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| EMI | iTunes.com |
The freshly minted Saint Teresa has passed the Catholic church's rigorous examinations with flying colours. When she is called to action, tumors melt away into rose petals and poverty-stricken villages erupt with rainbows.
Likewise, everything Tina Arena touches turns to gold. Decades into her career, Tina sounds better than ever, her voice sweet and supple. Gently couched in warm brass and cascading strings, these arrangements of classics from decades past are crisp and new, overflowing with charm and poise, such as on a sweet, serene take of Petula Clarke's 'Downtown.'
Tina is not alone in her decision to perform other people's music. Among others, Annie Lennox recently recorded a simple and charmless album of jazz standards. Lennox's androgynous voice was never as bright as Tina's, and the years have blurred it further. But where Lennox steps back to just a bare piano and her stark voice, Tina dives in and rebuilds.
On 'Both Sides Now', Tina outshines Joni Mitchell's gravelly contralto with high, clear tearfulness. Joni wallows while Tina soars.
An austere arrangement of 'Close to You' marks a significant departure from the original. Tina, unlike Karen Carpenter, is no dewy-eyed schoolgirl.
Split Enz couldn't have conceived that with the aid of lush, swirling Bollywood strings their gutterside dirge 'I Hope I Never' could hit even harder.
Most audaciously, Arena has coaxed a smooth jazzed-up toe-tapper from Blondie's jagged 'Call Me', fit to be frowned at by Hercule Poirot when played at some swanky party on a shiny new gramophone.
And most miraculously, Arena has breathed new life into Sting's tasteless ode to harassment. 'Every Breath You Take' has never sounded so sincere.
After two volumes of covers, Tina has continued to release proficient, immaculate music of her own composition. But here, her Midas touch performs its magic.
Here, she sparkles.
Likewise, everything Tina Arena touches turns to gold. Decades into her career, Tina sounds better than ever, her voice sweet and supple. Gently couched in warm brass and cascading strings, these arrangements of classics from decades past are crisp and new, overflowing with charm and poise, such as on a sweet, serene take of Petula Clarke's 'Downtown.'
Tina is not alone in her decision to perform other people's music. Among others, Annie Lennox recently recorded a simple and charmless album of jazz standards. Lennox's androgynous voice was never as bright as Tina's, and the years have blurred it further. But where Lennox steps back to just a bare piano and her stark voice, Tina dives in and rebuilds.
On 'Both Sides Now', Tina outshines Joni Mitchell's gravelly contralto with high, clear tearfulness. Joni wallows while Tina soars.
An austere arrangement of 'Close to You' marks a significant departure from the original. Tina, unlike Karen Carpenter, is no dewy-eyed schoolgirl.
Split Enz couldn't have conceived that with the aid of lush, swirling Bollywood strings their gutterside dirge 'I Hope I Never' could hit even harder.
Most audaciously, Arena has coaxed a smooth jazzed-up toe-tapper from Blondie's jagged 'Call Me', fit to be frowned at by Hercule Poirot when played at some swanky party on a shiny new gramophone.
And most miraculously, Arena has breathed new life into Sting's tasteless ode to harassment. 'Every Breath You Take' has never sounded so sincere.
After two volumes of covers, Tina has continued to release proficient, immaculate music of her own composition. But here, her Midas touch performs its magic.
Here, she sparkles.