It was not a new idea to get pop stars to do Cole Porter’s songs for this movie: it had already been done on the album Red Hot + Blue: A Tribute to Cole Porter. The difference is that De-Lovely (Sony) kept the approach traditional, without trying to spruce up Porter’s work for the MTV generation.
Robbie Williams has shown his knack to cover the classics on his Swing When You’re Winning, and has another winner with the opening track, It’s De-Lovely. Alanis Morissette follows suit with a restrained yet playful Let’s Do It (Let’s Fall in Love), and Sheryl Crow wistfully croons Begin the Beguine.
Some tracks are no more than middling covers, such as Elvis Costello’s Let’s Misbehave, but there are pleasant surprises too. Kevin Kline shines on several tracks (which is more than some critics had to say about his performance in the film itself); listen to him on Be a Clown and with John Barrowman on Night and Day.
Other big names adding their voices include Ashley Judd (forgettable), Mick Hucknall of Simply Red fame (remarkably melodic), Diana Krall (predictably good) and the reliable Natalie Cole on Ev’ry Time We Say Goodbye. It concludes with the songwriter himself, performing You’re the Top.
Sadly, the CD sleeve contains little more than a track listing and movie stills of all the contributing musicians. This would have been an excellent opportunity to include a potted history of the songwriter and his music. Still, it’s an enjoyable variation for those who know Porter’s work, and an easy introduction for those who don’t.
Sarah Brightman: The Harem World Tour: Live from Las Vegas (Nemo)
With her dainty British accent and her semi-classical pop-chart assaults, Brightman has numerous appreciative fans worldwide, many of whom were present and politely applauding at this Vegas gig. From the CD sleeve, it’s clear the event was one of many costume changes and dazzling lighting. On the CD, this makes for some monotonous interludes with gap-filling background music between songs. Brightman does well with her more theatrical material, powerfully delivering Nessun Dorma, Time to Say Goodbye and a touch of Phantom of the Opera, but it’s difficult to sit through her warbled covers of pop classics such as Who Wants to Live Forever and A Whiter Shade of Pale. — Riaan Wolmarans
Brian McFadden: Irish Son (Sony)
Robbie Williams, Ronan Keating, Justin Timberlake … most boy bands seem to have at least one lad destined to be more than some record mogul’s wet dream. McFadden has left Westlife’s sing-by-numbers tunes behind, and for this album co-wrote a bunch of mellow, mostly likeable and quite personal pop songs, including the radio hits Real to Me and Irish Son. He’s no competition for Robbie yet, but Irish Son is better than you’d think. — RW
Various: Soda Pop (USM)
Thanks to the mixing skills of Gauteng DJ Lalicia, here’s a whole lot of funky-house fun on one CD, starting with the cool original mix of Aston Martinez’s Call on Me and getting happier all the way from there with contributions by Kid Créme, Armand van Helden (all five bouncing minutes of My My My) and the likes. There’s also a bonus track right at the end, Bassliners’ Delicious, which is for no apparent reason not mixed into the rest. — RW