TanyaB (Michael_Buble) все записи автора

TanyaB (Michael_Buble) все записи автора

TanyaB (Michael_Buble) все записи автора Прожолжаю выкладывать оригиналы композиций, когда-либо исполненных Майклом Бубле.

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Eric Clapton ~Wonderful tonight~

Elvis Presley ~Crazy little thing called love~

Bee Gees ~How  can you mend a broken heart~

TanyaB (Michael_Buble) все записи автора Michael Buble In Japan, Tokyo (2004)

PART 1  ~Kissing a fool~ by George Michael

PART 2 ~Moondance~ by Van Morrison

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INCLUDES *Just the way you look tonight *For once in my life *Kissing a fool Этот файл в лучшем качестве можно скачать в аудио-видео архиве

TanyaB (Michael_Buble) все записи автора

 

So, Michael, when are you coming to Wyoming?

Crooner Michael Buble's crowd-pleasing show in Denver makes this Cheyenne resident wish he'd come here

TanyaB (Michael_Buble) все записи автора

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TanyaB (Michael_Buble) все записи автора СМОТРЕТЬ ВСЕМ!!! ОЧ СМЕШНО 

TanyaB (Michael_Buble) все записи автора

TanyaB (Michael_Buble) все записи автора

TanyaB (Michael_Buble) все записи автора

TanyaB (Michael_Buble) все записи автора

Crooner Buble wants every concert to be a 'show'

Contributing writer

 

show growth as an artist, even for my own sanity. At the same time, I didn't want to alienate 11 million or so people who bought the record the first time.

"I didn't want to make the easy choices, if that makes any sense. I wanted to do songs because they were right. Not because it was the easiest or the simple thing to do."

That challenge also arose last April when Buble filled in as a last-minute substitute for Tony Bennett on "American Idol" after the legendary singer came down with the flu.

"Now that was terrifying," Buble, 31, said. "It wasn't the most perfect situation for an entertainer to be in. To step in for Tony Bennett is an impossible feat. It's funny - people said, 'Oh, you looked loose.' ... What I do is a loose thing. The style of music I

sing, it's about hearing the lyric and enjoying yourself. It's not a show-stopping, 'American Idol'-esque number.

"You see these kids, and if they do a performance of one of these songs and they do it at a club or a theater, they would probably look over-the-top. On 'American Idol,' it's perfect. It's about vocal gymnastics ... and not much about telling the story."

Telling the story is important to Buble. So the native Canadian admitted it's "with great difficulty" that he chooses the songs for his albums. For "Call Me Irresponsible," it was an "instinctual" thing.

"I think it's a gut feeling, knowing if a song is ready to be done - if it had enough time to live and then to be interpreted. I wanted to take songs and take them into my world. I didn't want to just do an ode to the song. I want to kind of make it my own - without turning it into bad lounge music, because it's pretty easy to do," Buble said.

To avoid that problem and to reinterpret the songs, Buble called in a number of special guests for the album. Boyz II Men lent vocals to Mel Torme's " Comin' Home Baby!" Buble said when he came up with the idea to record the song, he immediately thought of the group, best known for the song "I'll Make Love to You."

"I figured they'd be a perfect match. They're cool and retro in so many ways," Buble said. "They were a big influence on me as a kid. They were a huge group. I liked a lot of their songs. ... The first call I made on the record was to call them and ask them if they would do a duet with me."

Buble's tour in support of "Call Me Irresponsible" hits the Fox Theatre in Detroit on Friday. He said fans should "expect the unexpected."

"First and foremost: This is a show, not a concert. That's the most important thing to me. I'm so bored of these concerts. I keep going to these concerts, and I wonder why I didn't stay home and listen to the CD. It's nothing different," Buble said.

"I love the fact that entertaining people is a lost art. I have a very small responsibility. People pay money to see me, and I'm to take them away for a couple of hours. If I can think about it like that, I can really enjoy myself.

"I love the organic thing that happens in the relationship I get to have with that audience. It's a very personal, kind of intimate thing. Even if I'm playing in an arena. I think every night has to be special. I don't think you can ever just throw a night away. Or sing a song and just throw it away. Every night, these people should know they're seeing something they're not going to see any other time."

***

TanyaB (Michael_Buble) все записи автора Chris Isaak спел с Майклом в Auditorium Theatre в Chicago песню ''Kansas City'', переименовав её в ''Chicago City.''
У Криса также проходит тур этим летом, но он нашел время поддержать своего хорошего друга таким вот образом.
"Когда никто не знал меня, -сказал Майкл аудитории- Крис пригласил меня в своё шоу на кабельном телевидении. Я обычно открывал это шоу своим выступлением, когда появлялся он в своем костюме, чистя зубы и говоря мне поспешить"

TanyaB (Michael_Buble) все записи автора

A Crooner Who Woos With Modesty, Humor and More Than a Little Swing

Michael Bublé wants the world to know that just because he is a swinging crooner from the old school, he is not a good little mama’s boy looking to please the grown-ups by singing their music. That’s why he called his third studio album “Call Me Irresponsible,” he joked from the stage of Radio City Music Hall on Tuesday evening.

