who Buble was to a clerk who knew nothing. Sure, go ahead and say what a difference two years makes. Now the word is that when fans called into stores about Buble's new album "Crazy Love" on its release day this October 9, the clerks knew immediately who he and the album were without the customer having to say a word.

It's fitting that media finally reached every nook and cranny of the world right when Buble finally fell into a comfortable stylistic groove that "Crazy Love" ultimately succeeds in showing. While you could argue that "Call Me Irresponsible" was also the epitome of his personal stamp on standards and a few originals, "Crazy Love" builds new layers, even if the song selections are easily subjective.

If there's any easy way to encapsulate what "Crazy Love" means in the realm of Buble's artistry, you'd have to say it's the equivalent of what Sinatra did with his legendary wrist-slash albums, only not nearly as dark. But keep in mind this one explores how a breakup of a relationship brings profound art in song. Fortunately, Buble's nonpareil pop vocal ability and natural styling helps sell every song he sings.

You're about to read a track-by-track analysis by yours truly, based squarely on the idea that some elements of each arrangement can easily get misunderstood if you don't know a little background first.

This is based on the original release and not the myriad special editions Reprise Records continues to push to the flummoxing of every consumer:

Track 1: "Cry Me a River": Arguably, an overdone song that might initially get called out as such upon first appearance without a listen. Nevertheless, you're in for a powerhouse treatment here from Buble and co-arranging pen of David Foster (with Buble also getting co-credit) that sets the high-bar emotion of a potential breakup.

The biggest criticism from some is that the dramatic orchestration you hear in the opening ruins the feeling of the song. Quite the contrary since there is a story behind that bravado-like accompaniment. If you've ever been to one of Buble's live shows, that opening will be instantly familiar as the tense intro music the band plays right before Buble comes out on stage--akin to Elvis once using "Also Sprach Zarathustra" as an anticipatory intro to his live Vegas shows. Either Buble or David Foster decided to build this "Cry Me a River" arrangement around Buble's opening tour music. Yet it all works, based squarely on his powerhouse vocals and the uncanny ability to convince the listener he really lives every word of the song.

Track 2: "All of Me": Another winner and the brief nod to Sinatra as Buble's done on all of his albums to some degree. MB sang this in a few clubs within the last year, so it's fitting they include the sound of a crowd murmuring and glasses clinking in the background before the first note plays. Vocally, he bests Sinatra's original from the 50's Capitol album "Swing Easy." The chart, however, is virtually the same as other Sinatra covers have been on Buble's past albums.

Track 3: "Georgia On My Mind": One that might be considered subjective in relevance for this album's message. Although give it a careful listen and you'll see that it's really a metaphor for a girlfriend who walked out and the guy keeping her in memory. It reinvents the entire song and Buble's soulful vocalisms help us temporarily forget Ray Charles's iconic take.

Track 4: "Crazy Love": A cover of Van Morrison's classic song is arguably and ironically the least of the songs on the album. The vocals by Buble are unfailingly passionate, but the arrangement is quite ordinary, perhaps by design to offset the more intense tracks enveloping it.

Track 5: "Haven't Met You Yet": Things come back to life again with this outstanding original song co-written by Buble himself. As with his other originals "Home" and "Everything", this one is going to be equally popular years down the road where we'll hear it covered everywhere by amateur and professional singers alike. And as well it should be, because it's an unusually happy song for the times we're living in along with being one of the best earworm songs of the year.

If you listen carefully to the arrangement, you'll hear several subtle musical allusions to The Beatles, particularly from "All You Need is Love." Whether that was by design or unintentional, it doesn't detract from the song's originality. Buble's chant of "Love, Love, Love" at the end will plant the above Beatles tune in mind. Also, the bridge sounds like one that could have been written by Lennon/McCartney. But if you're familiar with Buble's life, this song seems intentionally autobiographical.

Track 6: "All I Do is Dream of You": Those who know Buble's back story know that Dean Martin was said to be more of an influence on his singing than Sinatra. While you see little evidence of that in Buble's performances, he's been known to impersonate Martin on occasion in shows. This song, one of Martin's classic recordings, gets a fun and breezy reading by Buble without giving hints of it ever being recorded by 'Ol Red Eyes.

Track 7: "Hold On": Another new original co-written by Buble. If you saw his "Live at Madison Square Garden" concert DVD earlier this year, you would have seen MB plucking this out on a piano backstage during a behind-the-scenes segment. It's built on a haunting sequence of chord progressions that becomes a deep song, even though it's quite subdued compared to his earlier songwriting efforts. It's similar in sentiment to his earlier "Lost" that channeled the process of helping someone in a depressive abyss.

Track 8: "Heartache Tonight": One of Buble's usual throwback covers of a 70's song. This time it's this classic from The Eagles. He manages to keep it sounding relevant for the 2000's or anybody going through a breakup situation. Expect this one to be used as one of the rock-oriented encores at his live shows.

Track 9: "You're Nobody till Somebody Loves You": Another nod to Dean Martin (the first time Buble's done that twice on an album) and a favorite with many on the live circuit. This studio take perhaps feels buttoned-down compared to the freewheeling feel his live version gets, yet still excellent. But that was also the case with Sinatra's recordings.

If you've seen Buble's live version, you'll miss hearing his Dean Martin impersonation in the opening strains here.

Track 10: "Baby (You've Got What it Takes)": As with Buble's other albums and a prerequisite of every album, he duets with someone (or more than one here) on this R&B classic. This time it's with Sharon Jones and the Dap-Kings. While his duets have never been the highest points of his albums in my book, this one truly works. It successfully captures the kinetic energy Buble manages to inject into his Motown-inspired covers from previous albums.

Track 11: "At This Moment": Those who remember that silly decade called the 80's will find this song familiar. Billy Vera & The Beaters (plus "Family Ties") made the song one of the most iconic power romantic ballads of the 80's and was just sitting there waiting for Buble to finally cover it twenty-five years later. Well, Vera still sings it in live shows, though I doubt he'll mind Buble's much more passionate rendition. Expect this cover to be played at weddings, based squarely on Buble's stylistic passion and superior vocals to just about anybody else in pop music.

Track 12: "Stardust": Done in a style similar to early 40's Sinatra with the Pied Pipers, the close harmony singing group Naturally 7 joins Buble here as they do (uncredited) on earlier "All I Do is Dream of You." MB tested this on the live circuit within the last year and received mostly rave reactions. Whether you think Naturally 7's harmony is as good as the original Pied Pipers will depend on your musical ear. It's my opinion they don't match them, despite still weaving a magic not usually duplicated in close harmony groups today. Buble's vocalisms are better than Sinatra's original from the 1940's when with Tommy Dorsey's band.

Bonus Track (#13): "Whatever it Takes": More proof that bonus tracks are sometimes the strongest tracks on an entire album. This duet (with Canadian songwriter Ron Sexsmith, who wrote this tune) gets a perfect rendering thanks to a Bossa-like arrangement that helps us imagine two friends recounting a relationship with a girl unfolding or ending on a warm and breezy Brazilian beach. It caps off an album that manages to have a mostly successful unifying concept while showing off Buble's style in full realization and in how he puts an album together.

We now see an inspired formula developed that, if not pleasing everybody all the time in the future, will successfully please enough people to keep anticipation of his ensuing albums at the forefront of many minds for the next 50 years.

Amazon.com link to buy album:

www.amazon.com/Crazy-Love-Michael-Buble/dp/B002KDUDG6/ref=pd_ts_zgc_m_music_display_on_website_1