An Eclectic Musical Dish

Sunday, February 05, 2006

Michale Bublé - my torch song lover

So, I've taken it upon myself to take a moment out of this crazy weekend of Rush and listen to an HOUR of Michael Bublé, choosing his second album, "It's Time". I will simply just list each song as it is on the play list and give my comments thusforth...did that make sense?
Track 1 - Feeling Good: I'm sorry Nina Simone..but Mr. Bublé has you beat big time. My friends and I think it's an amazing song to strip to...I know this has nothing to do with theory..am i missing the point of the assignment? Okay..well the REASON it's a good song to strip to is because of the heavily swung triplets and eigth notes played by a loud percussion and brass section and Bublé isn't scared to let his voice get scratchy in this one. It's a constant build up of texture until all the instruments ..string..drums..and horns are playing homophonically the same loud rhythm that defines that peice.
Track 2 - A Foggy Day (In London Town): The song is rather parallel and reminds me of the style of early rondeaus and ballads in that it's strophic (in fact it repeats the same words for both verses). Yet, the second time of course is has more improvisation and variation on the melody. It's far from boring though keeping with his use of the "big band" and is in a jazzy, snappy duple meter.
Track 3 - You Don't Know Me: I still have to give it to Ray Charles on this one. Bublé keeps it too pretty almost, but I do appreciate how he hardly changes it from the original version. The electric guitar solo is nice and mellow with a mild syncopation as it "riffs"..is that the right word? I do enjoy the drums on this song and the aural texture they add with the use of....the thing they use to make the soft sound..it resembles a brush...?
Track 4 - Quando, Quando, Quando: All I have to say is No, No, NO! It's basically elevator music. And I dont even know how to describe elevator music..you just know it when you hear it. I think it's the dotted eigth, sixteenth, quarter rhythm motif (depending on how quick/slow you count the duple meter) that's constantly repeated that makes it that way..and then marracas (spelling?) no music should use marracas except mariachi bands.
Track 5 - Home: I actually have had this song for over a year and always skipped over this song until I heard Straight No Chaser perform it at DePauw. It could easily become a god awful twangy country song, but it's Bublé's deep smooth Canadian voice and accent that saves it! Another duple meter that's a slow to moderate tempo that somewhat strays from the big band genre and opts for soft strings that play behind a dueting acoustic and electric guitar. As most songs of our contemporary genre it's all strophic and follows the verse chorus verse chorus pattern....and he adlibs acappella at the end.
Track 6 - Can't Buy Me Love - This song makes me uneasy because it begins almost hecticlly with too many instruments..the entire band comes in..horns.drums..piano..just take off and this vivace swung two! It slows down during the chorus.."can't buy me loooove",,but then takes off again....and towards the end..slows again..and the density thins out and the piano is heard improvising and doing tremolos.
Track 7 - The More I See You - I absolutely love this song. It has the perfect blend of the band and it can easily be counted in 4 and doesnt have the complicated rhythms most of the songs have. And in this song Bublé gets to scat and improv instead of the instruments doing it. He also shows the full extent of his low range!
Track 8 - Save the Last Dance for Me - Bublé really should've left this one to the Drifters. If you've been privy to the Drifters' version then you know what I mean. I don't know how David Foster got it in his head that this song should sound like a rumba or salsa or mambo...I dont know which rhythm makes the difference but it's one of the three. again..its the marracas..
Track 9 - Try a Little Tenderness - He made the right decision with this love ballad and the focus is really on Bublés voice..being accompanied by strings and piano and allowing Bublé to be the one to change the texture of the song with his voice and improv.
Track 10 - How Sweet It Is - Okay David Foster, this is a smooth Motown song..not an 80's rock song..which is how it starts of with the electric guitars playing triplets then quarters that are off the beat slightly. And it doesnt stop..so its really an annoying track to listen to...thank goodness it's short so there's really not much i can say

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