As easy as it is to praise songwriters, the people who give their music to the world, it’s an incomplete gesture. Sure, the creative folks who write the songs are an essential part of the music machine.
But not all songwriters are singers, and they often need skilled vocalists to translate their music to the recorded medium and distribute it to the world. It’s why people praise Leonard Cohen and Bob Dylan and sometimes ridicule Joe Cocker and Bette Midler.
But why shouldn’t we also show some love to the women and men who sing the songs, whether they wrote them or not. Cocker brought something new to the Beatles’ music, and Midler has a way of interpreting music that is uniquely hers.
When Michael Buble does his jazzy thing in front of a packed Pepsi Center on Tuesday, for the most part he will be singing songs written by other people. Buble, who made his name on being the next Sinatra, still makes his living singing songs that don’t belong to him.
Only there’s the dilemma: In 2010, these songs belong to Buble more than they do anybody else.
All the pop standards you’d expect fill Buble’s albums and set lists: “I’ve Got You Under My Skin,” “Try a Little Tenderness,” “All of Me,” “You’re Nobody Till Somebody Loves You” and more. He also tosses in some covers you wouldn’t expect, including Queen’s “Crazy Little Thing Called Love” and George Michael’s “Kissing a Fool.”
And while some critics struggle with Buble’s existence, we’re all about celebrating the singer for these three reasons:
That voice: Haters might call out Buble for studying Sinatra a little too closely, and they have a point, especially in his early records. But one listen to Buble’s latest, “Crazy Love,” makes it clear that the singer has moved on.
Sure, there are still similarities. But Buble has his own thing going on now, and it’s simple to appreciate his buttery vocals and delicate delivery.
What’s equally impressive: He backs it up in concert, even at a mile high. At his last Denver concert, Buble charmed a big audience at the Wells Fargo Theatre with a sprawling set that spanned decades of music and plenty of emotional depth.
It’s called stage presence: Frontmen from all genres could learn a thing from Buble on live performance. Not that we need all of our rock singers and MCs strutting the stage with 1950s bravado, but a little personality goes a long way when people are paying upward of $50 a person to see you.
Buble knows how to build a rapport with an audience, and that’s refreshing in an era where rock singers and pop stars prowl stages with the charisma of a cardboard box. There’s nothing wrong with making a concert a special occasion, and Buble gets that. It is hoped that he’ll continue to connect with audiences on this exponentially larger tour, playing basketball arenas this time instead of midsized theaters and auditoriums.
He writes songs — sometimes:Buble loves interpreting the music of others. (Only two of the 13 songs on “Crazy Love,” named after the Van Morrison song he covers, have Buble’s name in the credits.) That said, the guy knows how to pen a catchy hit.
Among his most requested songs are the bouncy, adult- contemporary “Haven’t Met You Yet” and the slightly older, mellower “Home,” both of which were co-written by Buble. The melancholic appeal of “Home” is obvious, but “Haven’t Met You Yet” is an easy crossover hit, a jittery, crazy-melodic tune that would work in any number of settings/radio formats.
Ricardo Baca: 303-954-1394 or rbaca@denverpost.com; Twitter @RVRB
Sometimes it’s all about the voice
Sure, Michael Buble is a looker. But his greatest quality is his voiceafter all, that’s what people are initially drawn to.
That smooth and confident baritone brings ’em in — and keeps them there. Buble fans are loyal, and they love to hear the Canadian singer interpret familiar standards and sing new pop jams.
It really does come down to his voice. And here are five other singers — all of whom have been covered by Buble on his records — whose voices also helped define their careers.
Frank Sinatra
Song covered by Buble: Multiple, including “Mack the Knife”
What made Sinatra’s take special: Sinatra was the master of crisp delivery, and in his many versions of this classic standard, he loved flirting with the offbeat. Listen for the abrupt breaks that were his trademark. And then there’s that voice, of course.
Elvis Presley
Song covered by Buble: “Can’t Help Falling in Love”
What made Presley’s take special: The bulbous delivery. The wavering falsetto. The well-placed breaths. There’s a reason the King is one of the most imitated singers in the history of pop music. His vocal style was unique, and this is a song that will always be associated with Presley.
Van Morrison
Song covered by Buble: Multiple, including “Crazy Love”
What made Morrison’s take special: His voice is like a soulful whisper, and it’s complemented here by the subtle instrumentation and Motown- styled backup vocals. Morrison has a way with a melody; He plays with it instead of sticking to it. The result is stunning.
Freddie Mercury
Song covered by Buble: “Crazy Little Thing Called Love”
What made Mercury’s take special: Mercury’s voice remains one of the most memorable in rock music, and his rockabilly approach to this little Queen ditty was so fun it’s hard not to sing along. Mercury’s vocals were so perfect, in fact, that it’s hard to listen to somebody attempt a cover.
George Michael
Song covered by Buble: “Kissing a Fool”
What made Michael’s take special: Michael’s expressive phrasing made this song, from his solo debut, “Faith,” believable. Paired with a piano, Michael’s voice balances on the edge of lounge singer territory — but when he opens up at the end, the pop singer triumphs.