“Call Me Irresponsible” is also the title of the standard by Sammy Cahn and Jimmy Van Heusen that was a hit for Frank Sinatra and Jack Jones in 1963. And on Tuesday Mr. Bublé, accompanied by a 14-piece band, punched it out with a buoyant good cheer that turned it into a personal declaration of independence by a guy’s guy with few axes to grind.

A 31-year-old Canadian who is a protégé of the producer David Foster and of Paul Anka, Mr. Bublé, now a major pop star, is no hothouse flower who as a boy locked himself in a music room with a Victrola and a stack of sheet music. His suit and tie on Tuesday evening didn’t prevent him from playing the cutup. He may be catnip to women, but he also connects to men in a buddy-buddy sort of way.

He did an extended riff on manliness that included an affectionate, dead-on imitation of the early Elvis singing, “That’s All Right.” Horsing around with his musicians, he picked up a trombone and tooted out some phrases of “Try a Little Tenderness.” It all led to a musical joke about masculinity, as Mr. Bublé sang the Village People anthem “Y.M.C.A.” The audience didn’t seem to get it.

It didn’t matter much, because Mr. Bublé, like Harry Connick Jr., is a natural entertainer. Unlike Mr. Connick, who has a less musical vocal timbre and much deeper jazz roots, Mr. Bublé is not inclined to wow an audience; he’d rather befriend it. Near the end of the concert, he talked about his relatively humble background as the son of a salmon fisherman in a close-knit family.

No less a personage than Tony Bennett, the unofficial chairman of the board since Sinatra’s death, has already hailed Mr. Bublé as the best young male singer carrying on the pre-rock tradition. I agree. Mr. Connick may be a phenomenal musical talent, but he spreads himself too thin across the show business spectrum, and on his spotty albums wears too many hats. Mr. Bublé is sensible enough not to squander his gifts by trying to be all things to all people all the time; his ego is in check.

Although the bulk of his repertory consists of standards, his approach to pop is distinctly contemporary in attitude. He slides comfortably from classic swing standards to pop-country to Latin American pop to pop-soul without indulging in stylistic contortions. His current hit, “Everything,” which he wrote with Alan Chang (his musical director) and Amy Foster-Gillies, may not be a pop classic, but it is breezy and tuneful.

The concert’s outstanding number (and also a high point of Mr. Bublé’s album) was his passionate pop-swing version of “Me and Mrs. Jones,” the 1972 Billy Paul megahit celebrating the joys of an adulterous affair. Without bending its phrases badly out of shape, Mr. Bublé built it to a peak of crowing delight, his soulful melismas riding on blasts of punctuation from the band’s powerful horn section. He mischievously dedicated the number to the young women in the audience who cheated on their husbands.

The one questionable number was “Try a Little Tenderness,” the early-’30s standard that Otis Redding gave an undeserved second life in 1966 with a burning soul version so fervent and abject that its sheer passion obscured its sexist lyric. The song has a pretty tune. If its image of a wife “weary” from “wearing the same shabby dress” made sense during the Depression, the blanket assertion about women that “love is their whole happiness” is condescending.

When sung without irony the song reads like cynical advice whispered by one man to another about how to keep a woman in her place. You can be pretty certain that there wasn’t a woman in the well-dressed upscale audience who would be caught dead wearing anything shabby.

TanyaB (Michael_Buble) все записи автора Представляю новоиспеченный альбом We all love Ella: Celebrating the first lady of music
                                    

		1.	Tisket A Tasket, A - Natalie Cole
		2.	Lullaby Of Birdland - Chaka Khan
		3.	Lady Is A Tramp, The - Queen Latifah
		4.	Dream A Little Dream Of Me - Diana Krall/Hank Jones
		5.	(You'll Have To Swing It) Mr. Paganini - Natalie Cole/Chaka Khan
		6.	Oh Lady Be Good! - Dianne Reeves
		7.	Reaching For The Moon - Lizz Wright
		8.	Blues In The Night - Ledisi
		9.	Miss Otis Regrets - Linda Ronstadt
		10.	Someone To Watch Over Me - Gladys Knight
		11.	Do Nothin' Till You Hear From Me - Etta James
		12.	Angel Eyes - K.D. Lang
		13.	Too Close For Comfort - Michael Buble

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