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Michael Bublé - Call Me Irresponsible (2007)

Posted on 16 August 2008

ReviewColumn's rating :
4 stars

Jazz has been experiencing a revival lately. Numerous artists are responsible, but none so much as Michael Bublé. The name is likely to be known even among those who do not ordinarily listen to jazz. Bublé's pop-jazz renditions of the classic standards has reintroduced famous jazz pieces back into the mainstream, and some even bigger than they were back when they first came out.

Call Me Irresponsible (2007) sees a continuation of Michael Bublé's contemporary renditions of jazz classics. Generally, the album is an excellent demonstration of what makes Bublé so popular. The opening track, a cover of Frank Sinatra's famous “The Best Is Yet to Come”, is tastefully performed; Bublé's vocal dynamics, ranging from the soulful opening to the jubilant ending, are skilfully executed. It is evident from the title track - made famous by Frank Sinatra, as well - why Bublé is so popular today: Bublé's smooth, sultry vocals in “Call Me Irresponsible” with its playful lilts portray the bad-boy persona of the song with finesse, but the upbeat and well-structured instrumentation accompanying him ensures that a young audience which grew up on the likes of Backstreet Boys and Britney Spears are not lost on complex rhythmic changes or lengthy improvised solos. Bublé's light-hearted rendition of “I've Got the World On a String” has got just the right swing feel, and is bound to make anyone happy.

The album, however, is not just about upbeat music. Many of the tracks prove that Michael Bublé is a master at sentimental music too. The more pensive and soulful tracks such as “Me and Mrs Jones” and “Always On My Mind” display an expressive and emotional side to Bublé that is seldom heard in his earlier albums. “Me and Mrs Jones” is movingly rendered; Bublé's vocals brim with emotions, and show that he has grasped very well the inner turmoil of the song's persona who is involved in a relationship with a married woman.

“Call Me Irresponsible”, unlike many of Michael Bublé's previous albums, does not contain solely of covers. There are two original songs in the album, “Everything” and “Lost”, both of which Bublé himself had a part in writing. “Everything”, in my opinion, is the better of the two because its feel-good melody and admittedly sweet lyrics are far more memorable and captivating. That is, of course, not to say that “Lost” is bad; in fact, it is well-composed, and has a set of powerfully heartfelt and emotional lyrics.

Towards, the album lapses into quieter and slower music which may or may not be able to hold the attention of an audience accustomed to a fast-paced, hectic life, but that does not mean that the tracks are not worth a listen, of course. The bonus track, a cover of the classic “Love”, is a great song to end the album with not only because it is a familiar tune, but also because Bublé's haplessly-in-love rendition of the song is captivating to listen to and creates a happy ending to the album's musical ups and downs. Overall, Call Me Irresponsible (2007) is a testimony to the talent of Michael Bublé and to his pivotal role in bringing jazz back.

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