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Admit it: If you had to pick an artist to give voice to the wackadoo thinkings of a monkey beloved by most of the American populace over age 3, you could do a lot worse than Jack Johnson. Black Eyed Peas? Too hyper. Death Cab for Cutie? Too ironic. They Might Be Giants? Too eggheaded. Johnson, though the object of much rightful jealousy--here, after all, is a guy who only stumbled into music and vaulted himself up the charts after a successful career as a pro surfer--turns out to have the goods to do H.A. Rey, Curious George's creator, proud. Fans familiar with Johnson's earlier discs will recognize a certain laconic sprawl and easy fascination in his songs that suits the theme of perpetual puzzlement perfectly (here, let's not forget, is a guy who racked up fans with songs called "Bubble Toes" and "Banana Pancakes"). That the music takes a childish turn barely registers--songs like opener "Upside Down" are classic Johnson, all wonderment and groove, and the collaborations with friends Ben Harper, G. Love, and Matt Costa warm up, wink, and scamper off before packing on the weight of excess meaning. "We're Going to Be Friends," track seven, seals the deal--when you can make the White Stripes sound compatible with the Man with the Yellow Hat, you know you've got a multi-generational winner. --Tammy La Gorce
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No Description AvailableNo Track Information AvailableMedia Type: CDArtist: BLACK SABBATHTitle: VOL. 4Street Release Date: 04/26/1988
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50th Anniversary Greatest Hits collection
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Pop's rush to raid the cradle continues with this promising debut by 25-year-old Canadian singer Michael Bublé. And while the young vocal star's good looks are smart enough for a boy band, his muse seems to have sprung from a more sassy and compelling musical era. Mentored by Paul Anka (whose '50s hit "Put Your Head on My Shoulder" is covered in dreamy, cabaret fashion here), Bublé sings in the orbits of Darin and Sinatra, covering swing epoch gems ("Come Fly with Me," "The Way You Look Tonight," "That's All") and rock era standards (Van Morrison's "Moondance," "How Can You Mend a Broken Heart" by the Brothers Gibb, Queen's "Crazy Little Ting Called Love") with equal aplomb. David Foster's production is typically slick and played to the back row of the bleachers, but it's informed by smart contexts provided by such arrangers as Johnny Mandel, Randy Waldman, and Mike Melvoin. If the choices of material are sometimes staid and predictable, they also give the singer a crucial framework for building toward something more challenging; his is a bright future. --Jerry McCulley
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